Posts tagged with "AC Martin":
2017 Best of Design Award for Hospitality: Broken Rice Architect: Undisclosable Location: Denver, Colorado Broken Rice is a fast-casual restaurant serving traditional Asian street food with a modern feel. It was designed as a roll-out with recognizable brand identity and efficiency in construction that would also produce experiential quality. Inspired by Asian landscapes, colors, and textures, Broken Rice adopts the hexagonal geometry of Vietnamese tiles, recognizable silhouettes from the region, and repetitive objects seen in Asian street markets—visible through screens lining both sides of the space. The effect is that of looking out onto an abstract vista of cultural references. The use of color, inspired by the sunset, is deployed throughout to create false perspectives, produce depth in the space, and facilitate intimate dining conditions within the banquette cubbies. “The congruous nature of the ambitions and the execution makes the small restaurant quite special. The warm material selection and element lighting is fun and approachable.” —Emily Bauer, landscape architect, Bjarke Ingels Group (juror) Client: Startup Restaurant Interior Architecture: Undisclosable Architect of Record: Nama Partners Structural Engineering: Performance Engineering Honorable Mention Project: Wilshire Grand Tower Complex Architect: AC Martin Place: Los Angeles, California The Wilshire Grand Tower Complex comprises a 900-room hotel sitting atop 18 office floors. Currently the tallest building west of the Mississippi, it offers sweeping views of downtown Los Angeles and is an iconic addition to the skyline.
Architects AC Martin and developer Onni Group have released new renderings depicting the teams’ redevelopment plans for the Times Mirror Square complex in Downtown Los Angeles. The project calls for demolishing the historic William Pereira–designed LA Times addition from 1971 and replacing the black metal panel-clad late modernist office block with a pair of podium-style housing towers. The two towers—one 37 stories tall, the other with 53 floors—would hug the sidewalk along Hill Street in order to create a pedestrian paseo through the site separating the existing LA Times and Mirror buildings from the new towers. The existing buildings, originally designed by Gordon Kaufmann and Rowland Crawford, respectively, would be preserved and renovated to house creative offices. No word on where the LA Times offices will be relocated to or if the publication will continue to operate out of the renovated offices. Overall, the project will contain 1,127 residential units and 34,572 square feet of commercial areas. The two flat-topped towers are depicted in the new renderings rather generically, with alternating stacks of projecting balconies and curtain wall expanses populating each tower’s facades. The dual monoliths sit atop a single podium populated by low-rise apartments and rooftop amenity spaces. The building’s ground level retail spaces wrap around the base and into the paseo area, which is shaded from above by an operable glass ceiling. The paseo itself will contain multi-level terraces spaces as well as the aforementioned storefronts. The LA Times building is depicted along Broadway as having a public marketplace along its ground floor. The towers will be joined in the vicinity by a blocky 30 story mixed-use tower designed by Gensler to be located on the block behind the LA Times complex. The projects will also feed into a growing push to convert the surrounding the Civic Center area into a new mixed-use residential enclave. The Times Mirror Square project is anticipated to begin construction in 2019 and open for occupancy in 2023.
After three years of nearly round-the-clock construction, AC Martin’s Wilshire Grand Center in Downtown Los Angeles has finally opened to the public.
The 73-story building celebrated its grand opening on Friday in a pomp-filled ceremony that included a performance by the University of Southern California marching band. Representatives from AC Martin and L.A.’s political and business establishment were on hand as well to inaugurate the tallest building west of the Mississippi River.
The 1,100-foot-tall tower contains a mix of uses, including a 900-key InterContinental Hotel, 265,141 square feet of Class A office space, and 45,100 square feet of restaurant and commercial spaces. The tower also features L.A.’s first “sky lobby,” which will provide some of the highest views in the city. The uppermost levels of the tower will be home to a steakhouse and several bars, including Spire 73, which according to Eater, is now the highest open-air bar in the country.
The sail-shaped, pinnacle-capped tower is the first new skyscraper constructed in the city without a flat roof. Until recently, fire regulations required that tall buildings provide helicopter landing pads on their rooftops to help evacuate occupants in the event of a fire or earthquake. The helipads were seldom used and, as a result, the regulation was changed last year to allow the city to develop a more dramatic skyline. Instead of offering a helipad, the Wilshire Grand is outfitted with a more extensive fire suppression and warning system than would normally be the case. The early detection system includes networked voice and visual communications capabilities that allow building operators and firefighters to communicate with every floor of the structure, according to KPCC.
