- Brian Caldwell, THINKTANK Design Group;
- Joshua Aidlin, Aidlin Darling Design;
- Kiyomi Kurooka, DWL Architects + Planners Inc.;
- John Paquin, Statesville;
- William T. Ruhl, RUHL WALKER Architects.
Posts tagged with "Bohlin Cywinski Jackson":
The Jan Shrem and Maria Manetti Museum of Art on the University of California, Davis campus, designed by associated architects Bohlin Cywinski Jackson (BCJ) and SO-IL and built by construction company Whiting-Turner, opened in late 2016.
The project was developed through a particularly strict procurement process that required designers to include builders on their teams. Those teams were expected to hold tight to a firm budget—$30 million—and deliver a design with balanced aesthetic, functional, and budgetary requirements. Ryan Keerns, associate at BCJ and project manager on the project said, “This process of design-build competition gave the client confidence that a builder had vetted the aesthetic and functional ambitions of the project and stood behind their ability to deliver the project within the parameters provided.”
The team did that and more, creating a 30,000-square-foot building that uses a range of social spaces to divide up more buttoned-up aspects of programming. The approach results in what amounts to a fully public space that does triple duty as art museum, office, and classroom. Those functions are articulated as a series of scattered, interconnected pavilions arranged in slipshod configuration. The whole thing is capped by an undulating, 50,000-square-foot perforated and folded aluminum screen canopy developed with help from facade design consulting firm Front, Inc. and fabricated from off-the-shelf components, including 952 honed-aluminum infill beams and 4,765 linear feet of steel joists.
The veil starts off low to the ground, lifted on slight, extruded steel columns. When the roof crests, it does so out of view, toward the center of the building. It eventually laps down to the sidewalk at the building’s main entrance, where it cantilevers 12 feet above the floor. Here, visitors get to bathe in the scattered, pleasantly fluorescent light created by the canopy. Ilias Papageorgiou, principal at SO-IL described the structure as a multi-sensory experience: “It works almost like a reverse sundial, where you become aware of the moving light and transformation of the shadows.”
In plan, the canopy is made up of a series of irregular gridded textures, “inspired by the agricultural landscape around the university,” as Keerns explained, a woven quilt of metal patterns going every which way. These angular divisions in the gently sloping surface—styled in section to resemble a silhouette of the area’s rolling landscapes—create jittery bits of structural framing, with joists and beams crisscrossing about. Steel columns of different diameters—40 in all—are deployed in a calibrated arrangement and are scattered about the entry pavilion. Interspersed amid this hypostyle courtyard are a series of bright yellow poles: multifunctional nodes for lighting, electrical outlets, and wireless internet.
The canopy is punctured by a large, oblong oculus that is mirrored on the ground by a dull, grassy knoll. The gesture is made to add another layer of functionality, as the opposing wall has been detailed to allow for film projection. The space ultimately succeeds in spite of this feature, not because of it. And the wall, entirely blank instead of delicately and intricately combed like the others, feels heavy-handed in what is otherwise a feathery plaza dancing with light.
The building, like the 2002 Boora Architects–designed Mondavi Center for Performing Arts directly opposite, is in axis with the center of campus. When approached from one of the campus’s main drags instead of from the parking lot, the entry pavilion acts as a type of outdoor living room for the university. As the canopy comes close to the ground at the sidewalk—and as a dissonant column causes one to step aside—it’s possible to experience a threshold condition and so properly enter into the designers’ domain.
The entry courtyard meets the fully enclosed portion of the building opposite this column at a convex section of glass wall. When sitting or standing in the courtyard, the effect of the columns and light posts is reminiscent of standing at a busy intersection in a city with broad sidewalks: It becomes possible to have almost private moments, both when no one else is in the space and when the various groups are passing through. Inside the building, a foyer contains a sinuous purple sofa—designed by an in-house team at BCJ—that turns a portion of the room into a viewing station, the now-convex arc of glass creates a televisual view of the courtyard and its many inhabitants. During AN’s visit to the museum, the courtyard and foyer were occupied by a diverse group of people: elderly couples, groups of moms with children, and even teenagers.
