Groundswell: Guerilla Architecture in Response to the Great East Japan Earthquake MAK Center 835 North Kings Road West Hollywood, California Through January 4, 2015 The Great East Japan Earthquake of 2011 devastated the island nation, setting off a tsunami that destroyed over 300 miles of coastline, causing the failure of the Fukushima Daiichi Nuclear Power Plant, and leaving more than 20,000 people dead and 470,000 without homes. The severe damage from the catastrophe propelled architects to take action, swiftly and creatively, as illustrated in a new exhibit, Groundswell: Guerilla Architecture in Response to the Great East Japan Earthquake. Faced with the slow moving bureaucracy of the government response, a number of architects—including Manabu Chiba, Momoyo Kaijima and Yoshiharu Tsukamoto (of Atelier Bow-Wow), Senhiko Nakata, Osamu Tsukhashi, and Riken Yamamoto—decided to take matters into their own hands and work with local communities to rebuild, using a myriad of design solutions. Through this grassroots movement, the show explores how architects can jumpstart and participate in recovery efforts following a natural disaster.
Posts tagged with "California":
Public Work, Lines of Desire: Peter Shire A+D Architecture and Design Museum 6032 Wilshire Boulevard, Los Angeles, California Through January 31, 2015 The A+D Museum is displaying the public and private architectural commissions of Los Angeles artist Peter Shire in Public Work, Lines of Desire. Shire’s architectural work combines graphic forms and structural geometry with highly saturated colors in a meditation on the collision between popular culture and the visual language of design that explores the line between “fine” and “applied” art. The exhibition will cover everything from the Echo Park–native’s first public entry in the 1984 Olympics; to a 1990 sculptural installation commissioned by Sapporo Corporation in Hokkaido, Japan; to his most recent public art installation, 2012 River Park in Ventura County. On view will be architectural models and sculptural elements, ideation sketches, finished drawings and paintings, and various objects of inspiration that have functioned as source material and propelled Shire’s installations.
Palm Springs Architecture and Design Center will officially open on November 9 with its inaugural exhibition, An Eloquent Modernist, E. Stewart Williams, Architect. Williams is a member of the group of early post-World War II architects that landed in the Coachella desert and helped turn the resort into a fledgling center of modern design mostly for vacation and retirement homes but also of schools, commercial buildings, and civic monuments. Williams fittingly designed the building that houses the new museum as the Santa Fe Federal Savings in 1961. It has now been entirely renovated by Marmol Radziner and seems to easily work as an exhibition space with an uninterrupted, unified and open plan that both contains space and opens up to the beautiful landscape beyond. The glass and steel building has many of the design details like brise-soleil, terrazzo flooring, sliding grates, and grills and columns that mark high modernism in southern California but are not usually seen in commercial structures like banks. In fact, it works perfectly for a museum and exhibition space devoted to design and architecture. The 13,000-square-foot facility will also house an archive and design collection in its basement level that allows it to create an ambitious facility devoted to design. The Palm Springs Art Museum, the parent of this new architecture and design center named the Edward Harris Pavilion, has assembled a talented and passionate team to direct the future of the center. A museum devoted simply to architecture might be hard to program after the first few exciting years but the managing director of the museum, J.R. Roberts, will open up its programming to include fashion, automobile design and other design disciples. The Executive Director of the Palm Springs Art Museum, the historian Dr. Steven Nash, has announced that the museum has been able to raise the $5.7 million (including the building purchase) it needs to renovate the bank and support several years of programming that is critical to running any sort of cultural facility in the 21st century. Finally, this team includes the accomplished daughter-in-law of Stewart Willams-Sidney who wil be the new museum's head curator. There are virtually no models for an architecture and design museum in this country so it will be fascinating to watch this facility in the next decade as it grows and develops.
Forest City has announced that it is moving forward with a plan to build a residential and office complex on four acres around the San Francisco Chronicle building, a 1924 structure located on the corner of 5th and Mission streets in the South of Market (Soma) neighborhood. The developer published the Environmental Impact Report (PDF) for the plan, known as "5M," last Wednesday and presented it at a public hearing of the city's Planning Commission this week. The design team for the project includes architect Kohn Pederson Fox, urban designer SiteLab, and historic resources consultant Architectural Resources Group. According to the EIR, the project would contain about 1.8 million square feet of development, presented in two different options. In the "Office Scheme," it would include about 870,000 square feet of offices, 800,000 square feet of residential, and 150,000 square feet of active ground floor uses. In the "Residential Scheme," it would include about 600,000 square feet of office uses, 1 million square feet of residential, and 150,000 square feet of ground floor use. In either scheme, the plan would renovate two existing buildings (including the Chronicle Building), build four new buildings, and demolish six existing buildings. On its web site, the developers call for "carved buildings," to add visual interest, "sculpted high rises," a careful balance of uses, and a pedestrian experience enhanced with active storefronts and art walls. According to the Chronicle, in addition to the new facilities, the development would include a 12,000 square foot "Mary Square," and a 22,000 square foot green space on the Chronicle Building Roof. The project, which is facing heavy criticism from local neighborhood groups, is expected to get underway by 2016 or 2017 and phase in over about ten years. Public comments will be heard until December 1. Forest City said renderings should be available within about a month, so stay tuned.