Now that the building is complete, all eyes are pointed toward San Francisco’s Salesforce Tower, designed by Pelli Clarke Pelli Architects. When completed, that tower will be the second tallest in the West, rising just 30 feet shy of the Wilshire Grand at 1,070 feet in height. The tower is expected to finish construction in 2018.
Los Angeles-based architects AC Martin and Canadian developer Onni Group have released preliminary renderings for the long-rumored, 1,126-unit Times Mirror Square development that aims to replace the 1970s-era William Pereira addition to the Los Angeles Times building in Downtown Los Angeles. The project, part of a larger, overall redevelopment of the L.A. Times headquarters complex that also includes a new, 30-story tall tower by Gensler, would connect to the existing L.A. Times building via ground floor retail spaces and an outdoor, retail-lined paseo. The original 1940s-era, art deco style L.A. Times headquarters is expected to receive modest restorations via the project while the iconic, late modern era Pereira-designed structure will be completely demolished to make way for the development. The Pereira structure is just four years shy of being eligible for the National Register of Historic Places and is not listed as a local Historic-Cultural Monument. Urbanize LA reports that AC Martin would bring a pair of high-rise residential towers to a neighborhood soon-to-be-brimming with open space amenities like the forthcoming revamp to Pershing Square park by Agence Ter, First and Broadway (FaB) park by Mia Lehrer and Associates and OMA, and the five year old Grand Park by Rios Clementi Hale Studios. A 37-story tower would be located directly across the street from Lehrer's FaB Park, with a taller, 53-story monolith located directly behind. Both towers are capped by pointy, crenelated caps and will reportedly rise 465- and 655-feet in height, respectively. The towers will contain parking stalls for 1,000 vehicles despite being located almost directly atop a forthcoming transit stop on the city's Regional Connector line. This article appears on HoverPin, a new app that lets you build personalized maps of geo-related online content based on your interests: architecture, food, culture, fitness, and more. Never miss The Architect’s Newspaper’s coverage of your city and discover new, exciting projects wherever you go! See our HoverPin layer here and download the app from the Apple Store.
Martin Architecture and Design Workshop (MADWORKSHOP) recently unveiled Sanke, an installation of custom public furniture designed by Sonia Lui, currently a fellow at the foundation. The installation is located in the courtyard of the Museum of Contemporary Art in Los Angeles, designed in 1986 by Arata Isozaki. Lui developed the Sanke concept while she was a student in a summer 2015 studio—called Re-Defining Public Furniture & Fixtures Design—that MADWORKSHOP founders David Martin, formerly atAC Martin, and Mary Martin sponsored at the Art Center College of Design. The project was chosen out of six other student schemes to be fabricated for MOCA’s courtyard and to potentially become a mass-produced furniture line. The foundation mentored Lui through the design and fabrication process of her multi-level communal seating system. Sanke includes fixed outdoor tables and seating for 10 to 12 people. Its closely-packed smattering of brightly colored chairs and tables are sized at varying heights for differing age groups and uses. The project is designed to encourage human interaction among luncheon crowds of local workers, business people, and tourists who use the courtyards along Grand Avenue. With busy tourist and leisure destinations like the Disney Concert Hall and Broad Museum just across the street and down the block, the installation will likely be a welcome addition to the large, open courtyard space. The design of the public furniture installation is also a product of themes explored in MADWORKSHOP’s studio, including speculations on how shifting social mores and evolving technology are causing adaptations in furniture and fixtures. According to text on MADWORKSHOP’s site, “Furnishings will play a critical role in bridging the gap between technology and the possibilities for new behaviors in outdoor space.”
