Next time you visit old town Pasadena you may be in for a suprise. When you slink down an alley off of Fair Oaks and Colorado, the next thing you see will be a four-story, 35-foot-tall skyscraper, sitting in the middle of a courtyard. It's an installation by artist Chris Burden (yes, he's the one that did the cool lights and all the matchbox cars at LACMA) called Small Skyscraper (Quasi Legal Skyscraper). Burden collaborated with LA architects Taalman Koch on the open design, which conists of slabs of 2x4s supported by a thin aluminum frame. Burden started envisioning the project back in the 90s, but at that time the idea was for a solid structure made of concrete blocks. This one is lightweight and seems almost like an erector set. Presented by the Armory Center for the Arts, Small Skyscraper will be on display until November.
Posts tagged with "California":
If all goes well, Venice Beach’s latest attraction could be you, screaming in delight across a 600-foot long zipline. In consideration since May, a proposal to build a temporary zipline by the beach has been slowly making its way through the public process. As proposed, the zipline would be in place for a three-month trial period. Operated by Canada-based Greenheart Conservation Company, the zipline could potentially generate revenue for the city. Part of the profits would go toward improving maintenance in public restrooms and trash clean up along the boardwalk. The zipline structure was developed specifically for hard-to-reach places, according to Greenheart Conservation Company co-founder Ian Green. Because the company usually works in remote, natural habitats like the Belize rainforest or the Amazon forest in Peru, the company had to develop a lightweight system that could easily be built without using heavy machinery to haul in the structure. As a result, the company designed an aluminum truss system where a single person could carry each piece through thick forests. In the Venice iteration, local artists would be tapped to contribute art printed on four to six mesh canvases surrounding the launch and receiving towers respectively. According to Green, the attraction would also host public arts performances, similar to what the company has done at the 2011 Burning Man Festival, where acrobatic arts performers were suspended over the gawking public. The company also plans to open its doors to nearby school children, offering aerial acrobatics classes or, at the very least, a chance to ride the zipline. While the proposal has its supporters, some detractors worry about the additional noise and fuss potentially created by the added attraction. An appeal has been lodged on the city’s approval of the scheme and is awaiting hearing by the Board of Public Works on July 27. Should the zipline pass the hearing, it is still up to the California Coastal Commission to give the final go-ahead during its next monthly meeting in Santa Cruz this August. Disappointed at having missed the summer season due to delays, Green nevertheless remains upbeat. “For now, we just kick back and wait. It’s summertime right? Everyone relaxes.”
Last weekend at Palm Springs Modernism Week we stumbled upon a treasure for architecture fans. The Palm Springs Art Museum is renovating E. Stewart Williams' 1960 Santa Fe Federal Savings and Loan building, turning it into the future home of the Edward Harris Center for Architecture and Design. Williams' International Style bank, featuring floating slabs, floor to ceiling glazing, and ultra thin columns, will contain exhibit space, public program areas, offices, an archival study center and a museum store (located in the former bank vault). On its lower level it will contain a 2,700 square foot area for the museum's collection. The center is scheduled to open in Fall 2013, says the museum. We can't wait! Historic pictures and renderings of the future space after the jump.
