All summer the Los Bar—built by MAK Center residents Andreas Bauer, Christoph Meier, Robert Schwarz, and Lukas Stopczynski—gave those without airline travel points a taste of Vienna. Constructed in a garage of R.M. Schindler’s Mackey Apartments, the saloon mimics Adolf Loos’ American Bar, swapping out onyx and marble for painted MDF and cardboard. Police shut down the blind pig due to neighbor complaints, but we’re hoping all is not lost for Los/Loos. AN may volunteer the LA HQ for a Loos weekend.
Posts tagged with "California":
In 2011 SWA built the nation's largest planned Zero-Net Energy (ZNE) community. Working in collaboration with the University of California Davis and developer West Village Community Partnership (WVCP), the project houses over 2,000 students and 500 staff and faculty families. When UC Davis started the West Village Energy Initiative (WVEI) in cooperation with WVCP in 2003, the university initially only aimed for a 50percent reduction in energy consumption (compared to the California Energy Efficiency Building Code). However, in 2008 the initiative proposed that without losing quality and at no extra cost to the developer, West Village could become a ZNE community. A public-private partnership with the developer and UC Davis has been able make WVEI's 2008 proposal a reality. SWA master planned the 225-acre neighborhood and prepared landscape strategies for its development. Included in the housing scheme is a network of parks, storm water ponds and corridors, bicycle and pedestrian trails, a community college, and retail and recreational services. These areas incorporate on-site energy generation which are aesthetically designed and in harmony with local environmental conditions. In preparation, SWA conducted analyses at regional, site, and building/garden scales in order to maximize opportunities for passive cooling. Designers arranged buildings in loose clusters that allow breezes from the Bay Delta to filter through the site. SWA also proposed the planting of deciduous shade trees, reducing the need for air conditioning. In a bid to promote zero-energy methods of transportation, SWA integrated an extensive cycling network into the scheme making it the primary way of getting around the neighborhood. Davis is, after all, home to the first bike lane in the United States. SWA integrated drainage into the site's system of parks, sports fields, trails, and gardens. Storm water drains to the site's large northern ponds, where it is purified by native wetland planting in a series of basins. The slopes of the site's ponds incorporate native shrubs and trees, selected in cooperation with UC Davis' horticulturists, botanical garden curators, and ground and maintenance personnel, to provide a sustainable habitat for migratory birds, while also providing a visually appealing natural landscape for residents year-round. UC Davis' internal monitoring shows that the West Village ZNE community achieved an exceptional 87 percent of initial ZNE goals in its first year. In 2013, West Village received the ULI Global Award of Excellence, which honors outstanding development in both the private and public sectors, with an emphasis on responsible land use.
Word of an OMA-designed building for the Wilshire Boulevard Temple has been in the grapevine for months. The firm was on the short list this past spring along with Kengo Kuma & Associates, Morphosis Architects, and Steven Holl Architects for the 55,000-square-foot event space across the street from the institution’s recently restored 1929 Byzantine-Revival sanctuary. Now, a new building is moving forward with a name, an architect, and a fundraising campaign. Koolhaas is officially the architect for the Audrey Irmas Pavilion, even if renderings are still under wraps. Shohei Shigematsu and Jason Long will lead the project out of OMA’s New York office. Irmas, a philanthropist, art collector, and temple congregant pledged $30 million to lead the fundraising campaign for the new building. She is raising those funds by putting a Cy Twombly in her personal collection up for sale. The entire proceeds of the sale of the painting will benefit The Audrey Irmas Foundation for Social Justice, with a portion earmarked for the OMA pavilion. The new building, proposed to open in 2019, will accommodate all sorts of community events: weddings, bar mitzvahs, and galas. The project would be the firm’s first cultural building in California and first commission from a religious institution. OMA’s commercial project, The Plaza at Santa Monica, seems to be sluggishly moving through that city’s political channels. It passed the City Council in June, but still faces community opposition due to its height.