AC Martin is one step closer to completing L.A.’s newest and tallest tower. As workers and business executives in hardhats scribbled optimistic phrases like “we did it!” and “one year left to go” onto a massive wide flange beam, Wilshire Grand Tower, LA's soon-to-be tallest spire, topped out Tuesday afternoon at a gregarious ceremony hosted by Turner Construction and AC Martin, the tower’s chief contractor and architect, respectively, and Korean Air, developer of the project. Crew members cheered as cranes lifted the final beam into place, 892 feet up, completing the structure’s core and leaving only the tower’s top floors and spire to be constructed. The ceremony, attended by many of the 800 workers rapidly assembling the west coast’s newest homage to high strength concrete and glass, included a barbecue lunch prepared on site that filled the surrounding business district with the wafting scent of mesquite. The event was celebratory in nature, with team members, executives, and elected officials posing for photos as journalists surveyed the cavernous rib cage of the building’s future shopping plaza along Figueroa Street. According to Turner Construction’s website, when completed, Wilshire Grand will host 20 floors of Class A office (400,000 square feet) and a 42 story hotel consisting of 900 suites. The aforementioned 400,000 square feet of podium along Figueroa is set to include ballrooms, meeting halls, pedestrian-oriented retail, and a 1,250-spot parking garage. The structure is the first building to rise since L.A.’s City Council overturned a 40 year fire safety rule mandating flat-topped skyscrapers in the city. Wilshire Grand Tower, rising to 1,099 feet in height, will also the first to employ a concrete core instead of a prototypical steel frame. This novel (for Los Angeles) roof shape will contain a sky lobby, observatory, sky pool deck, and restaurants. The building, set to rank as the second tallest building west of the Mississippi River upon completion (taller than San Francisco’s Salesforce Tower, but shorter than Seattle’s 4/C Tower), is due to finish construction in early 2017.
Photographer Wayne Thom captured Late Modernism like no one else, and now his archive is looking for a home
As 1970s and 1980s architecture returns to vogue, a new recognition of those associated with its making and documentation also arises. So it is with Wayne Thom, long the preeminent architectural photographer of the large, Late Modern building by the large firm. Thom began photographing in the late 1960s and his work in Los Angeles, the Western U.S. and beyond to the Pacific Rim documented changing tastes and approaches toward the architectural subject. Hundreds of images are on view on his website. It’s a distinctive and significant body of work, but one without a home. Presently Thom is looking for an organization or institution to take on his sizeable and meticulously organized archive. As time goes on, Thom’s remarkable work seems increasingly ill-suited for sequestration within any one house, including his own. Born in Shanghai in 1933, Thom was raised in Hong Kong, and emigrated to Vancouver in 1949 with his family that includes brother Bing Thom who went on to become a highly noted Canadian architect. Arriving in the States in 1964, Wayne graduated from Brooks Institute of Photography in 1968. By the following year he was working with A. Quincy Jones (“A.Q.”) who gave him his big Los Angeles break. Jones, and others whom Jones later introduced on Thom’s behalf, were impressed with approaches that would over time become Wayne Thom hallmarks. These include the use of natural light only, no props whatsoever, and big buildings—particularly the high rise, as his subject. A breakthrough assignment, Wayne’s prominence further rose with his image of the 1971 CNA Park Place Tower in the Westlake section of Los Angeles. Completed by Langdon & Wilson, CNA Park Place was the first all-over smooth-grid mirror glass skin building—a soon to be corporate vernacular—completed in the Western United States, and likely the Country. Thom’s image of the building overlooking Lafayette Park and the people within it won the First Award of the Pittsburgh Plate Glass (PPG) Architectural Photographers Invitational in 1973. Among his clients through the 1970s, Thom frequently worked with the A.C. Martin office where he photographed a variety of projects including their various Downtown LA projects, the underrated (and unfortunately renovated) Sears West Coast headquarters, and even an A.C. Martin–designed jet interior. In that decade he also began steady, multi-year work as the primary photographer for William Pereira (“Bill”); San Francisco’s Transamerica Building was among his many Pereira assignments. Among other publications, Thom’s images were featured in Progressive Architecture, Architectural Record, Architectural Forum, and Domus—where he photographed for Gio Ponti, the magazine’s founder. His award-winning Bonaventure Hotel image is the February 1978 Progressive Architecture cover. Architect Arthur Erickson, whom Thom knew since his much earlier Vancouver years, tapped him to assist in assembling the team of associate architects, landscape architects and designers that ultimately won the 1980 competition to redevelop Bunker Hill sponsored by the City of Los Angeles Community Redevelopment Agency. In a highly publicized coup, they battled against the “All Stars” team, which included Barton Myers, Frank Gehry, Ricardo Legorreta, Charles Moore, Cesar Pelli and others under Maguire Partners Development. Yet says Thom, “We won the battle but lost the war;” aside from a single Erickson building and the hardscape (Two California Plaza was completed by A.C. Martin) the rest of Erickson’s winning scheme was never realized. Thom continued in full-time practice until 2013, when he curtailed his workload. Living in Rowland Heights, he maintains meticulous records for his thousands of negatives and slides plus hundreds and hundreds of proof books and presentation prints. Now, he’s interested in releasing all of it. In addition to his artifacts, the photographer’s memory is institutional and he seems to have known every single Los Angeles Late Modernist, with insightful if not funny tidbits on most of them. If it all possible, his basic hopes are that archive stay intact and be made available to the public.