The museum works as a generic (in a good way) “somewhere else” type of place, not wholly any one aspect of its program, but as a place where lots of different types of things happen all the time. Simultaneously, the entry areas give the building a quality of comfortable domesticity, something akin to a grandparents’ living room, where shoes need to stay on, but one is free to feel at ease and gawk at whatever collection of curios might be on display.
Moving counterclockwise from the door, a projection room and the main galleries branch off to one side of the foyer. A second lobe, with ancillary functions, extends in another direction. A third wing peels off to the far left and contains a pavilion with a classroom and art studio that open onto the outdoors separately.
The galleries themselves are arranged as a variety of flexible spaces, with certain rooms casually arranged as educational areas, a result of the programming exercises the university brought to the designers. A larger gallery has soaring ceilings capped by extruded aluminum panels, with ductwork and piping visible beyond. The ancillary spaces, more intimate in proportion but correspondingly fussy in detailing, feature lower ceilings where the texture of the ceiling panels changes orientation to align with the long axis of the room. Because the museum’s permanent collection contains many sensitive works on paper, the galleries had to be designed to be completely artificially lit.
Papageorgiou explained: “Although daylight was not allowed in the galleries, we found moments for bringing the exterior through indirect light.” He refers to the central and generous hallway that connects the front galleries to the loading dock at the back of the building. That pathway is capped on both ends with glazing: one looking out onto the entry courtyard, the other, with a framed view of Interstate 80, cars and trucks whizzing by.
Rosalyne Shieh Partner, Schaum/Shieh
We used Lilac Marble in a recent Brooklyn renovation. It is white with an intense inky black vein. We got the cement encaustic tiles from Mosaic House, but there are also other very good selections from Clé Tile and Granada Tile. For the kitchen, we mixed and matched within a range of colors based on a terra-cotta palette, but you can have custom tiles made from your own design. We used a more traditional Escher-pattern tile of the same type in the bathroom.
Paul Masi Principal, Bates Masi + Architects
We work with a range of products based on the project and client needs, but we like Corian for interior surfaces because it is adaptable, durable, and easy to clean. Corian can also be easily repaired and is stain-resistant, which is why we chose it for the integrated sink and countertop in the pantry as well as the walls, floors, and cabinetry in the restrooms of our newly completed office in East Hampton, New York.
Greg Mottola Principal, Bohlin Cywinski Jackson
We often use ApplePly from States Industries for casework, paneling, and custom furniture. I love that the material is humble, yet can be finished in a way that elevates it to a level of refinement, all the while revealing the nature of how it is made. The workstations and much of the furniture in our studio are made from ApplePly, and we did a great collection of furniture for the Ballard Library in Seattle. We also recently completed the first of many cafes for Blue Bottle Coffee here in San Francisco, and the millwork and display shelving makes extensive use of the material.
Benjamin Cadena Founder, Studio Cadena
I would have to say white paint—either a bright white like Benjamin Moore’s Super White or a slightly warmer toned white like Benjamin Moore’s Dove White. For me, white helps tie the room together while diffusing light into darker corners of a space. It also focuses attention into what occupies the room rather than the walls themselves—it makes other colors and materials really come alive.
Peggy Gubelmann Design Director, Pembrooke & Ives
We love to use Bendheim specialty glass in our kitchens. This material is durable and adds depth, texture, and glamour to our modern kitchens. We backlight all of our cabinets to highlight the gold mesh sandwiched between the glass and provide a nice glow and ambiance.
Kelly Wearstler Founder and CEO, Kelly Wearstler
I love using marble for walls, kitchen and bathroom surfaces, and furniture. Texture enhances any surface and utilizing natural stone with a marbling pattern creates dimension and depth, adding a layer of richness to a space. Ann Sacks is a favorite for marble tiles; ABC Stone in New York and Marble Unlimited in California are my go-to sources for marble slabs.