Hennessey + Ingalls is a rarity in an age when bookstores that survived the rise of Amazon are often indistinctive superstores or exercises in hipster curation. Los Angeles’ long-established mecca for art and architecture is neither. Fans were nervous when the store shuttered its Hollywood annex in Space Fifteen Twenty last spring. While the Santa Monica store on Wilshire and 2nd will close at the end of the year, it will reopen in a new space at One Santa Fe, the mixed-use development complex designed by Michael Maltzan Architecture. When Reginald Hennessey first set up the store in 1963, it catered to an up and coming community of artists, architects, and art enthusiasts. The tradition of stocking its wooden shelves with rare, sometimes out-of-print books has continued to enthrall readers from around Los Angeles and has even managed to attract the attention of design institutions from all over America. The family owned store was passed down from Reginald to his son and finally grandson, Brett, who now runs the business. He was responsible for computerizing the operations and increasing the store’s online presence. Initially based out of Santa Monica with a branch in Hollywood, the business had to close down the latter due to an increase in rent and a smaller customer base. The store, currently 8,000 square feet, is downsizing to a smaller, but better-located 5,000-square-foot location in the Arts District. “We were focusing on Downtown L.A. and crossed paths with Michael Maltzan. It just turned into a really good partnership because One Santa Fe is right up our alley. The curation of businesses there are kind of what we like most about it,” said Brett Hennessey. The bookstore anticipates a bigger customer base at its new location, located right across the street from SCI-Arc, a few minutes away from FIDM, and even close by to the University of Southern California. “People can drive in from 360 degrees around us. The problem with Santa Monica is that only half the side can drive to the store” quipped Hennessey. Hennessey + Ingalls will celebrate the last holiday season out of Santa Monica and will open its doors again in February 2016. This time in DTLA.
When The Broad opens to the public on September 20, Angelenos will finally get to see how Diller Scofidio + Renfro’s design compliments philanthropists Eli and Edythe Broad’s powerhouse collection of 2,000 pieces of contemporary art in their eponymous museum. Works by Ed Ruscha and Cindy Sherman will hang in the 35,000-square-foot, column-free gallery space lit by some 300 skylights. Expectations are high for the $140 million dollar building, but from what we’ve seen and heard, the architecture is refined and detail-oriented. Or, as DS+R architect Kevin Rice said of Eli Broad, “I’ve never worked with another billionaire so interested in bathroom fixtures.” While the opening of a new building is always a thrill, AN has been tracking this feat of design, engineering, and curatorial might almost since its inception and we thought we’d share some of the highlights along the way. Q+A> KEVIN RICE Architectural journalist Sam Lubell spoke with DS+R's Kevin Rice and got a behind-the-scenes preview of the museum. He asked Rice about design goals for the adjacent public space. “The last thing we wanted was another dead corporate plaza that gets filled at lunchtime and has tumbleweeds flying around the rest of the time,” said Rice. “We wanted something that people would want to come back to throughout the day.” Q+A> BROAD ART FOUNDATION DIRECTOR TALKS ARCHITECTURE, OPENING DATE FOR DS+R’S LOS ANGELES MUSEUM Late last year, AN talked with Broad Art Foundation Director Joanne Heyler to learn how the arts community was reacting to the new architecture. “The building is very sculptural because the Vault form [which contains the museum’s collection] creates the heart of the building,” said Heyler. “I’ve taken artists to see the collection inside and gotten an incredibly enthusiastic response.” COMMENT: ARCHITECTURE IS NOT ENOUGH AT GRAND AVENUE “No amount of architecture will transform Bunker Hill,” said architecture critic and curator Greg Goldin in his comment that drew attention to the lackluster urban condition along Grand Avenue. While Eli Broad has an ambition to make the street into a boulevard, Goldin questions redevelopment efforts going back decades that have wiped out topography and displaced population. “Broad’s obsession with having architects strut their stuff has obscured the need for a considered response to the city itself—with varied program and a welcoming streetscape—not one street-top civic center,” he wrote. HERE’S REM KOOLHAAS’ “FLOATING” RUNNER-UP PROPOSAL FOR LOS ANGELES’ BROAD MUSEUM Lastly, why not show OMA’s similar, but not winning proposal? Rem Koolhaas’s firm proposed a “floating” box covered in a lacy-patterned metal screen and cantilevered via steel brace frames above Grand Avenue.
