Eric Owen Moss Architects (EOM) recently completed work on Vespertine, a new 5,500-square-foot structure housing a boutique restaurant helmed by chef Jordan Kahn that was developed hand-in-hand with EOM principal Eric Owen Moss and other artists as a convergent experience joining food, architecture, and music. The gridded tower is made up of an undulating stack of powder-coated steel plates infilled with panes of glass and rises 50 feet housing two interior levels and a mezzanine. A clumpy garden filled with concrete benches and horsetail sits beside the tower, filling out a footprint identical to that of the monolith. When diners arrive, drinks are served in the horsetail garden, where a wedge-shaped concrete-block storage room also houses a bar. The glass-clad ground floor of the building is left unadorned, occupied only by a sculptural table suspended from the ceiling that wraps around the 38-by-38-foot space. An elevator housed in the building’s core takes guests to the second-floor kitchen, an all black arrangement of parallel worktables and induction burners where black-clad cooks use Olfa knives to dice vegetables and turn them into various pastes, gels, and foams. After conferring with the chef, diners make it to the roof terrace above, where custom bean bag chairs and tables built from ready-made woodworking benches fill out the space. Sometime during the 21-course meal, diners flow down into the building’s mezzanine level, where banquettes and movable acrylic tables outfit a proper dining room. Ceiling spotlights and etched tabletops work in tandem to refract light through and around the food. At the end of the meal, diners descend back onto the ground floor, where the sculptural table offers a parting gift containing scents inspired by the night’s meal.
Posts tagged with "Eric Owen Moss":
“We don’t need walls anymore. We need living, breathing systems that provide so much more to the urban realm than keeping in conditioned air and keeping out noise and pollutants.” - Will Wright, AIA|LALos Angeles’ 2016 Facades+ Conference, presented by The Architect’s Newspaper, is the 18th event in an ongoing series of conferences and forums that have unfolded in cities across the nation, including New York City, Miami, San Francisco, Dallas, Houston, Seattle, D.C., and Chicago. Held at the L.A. Hotel Downtown, the conference incorporated architects, engineers, fabricators, and innovative material manufacturers into a multidisciplinary two-day event covering the state of building envelope design thinking today. The daylong symposium kicked off with spirited remarks by Will Wright, Director of Government & Public Affairs at AIA L.A., where he set forth a plea for stronger emphasis on localism and craftsmanship. Co-chaired by Kevin Kavanagh and Alex Korter of CO Architects, the event included AIA LA, four local architecture schools – UCLA, USC, Woodbury, and Cal Poly Pomona – and a robust collection of Los Angeles-based architecture firms. Four panel discussions throughout the day covered the influence of building envelopes on business, education, structural design, and data analysis. The conversations engaged audience participation through an interactive, web-based tool called Sli.do. In a morning panel discussion titled “Money Well Spent? An Owner’s Perspective on the Value of Facades,” moderator Kevin Kavanagh spoke with representatives from Kaiser Permanente, Kitchell, and The Ratkovich Company on finding the right balance between aesthetics, energy performance, fiscal responsibility, and efficient project scheduling. During breaks, conference attendees attended a “Methods+Materials” gallery that highlighted innovative building envelope materials such as electrochromic glass, metal mesh fabric with integrated media display, and ultra-compact surfacing products. The symposium was highlighted by keynote addresses from Enrique Norten and Eric Owen Moss. Norten’s opening keynote set forth an argument for a socially responsible architecture integrated into the city via infrastructural, landscape, and public space projects. He cited works of his firm, TEN Arquitectos, which incorporate topographical manipulations of the landscape to establish social spaces of public engagement. His work intentionally camouflages the building envelope into a contextual landscape—be it an adjacent park or cityscape—to dissolve the separation between public and private. Eric Owen Moss spoke in the afternoon, questioning at what point the conceptual content of a project becomes lost amidst constructional realities. Through recent work of his firm, Eric Owen Moss Architects, he focused on building envelope details that strayed from original design intent, transforming in concept and tectonics as engineers, fabricators, and contractors participated in the process. In a panel discussion titled “Bytes, Dollars, EUI: Data Streams and Envelopes,” Moderator William Menking, Founder and Editor-in-Chief of The Architect’s Newspaper, spoke with Atelier 10, Gehry Technologies, and CPG regarding tools and processes facilitating facade analysis and optimization. Sameer Kashyap (Gehry Technologies) shared perhaps the most bewildering stat of the day—that GT was able to script processes which allowed two people to produce over 1200 shop drawings per day for 33 weeks in the coordination of a highly complex facade system. Paul Zajfen of CO Architects rounded out the day with a presentation titled “Facades: A Manifestation of Client, Culture, Climate,” where he argued for contextually specific design producing a facade that “would not be possible at any other time—and in no other place.” The symposium was followed on day two with a series of “dialog” and “lab” workshops covering net-zero facade systems, digital fabrication processes, curtain wall design, and advanced facade analysis. A full roster of organizers and sponsors can be found on the conference website. The Los Angeles event was the first in 2016 of a seven-city lineup, and will be followed by a Facades+AM morning forum in Washington, D.C., on March 10th. The next two-day conference will take place in New York City April 21st and 22nd.