San Francisco–based architects Bohlin Cywinski Jackson (BCJ) have completed work on the Mountainside Stellar Residences and Townhomes, a ski-in, ski-out complex of residences and townhomes located on the slopes of Northstar, an upscale community located beside Lake Tahoe on the California-Nevada border.
The project, designed in partnership with developers West Partners and Mountainside Partners, consists of six detached residences and 11 clustered townhomes, each designed to maximize views of the surrounding landscape and to operate on a year-round basis. The homes represent an attempt by the firm to reinterpret the upscale ski chalet for a contemporary area and are designed with sustainability and technology at their forefront and are built to achieve LEED Gold certification.
Located amid a grove of Jeffrey pine and Douglas fir trees, the detached residences are themselves clustered on a compact site overlooking ski slopes and a mountainside lift, with the homes visually grouped together by their mirrored floor plan configurations. Each 3,400-square-foot structure is entered from above and features a double-height, upper-level great room living area topped by a large, wood-clad roof overhang. The overhang shields an outdoor loggia that extends from the indoor living areas and is supported by a simply articulated post-and-beam assembly. A black-stained cedar wood shingled wall separates the living wing of each home from the bedroom areas, one of which is a master suite. That suite is cantilevered slightly over the ski slope and is wrapped on three sides by floor-to-ceiling glass walls. All of this rests above a blonde cedar wood siding-wrapped base containing two smaller bedrooms, a guest master suite, and a media and entertainment room.
The townhomes, each roughly 2,200 square feet in size, cascade down a gentle slope, except here, instead of having shifts in facade geometry indicate different aspects of program within a single home, the townhomes shift in geometry as ownership changes from one unit to the next. The clusters of paired townhomes—with the odd, eleventh townhome existing as a freestanding structure— are each topped by one of two halves of a thickened, sloping gabled roof plane. These roofs extend beyond the exterior walls of each unit and are wrapped in the same blonde cedar wood as the single-family homes. The roof planes turn down along the shared party wall between the units, giving each side a more individualized expression and massing. Like the detached homes, the townhouse units also feature groundfloor outdoor spaces that connect to an interior great-room configuration, except that here, bedrooms are located on the floor above. Each structure is clad in the same mix of blonde, gray, and black cedar planks.
To tackle the challenge of making four floors of a windowless 1970s data center reflect the contemporary culture of Square, Bohlin Cywinski Jackson organized the company’s headquarters around a central collaborative space punctuated by a library, a coffee bar, and a gallery—anchored by a monumental amphitheater staircase that itself functions as a flexible venue for a variety of activities. Custom white tables further enhance the stair’s visual appeal while encouraging dynamic use. The concept’s clean lines and predominantly white interiors reflect Square’s brand at both aesthetic and functional levels, successfully transforming the space while highlighting the company’s core values to create a refined, seamless experience.
Contractor BCCI BuildersStructural Engineer Tipping Structural Engineers Millworker San Francisco Millwork Lighting Manufacturer Vodes Custom Furniture Manufacturer Ohio Design
Honorable Mention, Interior > Workplace: Pinterest Headquarters
Architect: IwamotoScott Architecture with Brereton Architects Location: San Francisco, CA
Inspired by the clean, simple, and intuitive ethos of Pinterest’s recent web platform redesign, IwamotoScott Architecture and Brereton Architects envisioned a concept of porous concentric layers wrapping a repurposed warehouse atrium.
Honorable Mention, Interior > Workplace: Squarespace Global Headquarters
Architect: Architecture Plus Information (A+I) Location: New York, NY
To honor its client’s aesthetic commitment to minimalism, A+I sought to bring depth, texture, and warmth to the Squarespace headquarters in New York’s historic Maltz Building through a purposeful variety of spaces and the use of natural materials: polished concrete, wood, and leather.
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.