Going to the AIA/LA Design Awards is a totally different experience when you’ve been on the jury, as I was this year. For one, you get to see the entire spectrum of the awards program, the behind-the-scenes production and the staging of what seemed like a thousand projects flashing before you in a darkened room. Not only do you have the heavy responsibility of judging all of these, but also you then have to champion and defend the ones that really speak to you. There was a lot of debate and discussion—and even some yelling and throwing of chairs involved. And probably way too much caffeine. The best part about being on the jury was to finally see and meet the people behind all the winning entries, whether unbuilt Next LA projects, where propositions about cities and buildings moved the bar a few notches higher, or the built projects that make people think twice about what architecture is and can be, was gratifying beyond simple description. Of course, in the back of my mind, were all those projects that didn’t make the cut, some of my personal favorites. Overall, what I came away with was an excitement about the state of architecture right now. While it might seem obvious, the awards remind you that there are so many different ways of thinking about and doing this, so many ways of shaping environments that impact people on multiple levels. From the awards ceremony at the Aratani Theater in Little Tokyo, the crowd shuttled and walked—I think Alissa Walker, winner of the Design Advocate Award, did in fact walk—to the dinner reception at the A+D Museum’s new digs in the adjacent Arts District. If I had to measure the awards in decibels, the loudest cheers and applause definitely went to Sarah Lorenzen, Chair at Cal Poly Pomona, who won the Educator Award. “I guess it’s good to be a teacher,” joked AIA/LA president Ted Hyman of ZGF Architects, who presented the Presidential Awards. One of the best moments of the night had to have been Steven Ehrlich’s heartfelt and genuine speech after he was presented with the Gold Medal. He spoke to the core of the discipline and profession. “At every step in my practice I’ve been blessed with the most talented and congenial collaborators and courageous clients that anyone could wish for,” said Ehrlich. His speech was all about “we.” And truly, that’s what design is all about.
Posts tagged with "California":
We live in a listicle age. Why write an article when you can clump a few names together and call it a trend? So when Los Angeles Magazine listed six women who have changed the face of Los Angeles architecture, which included one dead AIA Gold Medalist and two New Yorkers, it was bound to create outcry. Brava to the three local gals who made the cut, but let’s celebrate all the women of the L.A. architecture and design scene. When local schools put one lady on the lecture series and pat themselves on the back, we know more needs to be done for gender equity.
With backing from developers Related California, Skidmore, Owings & Merrill (SOM) is moving forward with a new residential tower project at 1500 Mission Street and South Van Ness in the Bay Area of San Francisco. Reaching 39 floors, the tower will hold 560 apartments which will each have an average area of around 730 square feet, replacing the Goodwill Industries currently on site. According to The San Francisco Business Times, 112 of the 560 units are expected to be designated affordable housing spaces available at below the market rates. In an effort to retain the site's heritage, the scheme plans to incorporate the Coca Cola Bottling Plant Clock Tower into its design—a pre-existing feature that was iconic to the site. Also included in the project will be 24,000 square feet of retail and 450,000 square feet of office space of which the clock tower would be integrated into one of the entrances.
A skinny hotel is set to rise in Downtown Los Angeles’ historic core. Designed by Buffalo, New York–based Adam Sokol Architecture Practice (asap) for developer Lizard Capital, the new Spring Street Hotel will tower 325-feet over the street and feature 176 guest rooms. At 28-stories, the design introduces tallness to an area that's currently mid-rise area, but not for long. Renderings of the project, which was recently submitted to the Los Angeles Department of City Planning, shows a tower sandwiched between two historic structures. The design offers a conservative grid up until the halfway point. Things get squirrely once the building clears the height of the adjacent buildings: the facets appear and the geometry opens up to reveal large interior volumes, which could associated with the planned 3,310-square-foot rooftop bar. Other amenities include a 6,100 square restaurant, 1,570 square feet for retail, and a 1,250 square feet conference center. The Spring Street Hotel is expected to break ground late next year and is aiming for a 2017–18 opening.
When the discussion for Los Angeles Recreation & Parks to give Live Nation the contract to manage The Greek Theatre were scuttled earlier this year, it was unclear what would come of the proposed modernization of the 5,900-seat venue by Rios Clementi Hale Studios. Word from inside the office says the project is moving forward with new designs to come, even as Pennsylvania-based SMG looks poised to win the event management contract.
News broke last week that Apple plans to move into another spaceship of a building, the Central & Wolfe Campus in Sunnyvale, California designed by HOK. The Silicon Valley Business Journal reported that the company leased the 777,000-square-foot building just a few miles from its Norman Foster–designed, doughnut-shaped HQ and praised the curvilinear design for its non-box-like silhouette. The HOK and Landbank project, which has been on AN’s radar since 2014, uses its curves to give employees (Apple will house up to 4,000 here) better visual and physical access to the outdoors. The 18-acre site includes 9 acres of ground-level open space with 2 miles of outdoor trails and 90,000-square-foot rooftop garden. There are no plans as yet for a viewing platform for the curious public. “It was critical that every major design element that went into the campus had to raise the user experience bar. In this case, the ‘users’ include companies, their employees, surrounding communities, and Mother Nature,” Scott Jacobs, CEO of Landbank, told AN Back in May 2014. In the same piece, Paul Woodford, HOK's senior VP and director of design, noted that the firm had to challenge preconceptions about what is “leasable, efficient, and excitable.” The bet paid off. The Apple lease does raise the question of whether the HOK design will remain part of the deal. Real estate reporter for the Journal wrote: “One caveat: It’s unclear whether the project will be built according to that design, from architecture firm HOK, or if Apple and Landbank will want to modify it in some way. At this time there’s no indication it will change substantially, and indeed Landbank has made the signature look a key selling point, with a website that highlights the out-of-the-box design.”
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.
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.