First there was the Grand Park, then Pershing Square decided to spruce things up with a design competition, and now four competing schemes for a third Downtown Los Angeles park were presented to the city in a public meeting this week. The proposals were from teams lead by AECOM, Brooks + Scarpa, Eric Owen Moss Architects, and Mia Lehrer + Associates with OMA and IDEO. The two-acre First & Broadway Civic Park will take over a full block in the heart of the L.A.’s Civic Center near City Hall and the Gordon Kaufmann’s Art Deco Los Angeles Times building. The overall greening of Downtown Los Angeles is consistent with its ongoing renewal. As such, each of the teams provided ample amenities in the park—canopies, cafes, music venues, movie screens—in addition to the standard fare of gardens, trees, and benches. AECOM’s proposal takes iconic modernist landscape architect Garrett Eckbo’s 1946 Landscape for Living as a starting point, and then updates his California dream to be a collective experience. Hints of fifties modernism show themselves in the irregularly shaped lawn, which is framed by “The Wingnut,” which houses a gallery, and a 200-seat restaurant “The Paper Plane.” Undulating ribbons—green space above, amenities underneath—define Brooks + Scarpa's plan. The team suggests that the scheme is ecological with drought-minded plantings and integrated terraces and cisterns that lead to an expansive dry well. Hidden within the proposal is some programming sure to excite the design community: the Architecture and Urbanism Festival, a possible 3-month long curated event that would include temporary installations and public programs. Eric Owen Moss Architects, never a firm to shy away from odd forms, proposed a large cocoon-like structure dominates a rolling and grassy green space. Ready to compete with the nearby crowning towers of City Hall and the Times, EOM’s event pavilion seems equipped to screen films and host events. Mia Lehrer + Associates powerhouse team also includes OMA, IDEO, and Arup, among others. Their proposal takes food as its design driver. While the scheme shows a central paved plaza and side gardens lush with alien-ish shade canopies and mature trees, the main emphasis is on a multi-use pavilion building that includes a beer garden, a test kitchen, a restaurant, and an amphitheater. Presentation boards and models of the designs are on public display at the Department of Building and Safety at 201 North Figueroa.