We've known since early last year that the Solar Decathlon, the biennial event showcasing the best in energy producing, student-designed houses, was no longer welcome on the National Mall in Washington, D.C. due to concerns over wear and tear on the "nation's front yard." The 2011 Decathlon, won by the University of Maryland, was pushed to a far corner of the Mall between the Tidal Basin and the Potomac River midway through the design process, causing outcry from student teams who were finalizing their house designs. Officials later announced that future Decathlons might leave D.C. entirely, and today, Department of Energy Secretary Stephen Chu confirmed that it will be moving about as far away from the Mall as possible—to the Orange County Great Park in Irvine, California between Los Angeles and San Diego. Orange County Great Park, comprised of 1,360 acres of recreational area designed by landscape architect Ken Smith and built on a former air field, has been taking shape over the past several years, with a new 7.5-acre Palm Court and 18.5-acre North Lawn already complete. We still found it curious, however, that the Department of Energy noted the site's "ample visitor parking" and direct freeway access considering arriving by car might be the least sustainable way to access the exhibition. The Department of Energy said the decision to move the Solar Decathlon site was based in part on extending the audience of the fall exhibition of houses. The Great Park also incorporates environmental concerns into its design, including undulating bioswales filled with native plants that help to store and filter water runoff. The $65.5 million first phase is expected to be complete this year after a series of athletic fields are finished. AN's West Coast Editor Sam Lubell visited the park last October to check in on its progress and noted the strengths and weaknesses of reclaiming a disused airfield. Future phases of the park could take another 15 to 20 years to complete. While the new location might lack the prestige of the grand allée leading from the U.S. Capitol building, the California site will make the sustainability showcase more accessible to a new audience on the west coast, and it seems safe to bet that the student teams (listed below) should have no problem juicing up their solar cells in sunny SoCal. The following teams have been selected from around the world to compete in Solar Decathlon 2013: · Arizona State University and the University of New Mexico (Tempe, Ariz., and Albuquerque, N.M.) · Czech Technical University (Prague, Czech Republic) · Hampton University and Old Dominion University (Hampton and Norfolk, Va.) · Middlebury College (Middlebury, Vt.) · Missouri University of Science and Technology (Rolla, Mo.) · Norwich University (Northfield, Vt.) · Queens University, Carleton University, and Algonquin College (Kingston and Ottawa, Ontario, Canada) · Santa Clara University (Santa Clara, Calif.) · Southern California Institute of Architecture and California Institute of Technology (Los Angeles, Calif.) · Stanford University (Palo Alto, Calif.) · Stevens Institute of Technology (Hoboken, N.J.) · The Catholic University of America, George Washington University, and American University (Washington, DC) · The University of North Carolina at Charlotte (Charlotte, N.C.) · The University of Texas at El Paso and El Paso Community College (El Paso, Texas) · University of Calgary (Calgary, Alberta, Canada) · University of Louisville, Ball State University, and University of Kentucky (Louisville, Ky.; Muncie, Ind.; and Lexington, Ky.) · University of Nevada Las Vegas (Las Vegas, Nev.) · University of Southern California (Los Angeles, Calif.) · Vienna University of Technology (Vienna, Austria) · West Virginia University (Morgantown, W. Va.)
A 56-foot-long aluminum sculpture leaps into Sacramento’s new airport.Whether they need a reminder that they’re late (for a very important gate!) or welcome a distraction from the hassle of modern travel, visitors to Sacramento’s International Airport will not miss Denver-based artist Lawrence Argent’s Leap sculpture. Completed last month in the new Corgan Associates-designed Terminal B, the 56-foot-long red rabbit is suspended mid-jump in the building’s three-story central atrium. An oversize “vortical suitcase” placed in the baggage claim below completes the piece. Argent worked with California-based Kreysler & Associates, a specialist in the design, engineering, and fabrication of large-scale sculptural and architectural objects, to build his vision while meeting the airport’s safety requirements. The team originally planned to build the sculpture with glass fiber composite, but fire codes would have required additional engineering studies to prove it was flame retardant. Additionally, the building was going to be largely enclosed by the time the sculpture was ready for installation, making it impossible to bring the sculpture, which is 14 feet wide and more than 16 feet high, into the building in one piece. Argent had designed the sculpture as a form composed of hundreds of flat triangles. “The piece lent itself to aluminum as long as we could figure out how to fabricate the pieces,” said Bill Kreysler, who founded the fabrication company in 1982. Working with Argent’s digital renderings, Kreysler’s team translated the design into Rhino, creating what he calls a semi-monocoque structure with a double-skin of thin aluminum on a thin-ribbed interior aluminum frame. The decorative surface is composed of 1,446 CNC-cut triangles with side dimensions ranging from 1 inch to 3 feet. Etched with a numbering system, the triangles were placed using laser-projected grid lines. “I think that one of the things that is often overlooked in this digital fabrication world is that there’s a sense that because computers are controlling the process, the human element is reduced, but in many ways it’s increased,” said Kreysler, who limited the number of people working on the piece to ensure consistency. The rabbit’s interior structure was assembled into 14 pieces of varying diameters in the shop, then transported to the airport for assembly. The exterior aluminum triangles are textured with crushed glass to create a velvet-matte surface and float 1½ inches above the interior shell with aluminum standoffs. Even in the light-filled atrium space the sculpture’s suspension system appears minimal. The concentrated loads coming from seven custom wire rope suspension cables with swage fittings are received by the rabbit’s internal steel armature. Aluminum transverse members then distribute these loads from the steel armature to the monocoque aluminum shell. Unveiled on October 6, the new $1.3 billion airport addition is the largest construction project in Sacramento’s history. The rabbit is the centerpiece of the 14 art installations—more than $6 million worth—commissioned by the city’s Metropolitan Arts Commission and planned for completion in the coming years.