And… action. In a unanimous vote the LA City Council approved Renzo Piano’s plans for the Academy Museum of Motion Pictures. The design, which includes a renovation of the AC Martin’s May Company Building on Wilshire and Fairfax avenues and the eye-popping addition of a 140-foot-diameter glass and steel globe sited behind the existing 1939 building, comes with at $300 million estimated construction cost and hopes to open in 2017. Located next to LACMA, the 290,000-square-foot museum is the third Piano project on the block. Its bold, spherical form (which will house a 1,000-seat theater) breaks character from the architect’s more low-key Broad Contemporary Art Museum (BCAM) and the Resnick Pavilion on the LACMA campus. “I am thrilled that Los Angeles is gaining another architectural and cultural icon,” said Los Angeles Mayor Eric Garcetti in a statement. “My office of economic development has worked directly with the museum’s development team to ensure that the Academy Museum of Motion Pictures will create jobs, support tourism, and pay homage to the industry that helped define our identity as the creative capital of the world.” While the City Council’s 13-0 vote ensures that the building moves forward into permitting, the project has seen some bumps in the road. Last year, AN reported that Culver City firm SPF:a, which had been working with Piano on the project since 2012, was removed from the project. The question of traffic and parking in the neighborhood remains a hurdle. The Los Angeles Times reported that activist non-profit Fix the City, is “weighing legal action to stall development.” The organization cites an 860,000 visitor increase to the area as a burden on existing streets and parking lots. When constructed, the sure-to-be iconic Academy Museum of Motion Pictures will compete with the hot-rod facade of the Petersen Automotive Museum designed by KPF, now under construction across the street. Both designs will be trumped if and when Peter Zumthor’s Wilshire-crossing proposal for LACMA takes shape.
Playful op-art beats out fifty shades of gray in competition to design new Los Angeles Convention Center
Call it a win for color. A bright-hued design for the renovation and expansion of the Los Angeles Convention Center by Populous and HMC Architects beat out the gray proposals by the other two finalists—Gensler and Lehrer Architects and AC Martin and LMN Architects—in a city-led competition. As previously reported by AN, the competition and design selection marks an important first step in the “Expansion and Futurization Project” led by the L.A. Department of Convention and Tourism Development and the Bureau of Engineering, which sees remaking the currently dowdy and cramped convention center as critical to attracting conventions, events, and investment to the area. A four-representative panel from the city’s tourism and engineering departments selected the winner. Each proposal was required to come in under a budget of $350 million. Populous and HMC Architects’ team includes landscape firm Olin and Chu + Gooding Architects. Per the brief, their design connects the South Hall and West Hall of the convention center with a structure over Pico Boulevard and expands the venue with more meeting rooms and a series of outdoor multi-use spaces, including a covered, but open-air performance venue overlooking a refurbished Gilbert Lindsay Plaza. Op-art supergraphics unite the scheme, with a tomato red and white stripe pattern appearing as paving, wall treatments, and architectural elements. It's a bold take on the conventional convention center approach, which for years was marked by interiority and overall blandness. Like the dazzle dazzle camouflage used on battleships, the move lessens the building's bulk while making it infinitely more exciting. The Populous/HMC proposal now goes to the City Council for approval.