Eric Owen Moss, principal and lead designer of Eric Owen Moss Architects, has spent decades in the metaphorical trenches of architectural practice. But when he speaks about truly innovative design, he harkens back to the literal trenches of World War I, where German architect Erich Mendelsohn sketched his Einstein Tower, later built in Potsdam. "Mendelsohn was drawing something that no one else was drawing," explains Moss, who will deliver the afternoon keynote address at the upcoming Facades+ LA conference. "It was unique to him and his time and place." Moss contrasted Mendelsohn's work with the "swoopy Maya stuff" so many architects produce today. "There's a danger that the advent of Maya and Rhino and CATIA and all of this [technology] produces generic kinds of buildings," he said. "The power of the tools is dictating the design content." Instead, said Moss, the architect's tools, whether the Bauhaus-era parallel rule or today's digital modeling systems, should be a means to rather than the end of design. "I want to argue that architecture is still personal—it still has the aspect of Mendelsohn in the trenches—and that it's important that architecture not simply be a manifestation of the tools that are being used," he said. "It's not the plane that's flying the people, but the people are flying the plane." Meanwhile, the advent of digital design has introduced another set of problems—or, as Moss pointed out, opportunities. Today's AEC industry professionals use software "that is, by reputation, extremely precise, and extremely exact," he said. "There's a supposition that with sophisticated technological tools, it's all simple—and it isn't necessarily simple." Why not? The complicating factor is the human one. "I'm interested in talking about pieces that don't turn out the way you expect them too," explained Moss. Whatever the software designers promise, bringing a complex building envelope from concept to completion "is not necessarily easy. It's also contingent on the people." Returning to the distinction between innovative and run-of-the-mill architectural products, Moss recalled a recent public conversation with Frank Gehry. "We were talking about what would constitute a radical architecture," said Moss. In the end, he identified three necessary conditions. First, the work has to be inventive on a conceptual level. "It has to move architecture somewhere," said Moss. Second, the implementation of the project must also be innovative. Finally, he concluded, "the political side of the project has to be imaginative—meaning you have to get the city, the developer, the contractor to participate, to buy into it." Learn more from Moss and other facades experts, including morning keynote presenter and TEN Arquitectos founder Enrique Norten, at Facades+ LA, January 28-29. Register today at the conference website.
A prominent Los Angeles foodie with a taste for architecture tipped us off that Eric Owen Moss’ steel-wrapped Waffle building would soon be the home of a new restaurant. But don’t expect any breakfast items on the menu. We’re told that the plan is for a high-end, 24-seat chef's table–style joint. Ask the sommelier for the corkage fee on BYO-syrup.
It's not official, so don't tell anyone we told you it was. But… It looks like SCI-Arc Graduate Programs Chair and Principal of Xefirotarch Hernan Diaz Alonso is going to be the next director of SCI-Arc, taking over for Eric Owen Moss in September 2015. According to SCI-Arc spokesperson Georgiana Ceausu, the school's Executive Search Committee yesterday recommended Diaz Alonso to the school's board, which is now "in the process of making the decision." There won't be any official appointment until July or August. Diaz Alonso's mesmerizing, fluid, alien, and digitally-based images and installations have been featured in museums around the world, including SFMOMA, the Art Institute of Chicago, the MAK Center, and the FRAC Center. But he will be the first SCI-Arc director to have not built a building (despite numerous competition entries), perhaps signaling a new direction for the school. We'll have more on Diaz Alonso, and the future of SCI-Arc, if and when the appointment becomes official.
“Actually, the box isn’t magic, so don’t be disappointed you didn’t get ahold of Merlin the Magician,” Eric Owen Moss said at the start of a recent interview. Moss, director of the Southern California Institute of Architecture (SCI-Arc), was referring to the school’s new digital fabrication lab. Dubbed the Magic Box, the two-story, prefabricated steel structure will be constructed at the south end of the SCI-Arc building. But Moss didn’t want to focus on the laboratory itself, which was designed by several architects affiliated with SCI-Arc (including Moss's own firm). Instead, he said, “the game is, what’s inside is magic. It’s not so much the object, but what the object contains." The Magic Box will house state-of-the-art tools for digital prototyping and fabrication, including CNC machines and 3D printers. Together with a remade Analog Fabrication Shop and the existing Robotics Lab, the Magic Box will be a key component of the school’s new RAD (Robot House, Analog Shop, and Digital Fabrication Lab) Center. According to Moss, the Center is designed to teach students how to interrogate the technologies and materials they encounter. “SCI-Arc is not interested in producing people who can just go into an office and use digital tools,” he explained. “We’re interesting in producing students who have a critical and intellectual perspective on this.” As an example of the kind of creative discovery he expects will take place inside the Magic Box, Moss cited the school’s Robot House, the 1,000-square-foot laboratory comprising a five-robot workroom and a Simulation Lab. “Robots are usually used in [a chronological sequence], but we don’t use them that way,” Moss said. “The robots evolve: as the program changes, the robots start to do something else.” He also pointed to the history of CATIA, visualization software originally marketed to aerospace engineers but now in widespread use among architects. “A lot of these [digital] tools have been made by other characters that may have different motives,” Moss explained. “We want to make sure that the imaginative motive is introduced as part of the [architect’s] education.” In the end, Moss said, the new workspace at SCI-Arc is named the Magic Box to reflect the optimistic spirit in which it is being introduced. That storyline will begin next spring, when construction on the Magic Box starts. The 4,000-square-foot space is expected to be ready for students at the opening of the 2014-15 school year.