In an effort to consolidate its efforts in Los Angeles, Google has leased 100,000 square feet of office space in three buildings in Venice, including space inside Frank Gehry's Chiat/Day Building, a.k.a. the Binoculars Building. Why is it called that? Because one entryway is shaped like a gigantic pair of binoculars, of course. Finished in 1991 on Main Street, the space is probably the most famous of Gehry's forays into...shiver... Post Modernism. The binoculars themselves were designed by Claes Oldenburg and Coosje van Bruggen. The new Venice Googleplex will hold many more employees than its present collection of buildings in Santa Monica, which contain about 300. Earlier this week Google announced that it would be adding 6,000 total employees this year. Recession? What recession? Not in Google's world.
Behold! The unveiling of Apple's next product... the iBuilding. Okay, so it's not a product, but it is their highly-anticipated new campus in Cupertino, California. Steve Jobs, wearing his trademark mock turtleneck and jeans, revealed the plans—with fancy, although somewhat grainy renderings—at yesterday's Cupertino City Council meeting (watch the video after the jump). According to several reports, the architect of the new complex, whose land Apple bought from Hewlett Packard, will be Norman Foster, but that hasn't been formally announced. A few highlights of the new design: Apple's new HQ is shaped like a doughnut, a spaceship, or an iPod trackwheel. It's clad in curved glass with a giant courtyard in the middle. While Apple plans to increase it's employees from 9,500 to 13,000, it will reduce its surface parking by 90% (from 9,800 to 1,200) and most of the parking will be underground. The vast majority of campus is set aside for landscaping (with an estimated 6,000 trees). According to Jobs, the building will generate its own clean energy using the grid as backup. Given how the council treated Jobs like a visiting god, it looks like the company should get the project passed. If it moves forward, the new campus is expected to be complete by 2015.
I had the pleasure this year of being on the jury for the annual 2x8 Competition, organized by the AIA/LA, which (thanks to more than ten sponsors) handed out more than $8,000 in scholarships to outstanding student entries from throughout California. Normally I only get to see work from household names like SCI-ARC, USC, UCLA, etc. But the competition introduced me to projects from equally talent-rich schools like Los Angeles Institute of Architecture and Design, Pasadena City College, Woodbury, Otis, Cal State Long Beach, Cal Poly Pomona and several more. Seven winners were named in all, receiving scholarships from $600 to $3,000. Projects ranged from tiny puzzles to giant urban interventions. See the winners here and more pix here., The exhibition of their work is on display at the A+D museum until June 3.
On Wednesday, SFMOMA held a press preview of its new exhibit, "Calder to Warhol: Introducing the Fisher Collection," which takes up the top two floors and features whole entire rooms of Calders, Ellsworth Kellys, Chuck Closes, Agnes Martins—a smorgasboard of modern masters, each a few steps from the next. Downstairs in the main lobby, however, there was the opportunity to get to know a different group of artists—the four candidates that are up for the job of designing the SFMOMA's new extension. A 12-minute video, displayed on the wall (and, naturally these days, on YouTube), is a terrific way to let the public in on what is going on at the SFMOMA. It opens with SFMOMA director Neal Benezra, who explains how the museum is expanding, and then there's a few choice quotes from each architect, enough to get a sense of the personalities in the mix. David Adjaye demonstrates why he was picked to host a TV show; Sir Norman Foster is slick, eloquent and looks a bit like a Rembrandt painting; Craig Dykers of Snohetta is engagingly soft-spoken; and Elizabeth Diller of Diller Scofidio + Renfro has a great line about how galleries are "antithetical to the model of efficiency....it's not about getting from the tour bus to the gift shop." We learned elsewhere that after the architects had their meetings with SFMOMA brass on the top floor of the Gap, they were brought down to the basement, where a film crew was on hand to capture their thoughts. Meanwhile, as part of the museum's due diligence, Benezra is touring the architects' buildings—without them on hand—to get a fresh perspective on their work. We'd like videos of that too, please!
