The Facades+ Los Angeles conference took place last week in Downtown Los Angeles, bringing together technical innovators, socially-driven practitioners, and visionary academics to discuss some of the most resonant topics facing architecture today. Here are some highlights from the event’s first day. The conference opened with remarks from City of Los Angeles Chief Deputy City Engineer Deborah Weintraub, who elaborated on the city's ongoing public improvement projects. Weintraub’s office is involved with many key regional projects, including the First and Broadway Park and the restoration of the Los Angeles River. Many of the day’s discussions straddled architects’ multi-faceted approach to addressing the region’s ongoing housing crisis. Opening keynote speaker Stanley Saitowitz of Natoma Architects motioned toward the crisis in his opening keynote, which touched on the frustrating state of affairs relative to building high-density infill housing in apartment-starved cities like Los Angeles and San Francisco. Nevertheless, Saitowitz vowed to push forward with his desire to provide “freedom of occupation” for city inhabitants through new apartment dwellings. The architect explained that he pursues this vision via an emphasis on the open plan and integrated service cores in his projects. The resulting unit arrangements allow for occupants to enjoy “better flooring, nicer kitchens, and more glass” in each apartment, Saitowitz explained. The architect chronicled several of his office’s most controversial high-rises, including the Palladium Towers in Los Angeles and several San Francisco– and Chicago-based projects. It is no coincidence that as rents and property values have skyrocketed across the region, more and more people are finding themselves homeless. Luckily, architects are leading housing justice discussions, especially those working with organizations like nonprofit housing developer Skid Row Housing Trust (SRHT) to develop affordable, well-designed social housing. The Architect’s Newspaper’s Editor-in-Chief William Menking led a panel discussion with Mike Alvidrez of the SRHT, Angela Brooks of Brooks+Scarpa, and Nathan Bishop of Koning Eizenberg Architecture (KEA) that discussed architects’ efforts at crafting thoughtful and impactful supportive housing projects. During the discussion, Alvidrez explained that SRHT’s projects were widely used to promote a recent ballot initiative aimed at raising taxes to fund more housing development and assistance. By pursuing a “housing-first” model that focuses social services on re-housing individuals first and foremost, SRHT has been able to spread design quality to over 1,800 inhabitants in projects as varied as Brooks+Scarpa's The Six and Michael Maltzan Architecture’s Crest Apartments. During the talk, Brooks described the social mission of the project as being focused on shared spaces, economy of structure, and sustainability. The discussion was a precursor for the afternoon keynote, which featured KEA principals Julie Eizenberg and Nathan Bishop discussing L.A.’s vernacular apartment types. Their discussion covered the quirks of apartment design in Los Angeles, which is guided predominantly by density restrictions and car parking requirements. The talk sought to situate the firm’s work amid a backdrop of increasing urbanization and density, especially the firm’s 500 Broadway project, which features 249 market-rate residences and is organized as a group of four buildings structured by prefabricated steel moment frames that allow for greater flexibility in placing interior partitions. These socially-driven discussions were bookended by a technically-driven examination of SOM’s new Los Angeles United States District Courthouse by Jose Luis Palacios, Keith Boswell, and Garth Ramsey of SOM. The project utilizes a dynamic, accordion-fold facade to maximize daylighting and minimize heat gain while also formally projecting democratic ideals regarding the nature of public space, justice, and building craft. The presenters focused on the beneficial aspects of the design-build nature of the project, a process with fostered conceptual and material innovation with regards to the building envelope and the architects’ overall seismic strategies. Later in the day, the Scholars and Skins discussion with Doris Sung of DO-SU Studio, Satoru Sugihara of ATLV, and Alvin Huang of Synthesis Design and Architecture covered myriad new developments in dynamic, technologically-focused material and formal innovation. Sung described her firm’s work with layered metal sheets that self-assemble and move into various shapes with the use of heat and sunlight. Sugihara focused his discussion on his firm’s facade work with high-technology and sustainability-focused firms like Morphosis. Huang detailed designs for a pavilion his firm designed for car manufacturer Volvo that utilizes a curving skin to create space and shelter. Huang described his treatment of the project's skin as “a canvas—everything has joints and patterning. There is no such thing as a monolithic surface.” The day’s events closed out with a talk by Alice Kimm of John Friedman Alice Kimm Architects (JFAK) that focused on the potential for so-called “selfie-architecture” to impact urban spaces. Kimm explained that as cities like Los Angeles grow, their reach will be buoyed by the proliferation of the images created by inhabitants and visitors of its streets and iconic structures. Missed the Los Angeles Facades+ conference? Meet The Architect's Newspaper in Seattle December 8th for the next conference installment. See the Facades+ website for more information.