In front of a packed room inside the Capitol Records building in Hollywood yesterday, the Getty announced details of the next installment of Pacific Standard Time, the popular series of art and architecture exhibitions that helped reframe Los Angeles’ position on the map of worldwide arts and culture. Sporting a new moniker, Pacific Standard Time Presents: Modern Architecture in L.A. will be smaller in scope than the previous iteration, with eleven exhibitions and accompanying programs in and around Los Angeles scheduled for April through July 2013. Among the offerings, anticipated favorites include Overdrive: L.A. Constructs the Future, 1940–1990 at the Getty, A New Sculpturalism: Contemporary Architecture from Southern California at MOCA, and A. Quincy Jones: Building for Better Living at the Hammer Museum. The one noticeable outlier among the offerings of PSTP’s museum partners is the name Peter Zumthor, who will be the focus of one of LACMA’s exhibits: The Presence of the Past: Peter Zumthor Reconsiders LACMA. The kickoff event’s final speakers, Eric Owen Moss and Michael Maltzan, balked at the larger implications of lionizing the tradition of architecture in Los Angeles. Moss pointed out the “paradox of benediction” by the Getty for Los Angeles architecture scene: "What makes this a speculative endeavor is exactly the prospect that it might fail," he noted. Maltzan echoed the idea that L.A.’s history is still in the process of revision: “It’s reasonable to argue that there is not another city in the world that has a more continuous project of modernist development than in Los Angeles.” While worrying that "the mistakes we make here are often played out again and again at even greater scale," Maltzan pointed to experimentation as the attraction for so many architects that have come to Los Angeles: “The majority that came here and stayed here did so because Los Angeles was a hotbed of creativity and possibility. You can make things here. You’ve always been able to. While that seems like a simple idea—it should be easy anywhere—it isn’t.” Here's a full list of institutions taking part in Modern Architecture in L.A.: Exhibitions A New Sculpturalism: Contemporary Architecture from Southern California (MOCA)
Quincy Jones: Building For Better Living (Hammer) The Presence of the Past: Peter Zumthor Reconsiders LACMA (LACMA) Stephen Prina: As He Remembered It (LACMA) Technology and Environment: The Postwar House in Southern California (W. Keith and Janet Kellogg University Art Gallery, Cal Poly Pomona) Everything Loose Will Land (MAK Center for Art and Architecture) Windshield Perspective (A+D Architecture and Design Museum) A Confederacy of Heretics: The Architecture Gallery, Venice, 1979 (SCI-Arc) Outside In: The Architecture of Smith and Williams (Art, Design & Architecture Museum, UC Santa Barbara)
ProgrammingCenter for Land Use Interpretation for On-Site Office Trailers: Invisible Architecture of the Urban Environment, an exhibition of original photography and related construction site tours. Community Art Resources, Inc. for CicLAvia: Modern Architecture on Wilshire Blvd, an architectural guide and special programming as part of their June 2013 car-free/open streets event. The Huntington Library, Art Collections, and Botanical Gardens for the online exhibition, Form and Landscape: Southern California Edison and the Los Angeles Basin, and public programming. Los Angeles Conservancy for Curating the City: Modern Architecture in L.A., an interactive online resource as well as tours, public programs and print material. Los Angeles Philharmonic for The Mozart/Da Ponte Trilogy Conversation, a discussion with Pritzker Prize-winning architects who are designing sets for this unique interdisciplinary series. Machine Project for The Machine Project Field Guide to L.A. Architecture, a performance series at architectural sites across the city. Pasadena Heritage for Pasadena 1940 Forward: Residential Architecture of the Recent Past, a tour of modernist homes in the Pasadena area along with a related lecture and oral history project. UCLA Architecture and Urban Design for Extreme IDEAS: Architecture at the Intersection, a series of discussions about the dynamic and interdisciplinary future of architecture.