The Urban Land Institute LA’s inaugural LARC (Los Angeles Real Creativity) Awards was not your average design show. Mistress of ceremonies Frances Anderton, the host of KCRW’s “Design and Architecture," set a light tone that discouraged back slapping and the stodgy speeches that often accompany such congratulatory musings. As dinner was served by Wolfgang Puck, guests seated at tables in the lobby of Wayne Ratkovich’s recently renovated William Pereira building at 5900 Wilshire were treated to a crash course in some of LA’s most innovative projects. And the winners were: In the Design Category, recognizing projects still in the conceptual stage, the Hollywood Cap Park took the award (which, by the way, was a Tiffany Frank Gehry designed paper weight). Conceived 25 years ago and recently revived, a 44-acre park would “cap” the 101 Freeway from Bronson Avenue to Santa Monica Boulevard. The Place Award, honoring completed buildings that have “world-changing” potential, went to the Academy of Entertainment Technology, the media campus of Santa Monica College and home to KCRW which is being designed by Clive Wilkinson Architects. YOLA – Los Angeles Philharmonic/Gustavo Dudamel won the Enterprise award in the community or social program category for its work building youth orchestras in undeserved communities. And the Big Idea award recognizing a “game-changer” went to the Imagine Mars Project initiated by JPL/NASA, which combines science, engineering and art to help children learn how to create design solutions by imagining what kind of community they would build on Mars. HONORABLE MENTIONS Design: Flower Street Bioreactor East Cahuenga Corridor Alley Place: Bert Green Fine Art for the Downtown L.A. Art Walk Maltman Bungalows New Carver Apartments (Michael Maltzman Architecture) Enterprise The Community of Mar Vista Wilson Meany Sullivan, LLP for Hollywood Park Tomorrow Idea Thinking Out of the Big Box --STACIE STUKIN
The Urban Land Institute is hosting a new awards program for Los Angeles called the ULI LARC (Los Angeles Real Creativity) Awards, which will be presented annually to "four recipients who, through their extraordinary vision and creative action, are helping to change our world" The winners will be divided into four categories: Design (conceptual designs), Enterprise (innovative companies or initiatives), Place (a completed building or space), and Idea (for a big idea with profound effects). The fun part is that anyone can nominate a candidate here until October 14. The awards ceremony will take place at 5900 Wilshire Blvd (former home of the A+D Museum) on December 5, and award presenters will include none other than Frank Gehry, who has also "designed" the award's trophies. That is to say the ULI is handing over some Gehry-designed paperweights. Granted it's a $975 paperweight the architect made for Tiffany's, so it's not too shabby of an award after all.
When CAD rose up in the '80s and began replacing hand-drawing as the preferred means of rendering architecture-to-be, practitioners began decrying the death of the field. Obviously that was not the case, but in our increasingly digitized age/culture/lives, where sexy renderings predominate (to the cost of real architectural discourse, some might say, and probably rightly) on blogs and, uh, architectural websites and beyond, videos are becoming an increasingly important component of the process of placemaking. Or at least competitionwinning, as the above video by SPF:architects shows. When we first turned it up on Curbed today, we were taken aback by the lengths (some might call it desperation, but in these hard times, who can blame them) the firm had gone to to convince the judges of the worthiness of their entry in a competition to design Calgary's new Cantos project, billed as the only "national music centre" in Canada. Turns out, though, all entrants had to produce a video, including Diller Scofidio+Renfro, allied works architecture, Atelier Jean Nouvel, and the lone Canadian firm, Montreal's Saucier + Perotte. Since the LA-based SPF's is naturally Hollywood flashy, how do the other four stack up? Hey! We recognize that cut-out. Rip off! Playing the buildings? Where have we seen that before? For a Pritzker Prize-winner, this sure is chintzy. Dig the tunes.