Here are three bold designs from winning teams that completely reimagine the Los Angeles Convention Center
The Los Angeles Convention Center is desperately in need of an overhaul. Architect Charles Luckman designed the original boxy structure in 1971 and James Ingo Freed added the glassy Annex in 1997. Today, both buildings lack the square footage and amenities to add up to a competitive venue. Centers in Las Vegas or Chicago eclipse LA’s meager 870,000 square feet by double or triple square footage. Indeed, in the decades since the venue was constructed the whole approach to convention center design has changed. The City of Los Angeles announced the three final teams in a design competition for a proposed renovation and expansion of the Los Angeles Convention Center: AC Martin and LMN Architects, Gensler and Lehrer Architects, and HMC Architects and Populous. The schemes, on public view at the convention center through June 4, reflect the need for not only a bigger, more contemporary venue, but for a full-service destination, not unlike nearby LA Live. As the South Park neighborhood continues to boom, renderings show connections between the older buildings across Pico Boulevard, and include landscaped outdoor spaces, bold supergraphics, and open-air entertainment areas equipped for concerts. Each design comes in under a budget of $350 million or less. A comparison to LA Live is no accident. AEG, developers of that venue as well as the Staples Center and the Ritz-Carlton/J.W. Marriott, were contracted to revamp the dumpy Convention Center as part of the defunct Farmers Field NFL stadium plan. The design competition was launched in late 2014 before AEG announced that it would no longer pursue the stadium project. As part of the larger “Expansion and Futurization Project” for the Los Angeles Convention Center, the City of Los Angeles' (led by the L.A. Department of Convention and Tourism Development and the Bureau of Engineering) competition is somewhat of a back-up plan to ensure that LA remains a draw. “Today, we’re taking a big step forward in investing in our future and bringing more business, more visitors, and more jobs to our city,” said Mayor Eric Garcetti. “I’m very pleased that with these functional and attractive designs, Los Angeles is closer to a Convention Center that reflects our city’s position as the global capital of creativity, innovation, and possibility.”
The Martin Architecture and Design Workshop (MADWORKSHOP), a foundation meant to encourage "beautiful, artfully designed" technological craftsmanship, launched last month in Santa Monica. Its founder, David C. Martin, a principal at Los Angeles–based firm AC Martin, hopes to sponsor the next generation of inventors and designers, with the assumption that they have the potential for critical and commercial success “Our approach to making things is much like the approach taken to design a building, only on a more manageable scale,” said Martin. Selected individuals will be mentored through the process of prototyping, drafting and fabrication. The Foundation will then assess public relations and marketing opportunities and assist in launching the idea. The group is particularly interested in projects that have the potential to influence design on a grand scale. They will also sponsor ideas that can be written, illustrated, or diagramed, and have the potential to be published or exhibited. The foundation's path began in 2005 when Martin began teaching a design studio at the USC School of Architecture. The class resonated with students, helping them rediscover craftsmanship. Over the next eight years it evolved, and Martin and his wife Mary challenged students to think bigger, eventually designing a site-specific pedestrian bridge. MADWORKSHOP has thus far green-lighted five projects in various stages of development. They include: 1. The Collapsible Chair: Origami Lighweight Foldable Chair by Designer Yuan Yao 2. The Smart Table Lamp by Designer Shihyung “Bobby” Kim 3. 3D-Printed Wearable Architectural Fashion by Designer Behnaz Farah 4. The Robotics Research Grant – USC School of Architecture Studio Class 5. The Mexico Book: An Architect-s Road Trip by Author David C. Martin, FAIA
The Los Angeles Bureau of Engineering's competition for a $350 million expansion and renovation of the LA Convention Center has been narrowed down to three final teams. And they are: AC Martin/LMN, Gensler/Lehrer Architects, and HMC/Populous. According to the project's Task Order Solicitation (PDF), the teams will each receive $200,000 to “develop and present conceptual designs,” including models, renderings, plans, cost estimates, phasing plans, etc. Designs are due on December 8. According to Bud Ovrom, the Convention Center's Executive Director, the plans would center on rehabbing the center's oldest building, the West Hall, which has become particularly out of date, "filling the void" between the West and South halls, adding plans for at least one" 1,000-room hotel, and upping the facility's amount of usable space to over one million square feet. Ovrom said his team recently looked at 11 competitive convention centers, and LA's ranked 9th in square footage. "We're significantly smaller to start and the competition is upping its game," he said. The city is still under contract with AEG to build a football stadium on part of the site, but that contract expires on October 18, and it doesn't look like the city will get an NFL team before then. Ovrom said the stadium is still the city's first choice, but argues that a renovation and expansion "makes more economic sense" for the convention center. One of the competing design team members, Populous, proposed a plan for the convention center with developer AEG back in 2012 linked with the football stadium. Another firm on the list, Gensler, designed that stadium, Farmers Field, with a dramatic winged structure. Both may soon join the ranks of the city's Never Built.