In a recent issue of The New Yorker, writer Ben McGrath profiles Steve Clarkson, the private football coach to the quarterbacks of tomorrow. The writer interviews several adolescent clients attending Clarkson’s elite practice camp, including 10-year old Miller Moss (also featured on the article’s only photo). During a workout McGrath finds Moss’ father in the stands—California-based architect Eric Owen Moss. “I would be completely disingenuous if I didn’t say I really enjoy this stuff,” said the elder Moss of the high-stakes training. “I’m embarrassed a little bit. It’s contagious in a way that even parents who should know better don’t always.” The design influence of the architect—once called the “jeweler of junk” by Philip Johnson—may be evident on the field: his son sports silver Nike cleats with the nickname “Miller Time” embroidered in gold.
SCI-Arc, the Southern California Institute of Architecture, will be extending its reach into the community with the creation of three public venues made possible by a $400,000 grant awarded by ArtPlace. The grant, funded by private foundations and public agencies including the National Endowment for the Arts, seeks to encourage creative and locally focused placemaking; $15.4 million in grant funds is allocated to 47 projects located across the country. SCI-Arc director Eric Owen Moss wrote in a statement, “If architecture, as SCI-Arc has always proclaimed, speaks by building, the ArtPlace contribution affords us two special construction moments to ratify what we preach.” The school plans to put the grant toward the design, planning, and construction of an amphitheater, an outdoor pavilion, and a theater inside the nearby One Santa Fe arts center. These projects will carry forward the momentum created by the school’s purchase of its historic 1907 home last year, engaging the community and planning for the area’s future. With the new construction SCI-Arc hopes to contribute to developing the surrounding Arts District with public programming and gathering space. The first venue to be built is the amphitheater (dubbed the “Hispanic Steps”) located in the center of the SCI-Arc building. It will have rise seating for lectures, performances, screenings, and public meetings and is expected to be completed this fall. The outdoor venue, located at the school’s entrance, is a 750-seat pavilion and will be the Arts District’s largest public programming space. Groundbreaking on the pavilion is scheduled for spring 2013 and it will serve as the 2013 Graduation Pavilion. Working with the community, SCI-Arc will also help to plan a 99-seat theater located in the developer-funded One Santa Fe arts center, a mixed-use, transit oriented development adjacent the school.
While it was approved by the city of West Hollywood back in 2009 (and again in 2010), it looks like Eric Owen Moss' large hotel on the Sunset Strip might be in trouble. Curbed LA reports that the property containing the 11-story project, which was also to include condos and retail, has been bought by Marriott hotels' "Edition" brand of luxury hotels, which WeHo Patch has said "doesn’t seem inclined to use the Moss designs." Our calls to Marriott were not returned. The Moss scheme was originally proposed by developer Richard Weintraub (with no hotel operator), and Marriott's involvement became clear when the West Hollywood planning department approved the company's modifications (slightly increasing size, adding a nightclub) to the project last Thursday. But wait. According to West Hollywood Planning Manager John Keho, Marriott has not yet told the city who the architect of their proposal will be, nor have they given a timeline for when they might submit architectural plans. According to Moss principal Eric McNevin, "Nothing has been confirmed yet. It's not known yet. What was reported was speculation." Stay tuned.
LA architect Eric Owen Moss will receive the 2011 Jencks Award, an annual prize named for British architect and critic Charles Jencks recognizing "major international contributions to the theory and practice of architecture." Previous winners of the award include Zaha Hadid, Foreign Office Architects, Peter Eisenman, Cecil Balmond, UNStudio, Wolf Prix & Coop Himmelb(l)au, Charles Correa, and Steven Holl. The award will be presented on December 6 at the Royal Institute of British Architects in London. Best known for his highly experimental work in Culver City's Hayden Tract, a former industrial area transformed into creative offices, Moss is now planning several projects around Los Angeles. Below is a small collection of recent and upcoming work from his firm: