Posts tagged with "San Francisco":
2016 Best of Design Award in Building Renovation: The Strand American Conservatory Theater
Architect: Skidmore, Owings & Merrill Location: San Francisco, CA
The Strand renovation provides a highly visible experimental performance space for the American Conservatory Theater within a formerly abandoned hundred-year-old movie theater on San Francisco’s Market Street. The space houses an intimate 285-seat proscenium theater, a public lobby and cafe, educational facilities, and a 120-seat black box theater and rehearsal space.
Care was taken to sensitively retrofit the shell of the former 725-seat cinema: The facade and structural supports were restored and essential modern theater elements were layered over the raw backdrop of the original building. Playing off of the building’s cinematic roots, the centerpiece of the lobby is a suspended two-story, 504-square-foot translucent LED scrim—the first permanent indoor usage of this technology.
Development and Project Manager, Financing Consultant Equity Community BuildersGeneral Contractor Plant Construction Company LED Panel Winvision Concrete Specialist Bay Area Concrete Historical Architects Page & Turnbull
Honorable Mention, Building Renovation: PLICO at the Flatiron
Architect: Elliott + Associates Architects Location: Oklahoma City, OK
This project includes the renovation of a two-level 1924 flatiron building and the construction of a modern, yet complementary rooftop addition that relates in shape, scale, color, and detailing while differentiating itself through materials and setbacks.
Honorable Mention, Building Renovation: Temple Israel of HollywoodArchitect: Koning Eizenberg Architecture Location: Los Angeles, CA
The light-filled design for this progressive reform congregation was inspired by a fringed Tallit (prayer shawl), while the ark is placed within a sedimentary wall that includes rocks gathered from Israel by its congregants.
The Architect’s Newspaper (AN)’s inaugural 2013 Best of Design Awards featured six categories. Since then, it's grown to 26 exciting categories. As in years past, jury members (Erik Verboon, Claire Weisz, Karen Stonely, Christopher Leong, Adrianne Weremchuk, and AN’s Matt Shaw) were picked for their expertise and high regard in the design community. They based their judgments on evidence of innovation, creative use of new technology, sustainability, strength of presentation, and, most importantly, great design. We want to thank everyone for their continued support and eagerness to submit their work to the Best of Design Awards. We are already looking forward to growing next year’s coverage for you.
2016 Building of the Year > West: San Francisco Museum of Modern Art Expansion
Architect: Snøhetta Location: San Francisco, CA
The expansion of the San Francisco Museum of Modern Art reimagines SFMOMA as a new art experience and gateway into the city of San Francisco. Snøhetta integrated the building with the existing Mario Botta design from 1995, while making the museum more accessible than ever, tripling the amount of exhibition space and expanding the public gallery and outdoor areas. Seeking to engage with the community in a proactive way, the addition opens up new routes of public circulation through the South of Market neighborhood and into the museum.
General Contractor Webcor Builders
Facade Contractor Enclos
Lighting and Facade EngineeringArup Structural Engineering Magnusson Klemencic Associates FRP Fabricators Kreysler & Associates Graphic Perf® Entry Panels Arktura Honorable Mention: Building of the Year > West: Washington Fruit & Produce Co. Office Headquarters
Architect: Graham Baba Architects Location: Yakima, WA
Tucked behind landforms and site walls, this courtyard-focused office complex provides a serene refuge from the noise and activity of nearby fruit packing warehouses. Taking cues from an aging barn, the building is light and open with a muted palette, reclaimed wood siding, and a rooted connection to the land.
The 1950 Mission complex is designed as a pair of apartment blocks connected by a central courtyard with a large, nine-story building fronting Mission Street and a smaller, five-story structure located along a mid-block alleyway.
The primary structure on Mission Street features a variously articulated facade arrangement that is segmented into three sections with a central stepped black-panel-clad portion flanked on either side by street-fronting apartment blocks. These facades, similarly clad in panelized finishes along the lower four floors with stucco walls above, feature storefront windows along the ground floor and punched openings denoting the apartment units above. The storefronts include smaller-than-average retail spaces designed to be occupied by local businesses, with plans to include an art gallery as well. The commercial areas along the ground floor will also feature varying ceiling heights, between 11 and 20 feet, in an arrangement that will help to boost the overall number of units developed through the project. The areas along the ground floor are set back from the building mass in certain areas, allowing the units above to create covered outdoor space underneath by acting as shade-casting overhangs.