Researchers at UCLA and the UC-Berkeley are mapping neighborhood change in the Bay Area. The Urban Displacement Project uses government housing, land use, transportation, and Census data from 1990–2013 to find markers that represent turnover in housing, demographic shifts, and new investment. Led by UC-Berkeley's Karen Chapple and Miriam Zuk, researchers divided the nine-county Bay Area’s 1,569 Census tracts into low- and high-income tracts. Low-income tracts were defined as areas where 39 percent of households earn 80 percent less than each county’s median income, and high income tracts where less than 39 percent of households are considered low income. Low- and high-income tracts were categorized by residential displacement “risk factors.” Significantly, the report defines “gentrification” and “displacement” differently. Displacement is defined as a net loss of low income residents, while “gentrification” is tangible evidence of neighborhood investment and/or an influx of more affluent residents. This is important because, as the researchers found, gentrification in some areas happened before displacement, while in others, displacement comes first or occurs at the same time as gentrification. Lower income tracts were assessed for risk of gentrification and displacement, while higher income tracts were assessed for displacement risk only. Overall, 51 percent of tracts did not experience significant displacement, while 48 percent are losing low-income residents. Researchers found that 422 tracts are “at risk” of displacing poor residents, while 165 are “currently experiencing displacement.” The map is intended as a resource for community groups taking action to prevent displacement. The data is retrospective, shedding light on regional population trends. Planners, however, cannot use the data to make sure predictions about where gentrification and displacement is likely to occur in the future. The data doesn’t reveal where displaced residents move to, or account for other qualitative factors that may prompt a move. Transportation planning and development can benefit a lower-income area, if officials take into account the economic and social needs of the existing population. Some areas, including East Palo Alto, and Marin City, have actively forestalled displacement with housing subsidies and community organizing.
This dying mall in Silicon Valley will be reborn with a 30-acre blanket of green roofs including a vineyard, orchard, and walking trails
Green roofs these days are the new blacktops. And just when you thought they couldn't get any bigger, there are now plans to build a 30-acre park blanketing a mixed-use, $3 billion development in Cupertino, California. Right now, the site is the dying Vallco Shopping Mall. Developers Sand Hill Property bought the mall last year and hired Rafael Viñoly and Olin Landscape Architects to redevelop the 50 acre site. "[Sand Hill] didn’t quite know what they would get when Viñoly traveled to their offices in Menlo Park last April for a first-round presentation," wrote the Silicon Valley Business Journal. "While other architects came armed with reams of site plans and renderings, Viñoly had a suitcase. In it was a model of his concept, which he assembled piece by piece, topping it off with the roof park." Renderings show a rolling lush carpet of green capping a 15-block grid of buildings below. But that green is not just a lawn. The rooftop park will feature quite an unusual mix of amenities: a vineyard, close to four miles of trails, an orchard, a playground, as well as lots of oak trees. Plans also include 800 apartments and over 250,000 square feet of retail. There are multiple plazas, a market hall, 2 million square feet of offices, and parking mostly below ground. The highest point in the development would top out at seven stories. "To secure the community buy-in, the developer is going all-out, promising to contribute more than $40 million to build a new K-5 elementary school, replace portable classrooms and provide an “innovation center” to the Fremont Union High School District, among other goodies," reported the SVBJ.