Posts tagged with "DOSU Studio Architecture":
A weekend at the 2015 Monterey Design Conference (MDC) held at Asilomar leads to a wealth and variety of insights about architecture and design. Including a lesson in "uglyful," says Guy Horton. I learned some new things at the 2015 Monterey Design Festival. Wait. I meant to write “conference.” Monterey Design Conference. That was a true slip. Everybody knows it’s the Monterey Design Conference. Sorry. But to me it was more like a design festival. And is it just me or did MDC seem edgy and on edge this time around? It seemed to pull the 800+ crowd—the conference sold out for the first time in its history—along for a wild ride. This was in no small measure due to the natural and off-the-cuff tone set by Reed Kroloff, who emceed the whole affair. It was, to mention just a few of the many highlights, a whirlwind of poetry, Jimi Hendrix, hot rods, and light by self-styled “stray dog” Rand Elliott. It was video of Liz Taylor applying makeup, Apocalypse Now, Jimi Hendrix again, and the sublime and sometimes frightening world of the “uglyful” by Atlanta dame Merrill Elam. With her, we all went down the rabbit hole. Feel free to dig deeper into this. Later, back on solid ground, came the precision of Bernard Tschumi’s words and drawings, pulled from the codex of his experience; the urgent, sometimes funny, and always intricate art of Pae White; and Junya Ishigami’s disappearing architecture, which took the wind out of anything that tries too hard or uses too much building material. The “emerging talent” definitely emerged. Doris Kim Sung, principal of DOSU Studio Architecture, pretty much mapped out how she owns the territory of thermobiometals and it will be everybody else’s job to catch up. Using his 15 minutes to the max, Alvin Huang, principal of Synthesis Design + Architecture, posed a series of questions as design propositions that will keep him, and others working in the digital realm, busy for at least the next 15 years. The whole thing was like a carnival, with bonfires and architects in black drinking the local Syrah on Monterey's powdery white sand. I know for a fact that at least one architect went surfing every morning. There was a nice left just off the Asilomar grounds. On the beach I bumped into Takashi Yanai and Patricia Rhee (both in black) from Ehrlich Architects. The entire firm was at MDC to be honored as the 2015 AIA Firm Award winner. “It really makes you think differently,” said Rhee when asked what the conference means to her. “It’s definitely out there,” said Yanai. “It’s like being in school again.” “What was most significant to me was hearing a range of mature, truly individual voices ringing out with specificity and confidence. The individual voice in architecture is something that takes years and years and decades to establish, and for many it never solidifies, never gels,” says MDC conference chair Alice Kimm of John Friedman Alice Kimm Architects. The voices were indeed individual and, like Elam’s “uglyful,” had the power to take us outside ourselves, even if only for a weekend. And it worked. It’s all a little hard to pin down in 500 words. Just look at the relentless, blow-by-blow @mdc_conf Twitter feed and you’ll get the idea. “I recommend that everyone experience MDC at least once,” said Kimm. “It has a weird but magical combination of gravitas, levity, and inspiration that stays with you for a long time.”
Made from approximately 14,000 pieces, Bloom is the first architectural application of a laminated metal material that includes nickel and manganese with a bit of iron.Architecture has long been valued for its static nature and sense of permanence. Increasingly, however, architects are working to make buildings more responsive to their users and to the climate. Often this is accomplished through mechanical means, but architect Doris Kim Sung, principal of LA-based DOSU studio architecture, is looking at how building materials themselves can be responsive, integrating changeability into the structure itself. The dramatic shell-like form of her recent pavilion, called Bloom, suggests, at first glance, that Sung is interested in cutting-edge digital design. While this is certainly the case, Bloom's true innovation happens more slowly, through the bending of its metal panels according to heat levels generated by the sun. Commissioned by LA's Materials and Applications gallery, the project had to be lightweight, not touch the adjacent buildings, and not produce any harmful glare for neighbors. Despite its considerable dimensions—20 feet high by 25 feet wide by 40 feet long—Bloom weighs approximately 500 pounds. "Our bigger concern ended up being up-lift from the wind," she said. Made from approximately 14,000 pieces, Bloom is, according to Sung, the first architectural application of the laminated metal material, which includes nickel and manganese with a bit of iron. The material is typically used in industrial applications. Sung first learned of this laminate metal after seeing it used for a lampshade by a Japanese designer. "I started thinking to myself, 'if this designer used it for a lamp, where the heat from the bulb causes it to curl, why couldn't it be responsive to the sun?'" she said. "As an architect, I'm always thinking about how buildings will perform." The two metals have different heat coefficients, which cause the material to curl when heat is applied. Sung specified material that would begin to curl at 70 degrees (temperatures above 400 degrees will begin to pull the laminate apart). The outer side of the tiles has a higher percentage of manganese and iron, which quickly weathered into a rust color, while the inner side has a greater amount of nickel, giving it a silvery finish. To generate the form, Sung worked with a variety of software, including Rhino for the initial design, which she then refined through the Rhino SMART Form plug-in to make the design as thin and light-weight as possible. From there, she used Ecotech to model how solar heat would move across the surface as well as the surface temperature of the structure. She then imported the design into Grasshopper, which allowed her to break the structure down into its thousands of component parts. She used LS-DYNA to model Bloom's structural integrity. The 14,000 metal tiles have the same basic cruciform shape, however, the thickness and length of the "tails" varies, allowing differing degrees of curvature, and therefore differing levels of shade underneath the structure (depending, again, on how and where the solar heat hits the surface). Sung worked with two different laser cutting facilities, which typically work for the aerospace industry, to fabricate the tiles: Precision Waterjet and Serra Laser Cutting. Volunteers and students then began the several month process of assembling the tiles into panels—by hand using rivets and nuts and bolts—which were then affixed to a lightweight aluminum frame. The frame and the panels support each other, creating a monocoque structure with a load-bearing skin. For Sung, Bloom is just the beginning of what responsive architecture could be. Harnessing digital technology, advanced fabrication, and new materials point to dynamic new possibilities for the discipline.