The smaller apartment block will be accessed via a mid-block public approach that also connects to the central courtyard space and will feature an “artists’ paseo,” a walkway flanked with artists’ studios. With this arrangement, the designers hope to create a community gathering spot and arts-focused public space. The second apartment structure is set back from the alley with a 10-foot-wide planted area and features masonry-clad, undulating facades with specialized window hoods covering most of the building’s punched apertures. Those hoods are articulated to shield the openings from solar glare, and dot the stepped facade along various exposures. The building is topped by a rooftop garden and urban agriculture facility the architects have dubbed “Jardin de Las Familias,” and is connected to the larger structure via a series of stacked skywalks that traverse the courtyard area.
The project will provide on-site supportive services for future tenants via providers PODER, Mission Neighborhood Centers’ Head Start and Early-Head Start, Lutheran Social Services, and Mission Girls Services mentorship programs. Cervantes Design Associates will serve as associate architect on the project, which is currently moving through the entitlement process. A timeline for construction has not yet been released.
Touhey takes the stage with Jason Kelly Johnson of Future Cities Lab and Sanjeev Tankha of Walter P. Moore to discuss the next generation of facades. Go to Facades+ AM San Francisco to learn more about the event and the other sessions taking place.
Oakland, California–based Endemic Architecture’s most recent exhibition, Mind Your Mannerisms, at Jai & Jai Gallery in Los Angeles, examines the existential meaning behind San Francisco’s variant of the Victorian turret, what the firm refers to as one of many “architectural darlings” that populate our world.
For the firm, “darlings” consist of fundamentally architectural symbols that convey meaning in built form universally, like the column, the pediment, or the chimney. These “darlings” are the elements that are both widely understood by laypeople as words used in architecture’s formal language and simultaneously deployed (or subverted) by architects themselves to say, “this is (still) architecture.”
In Mind Your Mannerisms, the selected “darling”—turrets—is poked, pinched, and puckered in an effort to not only lend a sense of intellectual rigor to its whimsical forms, but to also induce new layer of new meaning and understanding resulting from the anipulation of its symbolic, anachronistic geometries.
The firm utilizes collections of contextual photography showing the diverse manifestations of the turret typology in San Francisco’s built environment as a starting point in order to generate generalized drawings of particular, observed tendencies. In the process, the darling gets redefined from an object made up of discrete architectural components into a collection of quasi-digital surfaces where a series of formal maneuvers have been applied to two disparate objects: the turret itself and the so-called “Victorian” building to which it is attached.
The firm uses these guiding considerations to generate interventions enacted upon a handful of existing and observed turret types, focusing on these aspects of each and amplifying or deforming their found conditions. These interventions are initially explored through a series of beguiling, shaded line drawings, side-by-side comparisons of found and manipulated elevation views displayed in gold-painted frames. The turrets take on the formal ambiguities of M.C. Escher drawings, as cornices become tangent to and sweep around rounded corners, conical roof forms loft to meet simply sloping ones and sections of walls are deleted or extruded up and down the form. Shingles and siding are along for the ride, too; they are scaled, alternated, and shifted accordingly.
The drawings are then taken into three dimensions via three large, ambiguously-scaled maquettes. Two of these objects are installed directly on the gallery walls, which have been painted with the black silhouettes of generic Victorian building forms. A third form is freestanding, its bulbous and rumpled masses sagging in an exaggerated, Pablo Escobar–style paunch. The turrets are lent a scale-less distortion by the firm’s use of repurposed, full-scale turret windows salvaged from recently-demolished structures in the models. The relic windows, one with panes fritted, the other with a set of secondary, chamfered interior surfaces located just inside the window frame, again obscure the true nature of these sculptural objects. Is each one actually a turret-shaped building? Are they one-to-one mock-ups of diminutive turrets? It’s hard to tell, but that’s partially the point. This transformation from orthographic drawing to object-in-the-round gives each turret conflicting, multiple meanings, as the physical properties of their material components clash with one another. One wall-mounted turret is clad in sheets of woodgrain veneer, cut out and styled so their ends curl up. The freestanding turret is topped with a tiara of faux-fur.