What appears to be an explosive invasion of tiny black orbs is actually one small part of the solution to Los Angeles' four-year drought. Colloquially called "shade balls," these 36 cent buoyant spheres are a part of a $34.5 million water quality protection project by the Los Angeles Department of Water and Power (LADWP). The department deployed the last 20,000 of the approximately 96 million shade balls this past week. The simple technology helps prevent water contamination and evaporation. According to NPR, LADWP General Manager Marcie Edwards applauded the innovative alternative to a dam and tarp solution, which would have cost a whopping $300 million. "This is a blend of how engineering really meets common sense," Edwards told NPR. "We saved a lot of money; we did all the right things." The 4-inch-diameter polyethylene balls, produced by California startup XavierC, help slow evaporation and are chemically coated to block ultraviolet rays that can potentially cause a chemical reaction that could produce the cancer-causing chemical bromate. The hollow, water filled plastic spheres are expected to save 300 million gallons of water annually, enough to quench the thirst of 8,100 individuals a year.
Meet the architect behind Kanye West’s 50-foot volcano, Los Angeles mansion, and design-savvy baby-proofing
Ironically, there are few surer ways to emerge from obscurity than to be hired by Kanye West. For Romanian architect Oana Stanescu, who designed a 50-foot stage-prop volcano for the rapper’s Yeezus tour, it meant finding a way to reconcile pop culture with utilitarian design. Stanescu and her partner Dong Ping-Wong, of New York–based design firm Family, recently completed the Hong Kong flagship store of Off White, a high-end streetwear brand founded by Virgil Abloh, West’s creative director. In a recent interview with the New York Times, Stanescu declined to reveal what other Yeezus-related projects are forthcoming, but she was reportedly hired to baby-proof and redesign the 9,000 square-foot, faux-French-Italian Los Angeles mansion the rapper shares with wife Kim Kardashian and daughter North West. As one of the designers behind the Kickstarter-backed +Pool project, which seeks to install a floating pool in the East River, Stanescu is persistently, if inadvertently, in the public eye. When queried about her name being dropped by the gossip tabloids after she designed West’s volcano, she pragmatically told the New York Times, “Design is at its best when it’s collaborative. I’m interested in pushing the boundaries of what architecture can do.” West made an appearance at +Pool’s Fall Swim Benefit in at Jane’s Carousel in Dumbo to support Stanescu’s project, set to be the world’s first water-filtering pool when it opens in 2017. The plus-shaped pool can reportedly clean 500,000 gallons or river water per day. Meanwhile, Stanescu has been photographed accompanying West on architectural field trips to seek inspiration for his pared-down Paris home, where she is adding a baby room. But she is not the only top designer West has consorted with—the rapper has also consulted household names Dirand, Vervoordt and Tristan Auer, neglecting an unspoken competitive code of conduct in the design world. “Right now Kanye is just sponging things up, observing how these people work,” Stanescu told W magazine. The architect first met West when he hired Rem Koolhaas’ Office of Metropolitan Architecture, where Stanescu used to work, to design a viewing pavilion for his short film Cruel Summer at the Cannes Film Festival 2012.
Wave-like composite facade animates SFMOMA expansion.While visually interesting, the primary facade of the SFMOMA expansion (Snøhetta with associate architect EHDD) was not originally designed to pioneer a new material system. All that changed when William Kreysler visited the architect's New York office. "I went there to meet them about the interior," recalled Kreysler, whose firm—composite specialists Kreysler & Associates—had been called in to advise on the project's vaulted ceilings. "I asked about the exterior, how that was going to get done. They didn't know." Over the coming months, Kreysler & Associates transitioned from interior consultant to envelope fabricator as the facade itself was transformed from a ductal concrete fantasy to a fiber-reinforced polymer (FRP) reality. Along the way, thanks to a patent-pending process developed by Kreysler & Associates, the design and fabrication team positioned itself on the cutting edge of high performance building enclosures with the first major use of FRP cladding on a multi-story facade in North America. When a client's representative called to ask if his firm—at that point poised to collaborate with an outside glass fiber reinforced concrete (GFRC) contractor on mold-making—would consider taking on fabrication themselves, Kreysler's reaction was mixed. "I said, 'Yes, I don't see anything particularly complicated about it in terms of fabrication,'" he recalled. "The problem was the fire codes. No one in the [FRP] business had attempted to pass the fire code requirements." Kreysler & Associates had been keeping abreast of the regulatory situation, and had been involved in inserting a new section for FRP into the International Building Code[s]. But the fire code test itself, NFPA 285, is expensive. After further conversation, the client committed to partially fund the test. "We got to the point where I said, 'Okay, I'm willing to put some money at risk here,'" said Kreysler. "We went ahead and did it." Kreysler & Associates' system, which they call Fireshield 285, passed the test, likely becoming the first FRP cladding panel to do so. Having thus paved the way for a more widespread application of the lightweight material to building exteriors, the fabricator's next step was to bid to three facade companies. Of the firms to which they introduced their design, Enclos was the most engaged. By the end of the first meeting, Kreysler & Associates and Enclos had brainstormed ideas to eliminate the secondary structural frame intended to go in front of the weatherproof wall specified in the original design. Soon the group introduced an additional innovation. Enclos is known for its expertise in unitized panel systems rather than conventional walls, explained Kreysler. "We said, 'Maybe we could make our material so lightweight, we could just fasten our material onto the front of the unitized wall panel.'" Kreysler is quick to give credit to Enclos "for seeing the potential and sharing their expertise in building facades so we could work collaboratively to take full advantage of both systems' strengths." With a combined composite-unitized wall panel assembly, one team of contractors could erect the entire rain screen in a single shot. "It would save one million pounds of structural steel, plus the time of going around the building three times," said Kreysler. Not surprisingly, "the contractor liked it, and the owner liked it," he recalled. Only one obstacle remained. "Unitized wall systems are designed to go in straight lines, or if curved, are curved in a radius," said Kreysler. "But if you look at the facade of SFMOMA, it's all over the place." The Kreysler & Associates-Enclos team quickly developed a solution: Kreysler & Associates would fabricate their panels with edges of different depths to bridge the gap between the facade's surface and the flat unitized panel wall. "We were able to create a curved front even though the the wall behind was a nice straight line," explained Kreysler. "From the front of the building you don't see any of the edges—you see this flowing curved line. That was a big breakthrough, and as a result, Enclos really got behind our system." The client was suitably impressed, and Kreysler & Associates won the contract against bids involving GFRC systems. "Even if our price turned out to be higher, the benefits of only going around the building one time, and the benefits of a system considered to be a higher-quality weatherproof wall" won out, said Kreysler. Though the expansion is not expected to open until 2016, Kreysler & Associates' work on the project is finished. The installation went "beautifully," said Kreysler. The 710 unique FRP panels were mechanically fastened and bonded to the unitized wall using a custom aluminum extrusion. The Enclos representatives had been nervous, he recalled. However, "the project manager told me that in the years he's being doing this, it was the most complicated project he's ever done, but in the end this was the most straightforward part of the project." As for Kreysler himself, he has no regrets—quite the opposite. "It was tricky, but it was fun and interesting," he said. "And it was nice to know that we were breaking new ground."
Apple is planning to build a viewing platform and visitors center so you can gaze upon its Foster-designed headquarters
Apple's upcoming doughnut-shaped flying saucer of a headquarters is steadily taking shape in Cupertino, California. The Norman Foster–designed, $5 billion complex obviously strays from the typical office park setup of clusters of boxy, generic buildings, but despite its starchitect design, it has attracted plenty of criticism for how little it engages with the community and the non-Apple employees who walk among us. But apparently that's not the whole story. The Silicon Business Journal went digging through city documents and uncovered plans for a visitor's center at the headquarters which includes a viewing platform where civilians can look out on the campus and imagine what's happening inside the curved walls. (Hopefully it includes boosting iPhone battery life.) "The plans show a super-modern glass-walled structure topped by a carbon-fiber roof with extended eaves, punctuated by large skylights," reported the site. "On the ground floor: A 2,386-square-foot cafe and 10,114-square-foot store 'which allows visitors to view and purchase the newest Apple products.' Stairs and elevators take visitors to the roof level, about 23 feet up." The campus is expected to be completed in late 2016. https://www.youtube.com/watch?v=eB6_XkUFpAc