What's a cross between a green roof and a living wall? IAC, the company that brought you Frank Gehry's billowing building by the High Line in New York, is commissioning Rios Clementi Hale to "drape" its white brick building on Sunset Boulevard in West Hollywood with a six-story sculptural steel lattice—like a living roof turned 45 degrees— containing native plantings irrigated by recaptured underground water. Tall vertical troughs will protrude as much as 14 feet from the building face. At ground level a public space will be added to the building's entry plaza, fitted with steel-plated benches and bike racks. On the west side of the structure, the grid will flatten to become a green roof over a new restaurant. The installation's native plants will be chosen by Paul Kephart of planted roof specialists Rana Creek. At night the gridded structure will be lit from behind, so light will shine through the plants. The project, already under construction, is expected to be completed later this year.
In one of the more surprising analyses of his tenure as architecture critic for the Los Angeles Times, Christopher Hawthorne recently came out with breathless praise for The Vermont, a green glass residential tower by Jerde Partnership on Wilshire Boulevard and Vermont Avenue. According to Hawthorne, the building’s “sleek steel-and-glass profile is a reminder that new apartment buildings in Los Angeles can be something other than bland, stucco-covered, stick-built neo-dingbats.” Eavesdrop is no architecture critic, but let's just say we do not totally agree.
Newport Beach's central government complex emphasizes transparency, sustainability.Bohlin Cywinski Jackson's (BCJ) Newport Beach Civic Center is in one sense classically Southern Californian. With its light steel structure, plentiful windows, emphasis on indoor-outdoor spaces, and roofline inspired by ocean waves, it evokes a timeless delight in Pacific coast living. But it also represents something new, both for the city of Newport Beach and for civic architecture more generally. Built on a marshy site that had previously been written off as uninhabitable, the LEED Gold Civic Center and adjacent 16-acre park, designed by BCJ in cooperation with PWP Landscape Architecture, acts as a different kind of anchor for the automobile-oriented community. "It was shaped in part by a desire to create a great public space," said principal in charge Greg Mottola. "How do you make an urban civic space in the context of the suburbs?" The architects choreographed the Civic Center's entry sequence to transition from highway speeds to the pedestrian scale. The freestanding Council Chambers sits at the entrance to the complex, its white Gore-tex fabric "sail" doing double duty as sunshade and visual trademark. "The sail was really a way to help people understand the Civic Center at 40 miles per hour," said project manager Steve Chaitow. "You turn in there, and as you slow down the scale of the project begins to become more fine-grained." Past the Council Chambers and neighboring community room is the long, low City Hall building, which upends the traditional emphasis on monumentality in favor of democracy. "One of the key issues was the metaphorical and literal transparency of government," said Chaitow. The focus on transparency is expressed both in City Hall's plan, which eschews a grand lobby in favor of outdoor circulation and separate entrances for each department, and its glass facade. To create a public front porch for the building, BCJ covered each bay with a curved roof composed of whitewashed hemlock soffit on a steel frame. The panels provide crucial shading for the east-facing curtain wall, which opens onto the Civic Green. "That roof overhang is 20-30 feet, it's really out there," said Chaitow. "That's what allowed us to have this facade of glass and not pay a penalty." Custom horizontal aluminum louvers on the curtain wall's lower level furnish additional protection against thermal gain. The architects worked with Arup to study the structure blade by blade, to maximize shading without sacrificing visibility. The aluminum extrusions were also designed to stand off the curtain wall, to facilitate window washing. For ventilation, BCJ installed operable clerestory windows between each pair of roof panels. The windows run on an automated system and let in an even northern light that often negates the need for artificial lighting. "A big pull for the client and for us was to try to make this building responsive to its location," said Mottola. "It's been a pretty successful change for them as far as changing the culture at City Hall." Vertical aluminum louvers over City Hall's clerestory windows and other north-facing glazing prevent interior lights from disturbing the neighbors at night. The back-of-house spaces, including conference rooms and patios for staff, are gathered along an open circulation path along the west side of the building. The emphasis on common space prompted the mayor to remark, "I have met more of our City Staff in two weeks here than I did in seven years in our old city hall." Two of the Civic Center's other structures, the Council Chambers and community room, which both feature large sliding glass doors, are partially clad in stone. "We wanted to use some stone because it has a nice relationship to the concept of civic building, but we wanted to use it selectively," said Mottola. Brazilian marble was used on portions of the Council Chambers envelope, while the community room is wrapped in French limestone. The slightly darker French limestone serves to make the community room more recessive, highlighting the Council Chambers. At the same time, the location of the community room within the Civic Center as a whole reveals that it may be the complex's most important building. "The first project you see as you slow down when entering the Civic Center is the city's 'living room,'" said Chaitow. "That's intentional. Symbolically, it was important as a gesture about twenty-first century democracy."
The excitement over Apple's new mega-campus in Silicon Valley continues to build. First, we got an aerial drones-eye-view of the under-construction Apple Campus 2 in Cupertino, California (check it out after the jump!). And now, we get to see the corporate auditorium where the company will show off its new products once complete in 2016. Renderings released by the Contract Division of Poltrona Frau Group (PFG Contract) depict Foster + Partner's theater. PFG Contract will supply and install 660 custom chairs and 250 lounge armchairs. A grass walkway will lead visitors and employees to a glass pavilion marked by a saucer-shaped roof, making way to the underground stage. Forbes reported there will be a secret subterranean passage to the auditorium, allowing speakers or other employees to move between the 4-story main building and the stage privately, away from the press and other visitors. Auditorium completion is expected by spring/summer 2016. In 2007 PFG Contract worked with the Apple Design Team to create seating for theater spaces in Apple retail sites worldwide. The company's first commission was for armchairs for the ocean liner, Rex, in the 1930s, and they moved into designing seating systems for theaters and auditoriums in the 1980s. This past February, Dezeen reported that furniture company Haworth had bought PFG Contract. The 2.8 million square feet circular extension of Apple's headquarters, led by Foster + Partners, will sit in an over-100-acre forest designed by landscape architecture firm OLIN. Apple's forest will be an orchard of sorts, able to supply its own food, with plum, apple, cherry, persimmon, and apricot trees on site. The new campus will hold 13,000 employees, with an underground auditorium built during the first phase of construction.
Architectural competitions with substantial cash prizes tend to focus on monuments, museums, and other high-brow concerns. Such is not the case for Breaking New Ground: Designing Affordable Housing for the Coachella Valley Workforce. Sponsored by The California Endowment, a Los Angeles–based private health organization, Breaking New Ground targets the gap between the people who come to the Eastern Coachella Valley to play and those who keep its $4 billion agriculture and tourism industries running. Home to resort communities including Palm Springs, Palm Desert, and Rancho Mirage, the Eastern Coachella Valley lacks affordable housing for the permanent and seasonal workers who harvest its crops and staff the local service industry. With annual salaries of just $15,000–$30,000, workers and their families are forced to live on the streets, in cars, or in one of more than 100 unpermitted mobile home parks, without access to adequate heat, hot water, sanitation, or ventilation. Breaking New Ground will offer a total of $350,000 in unrestricted awards, including prizes for four finalists in each of the Open and Student categories. The jury will evaluate submissions based not just on physical design, but also on their economic, social, and regulatory aspects, such as: market feasibility, the provision of integrated social services, and proposed policy changes. The competition will be based on an existing 9.4-acre vacant site, selected by the County of Riverside for competition purposes only. Though Breaking New Ground is a design and ideas competition, “The California Endowment does intend to fund a project inspired by the competition entries,” said Colin Drukker of PlaceWorks, the competition’s lead project coordinator. “Winning entries will not be guaranteed a chance to participate in a potential construction project, but they will obviously have an advantage in any subsequent RFP.” The competition begins October 21, with online registration open sooner. The first round will conclude December 19, at which point the jury will select four winners from the Student category as well as four finalists from the Open Category. The second round, to begin January 22, will conclude with live presentations and a celebration March 30–31. (All dates are subject to change until registration opens.)