And if we can look past the Seuss-ian forms the turrets take and look at them for what they are—geometric abstractions—something clicks into place: Thenhaus and his team are using San Francisco’s turret as a learning tool. By imposing an order and then manipulating that order, working to generate new forms that still fit the decided upon definition for what a turret is, the designers lend clarity to something that is otherwise shrouded in mystery. The question is: Are the new creations Victorian turrets, still?
It’s hard to tell because Victorian architectural forms juggle many considerations simultaneously: They are typically proportioned in accordance with light and air, are aggressively ornamented, and do a great job of breaking down massive buildings into pleasant agglomerations of cute things like cornices,windows, porches, and yes, turrets. Victorian architecture makes no sense at all, however, from the point of view the rationalist, diagram-driven, methodology of contemporary practice that has been applied to its formal existence here.
By subsuming the particularities of the Victorian ecosystem of styles in this way, the researchers point out the barren lexical memory of their profession and the ways in which building components, once discrete, measurable and observable objects, have been replaced in contemporary discourse with digital modeling processes and “if, then” reactions, in which collections of dots, lines, and planes are swept, lofted, tweened, and booleaned to generate form. In both cases, meaning results from the processes undertaken in order to generate form and not, as is the case with Victorian architecture, from the symbolic and physical properties of the forms themselves.
Viewed through this lens, the works presented in the exhibition can be seen not merely as generative, architectural by-products begat from architecturally-focused observation, but as a part of that conversation in their own right. That is, Endemic’s turrets, with their quizzical proportions, jiggery-pokery of material, and side eye toward playful formalism are as helpful in Endemic’s attempt to define the turret typology as the observed turrets themselves.
Whether or not we’ve realized it, most of us have bought products through Square, a company that supplies small businesses with the now-ubiquitous square-shaped hardware and software that remotely processes credit card payments. Square’s new offices in San Francisco are meant to be as minimal, clear, and usable as its products.
Located in what was once a miserable, almost completely windowless Bank of America data center, the new 300,000-square-foot, fourth-floor office is just the opposite: an open, light-filled workspace organized by a central “boulevard,” lined with gathering spaces (including a library, gallery, and cafe), and a wide variety of working spaces, including bench-style work desks, tables, and semi-private, acoustically lined “work cabanas.”
To manage the space’s ridiculously big floor plates (100,000 square feet, four times the typical size), according to Bohlin Cywinski Jackson (BCJ) principal Gregory Mottola, the firm studied urban precedents as varied as Dubrovnik and Milan, looking at everything from urban plazas to enclosed arcades. Unifying the office floors is a massive amphitheater stair that cuts through floors six, seven, and eight, and provides zones for individual work, group meetings, and large presentations. The stair is fitted with movable, lightweight powder-coated tables that snake their way down its length to create unique working and relaxing environments. Another office anchor is the eighth and ninth floor “Square Stair,” a floating switchback connecting the office floor to the main dining level.
“You’re giving up rentable floor area, but the payoff is you have these incredible group amenities,” said Mottola. “The key was this idea of creating a really collaborative, transparent company. You don’t want to have one place feel disconnected from the rest.”
Clean lines and lots of white (on steel panels, stretch-fabric ceiling panels, and drywalls) reflect the brand’s identity and lightens the mood, while salvaged wood elements, like the eucalyptus amphitheater stair, Plyboo cabanas, and end-grain woodblock flooring in the lobby, provide warmth and visual interest. Splashes of color demarcate important spaces, provide needed accents, and reflect the locale: Bright orange, for instance, recalls the Golden Gate Bridge, while blue shades evoke the nearby San Francisco Bay. The company installed new windows along the perimeters of the sixth, seventh, and eighth floors, drawing in natural light where there once had been none. Another big aspect of the design within a limited budget was lighting. BCJ employed a variety of techniques, from spear-shaped “light saber” LEDs above the boulevard to indirect lighting in the workstations and sculptural accent pendants in the lounge spaces.
“We tried to make the most of those dramatic moments when we could,” said Mottola, who noted that Square was drawn to BCJ’s clean work for Apple’s stores, but not its purely monochrome palette. As the company grows at an exponential rate, the airy, collaborative, and flexible spaces will no doubt come in handy. “We want them to be able to grow and shift over time,” he added.