Curved metal facade embodies spirit of mobility at LAX.The commission to design a new Central Utility Plant (CUP) for Los Angeles International Airport (LAX) came with a major caveat: the original 1960s-era CUP would remain online throughout construction, providing heating and cooling to adjacent passenger terminals until the new plant was ready to take over."We had to keep the existing CUP up and running, build the new one, do the cutover, then tear down the old CUP and build a thermal energy storage tank in its place," explained Gruen Associates project designer Craig Biggi. "It was a very challenging project from that standpoint—working in a 24/7 environment, and getting everything up and running within a small footprint." But despite these and other hurdles, the design-build team (which included Clark/McCarthy, A Joint Venture as general contractors, Arup as A/E design lead, and Gruen Associates as architect) succeeded in delivering the new CUP in time to support LAX's newest terminal. Its curved stainless steel and glass facade captures the airport's spirit of mobility, and helps restore a sense of cohesion to an otherwise fragmented built landscape. LAX is a busy place, both aesthetically and with respect to passenger movement. "There's a lot of visual activity happening there," explained Biggi. "It's been built up over time, so there's this layering effect. This was meant to be an architectural design that not only simplifies some of the visual confusion, but addresses the context of the airport itself as a site that has a lot of movement." When shaping the building envelope, the designers looked at concepts of laminar flow, of which one example is the passage of air over an aircraft wing. "What we came up with was a streamlined architectural expression that ties together three distinct programmatic elements," said Biggi. "The project uses this expression to tie into the existing context by flowing around corners, then opens up at certain locations to allow the program to have ventilation and views." The CUP's primary facade is clad in stainless steel composite panels within a pressurized rain screen system. The architects chose stainless steel, explained partner-in-charge and project manager Debra Gerod, to respond to the potentially corrosive effects of jet fuel and other chemicals as well as the salty Southern California air. In addition, "we had to work to get a finish that wouldn't create reflections," said Gerod. "We're right underneath the control tower. Being mindful that the sun can be at any angle, bouncing off airplanes, that [became a] careful performance-based element" of the design. Non-curved sections of the CUP's envelope feature corrugated aluminum panels, which reduce the risk of reflection and help camouflage functional components including large doors that allow the installation and replacement of equipment. "How we were able to put these giant openings into the side of the facade and have it be blended in and aligned with the corrugated metal paneling—these were some of the things we really paid a lot of attention to," said Gerod. Similarly, the ribbon windows on the stainless steel facade help conceal exhaust louvers, in addition to providing views from the engineers' offices. "We always looked at opportunities for streamlining the aesthetic of the exterior," said Biggi. "We were looking for simple massing that looked fluid in its resolution." Gruen Associates designed the new CUP as a visual landmark for passersby, installing a massive window on the north facade in order to reveal the interior of the chiller room. "This is a bit of an homage to the old CUP," explained Gerod. "When it was first built, it was a really nice building: round, with lots of glass. By the time we got to it, things were spilling out in all directions. But as originally designed, it had a view into the inner workings of the plant." Meanwhile, the architects used blue-colored LEDs and reflectors moved by the wind to create a lighting effect on the adjacent thermal energy storage tank—which, like the nearby cooling towers, is also clad in stainless steel—that mimics the rippling motion of a swimming pool at night. "The lighting effect is meant to address passengers as they're driving down Center Way, and give some animation to the large mass of the storage tank," said Biggi. Here, too, the designers were careful to plan the lighting so as not to interfere with air traffic control functions. LAX's new CUP, which is targeting LEED Gold certification, promises a 25 percent increase in efficiency over the 50-year-old plant it replaces. With continued expansion in the offing, it did not arrive on the scene any too soon. Though much of the design was shaped by current conditions at the airport, including both functional considerations and an aesthetic embrace of the airport's hectic pace, Gruen Associates simultaneously thought ahead, to a larger—but hopefully visually more coherent—LAX. Should a proposed terminal extension to the west come to pass, the CUP's curved stainless steel facade will provide a backdrop for the newer buildings, setting the stage for a more deliberate approach to the airport's ongoing transformation.