San Jose Mercury News columnist (and frequent AN contributor) Alan Hess took on HNTB's Levi's Stadium, the new $1.3 billion home of the San Francisco 49ers. Hess compares the "starkly utilitarian," 68,500 seat stadium to Silicon Valley's high tech environments, and even to its high-end gadgets. The building "translates the high-def experience of a game we see on TV—the roaring crowd, the superhuman action of the players, the intense color of the grass under the TV-studio lighting, the camaraderie of loyal 49ers fans celebrating (or commiserating) en masse—into an enormous three-dimensional architectural spectacle," Hess wrote. Innovations include club seats (including 170 luxury suites) separated from the rest of the stadium bowl (and a lacy steel skeleton) to bring everybody closer to the field; food service via every smartphone; and a variety of viewing environments, including nine clubs. Of course it's all located inside Santa Clara's Great America Parkway, a "multiuse city of workplaces, entertainment, theme parks, convention center, schools and hotels, stitched together with light rail and cars." Other outlets seem to be equally impressed, at least with the stadium's novelty and gizmos. Time magazine called the stadium the "most high tech sports stadium yet," illustrating partnerships with tech companies like Sony, giant LED displays in both end zones, and wifi and 4G access for all fans. USA Today called it "massive and luxurious," a shiny new antidote to "grungy" Candlestick Park, the Niners' former home, with its "wide concourses and expansive views of the South Bay." And SFist, a little bothered by the lack of shade, liked the solar panels that will power the stadium for all of its home games. But the same reporter, Daisy Barringer, had an interesting comment. Unlike Candlestick Park, which had a decidedly unique mid-century character (and flaws), the new stadium feels a little more, well, normal. "It's just another NFL stadium," said Barringer. Click here for a live view of the stadium.
George Lucas is making architectural waves again. And it has nothing to do with a museum. In 2012 AN reported that Lucas had torn down 3389 Padaro Lane, a 1981 Modernist masterpiece on the beach by sculptor and architect Sherrill Broudy in Carpinteria, just east of Santa Barbara. Now he's finished the replacement—designed by Appleton & Associates. And let's just say it's less of a masterpiece. Featuring colonial detailing and a wrap around porch, it looks like it would be more at home on the East Coast than on the West. Los Angeles architect Tom Marble (who previously wrote about the house for AN) described Lucas's new abode as "Cape Cod Light, an invasive non-native systematically destroying a strain of modernism that evolved in this part of Carpenteria." Built in 1981, 3389 Padaro—known in the area as the best house on the beach—was one of just a few buildings designed by Broudy, who had initially worked as a sculptor. That background allowed him to create wood and copper detailing that gave the compound a warm, and somewhat Asian aesthetic. His excellent eye extended throughout the site, where he laid out a gym, an art studio, and a lap pool in such a way as to create a tropical oasis. Appleton has not yet posted the home to its web site, which is unusual since it's shared homes by David Zucker, Mitch Glazer, Phil Gersh, and other Hollywood A-listers. Lucas is busy talking with much more contemporary-style architects for his Chicago endeavor, including MAD and Jeanne Gang.
Hudson Pacific Properties is banking on the continued appeal of Hollywood office space with its Icon at Sunset Bronson Studios, a 14-story tower designed by Gensler. Targeting creative professionals, Icon reconfigured the suburban campus typology for an urban setting. Gensler associate Amy Pokawatana called the development a "vertical campus," blending "work, relaxation, and recreation." Part of a $150 million studio expansion, the project takes its cue from a six-story building the developer finished on the Sunset Gower Studios lot in 2008. The building features five rectangular, stacked volumes, offset horizontally to create exterior terraces. The high-performance envelope alternates between glass curtain wall and precast panels to break down the scale and frame views to downtown LA, the Hollywood sign, and the Santa Monica Bay. In addition to providing outdoor green space on multiple floors, the design incorporates flexibility and connectivity. Large floor plates and connections between floors allow for both open and traditional office layouts, said Pokawatana. Icon is located near several historic Hollywood buildings, including its next-door neighbor, the Executive Office Building (EOB), once the headquarters of Warner Bros. The design is set back from Sunset Boulevard to provide views to the EOB, while the height of the tower’s first volume coincides with the older building’s eave-line. In addition, said Pokawatana, “White, precast, freestanding columns that front the tower are a modern nod to the historic colonnade on the EOB facade. Punched windows in the precast facade mimic the simple rhythm of the windows at the EOB.” Pokawatana is confident that her firm’s vertical campus concept answers the needs that once drew creative and tech offices away from the city center, combining the best of urban and campus buildings. “There is a shift in the way companies work today, and we are designing a building that can inspire, promote, and nurture this new paradigm," she said.