Posts tagged with "Gensler":

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Four mega-developments near Dallas make up the Five Billion Dollar Mile

With the recent wave of corporate office growth, Frisco, a city at the intersection of the Dallas North Tollway and State Highway 121, has seen a number of large developments take shape over the past five years. With Toyota as the most recent and highly publicized to lead the pack by announcing its relocation of its North American headquarters, the area is quickly becoming host to large corporate campuses.

The Star in Frisco, designed by Gensler’s Dallas office, is the first to reach a milestone completion with the opening of the Ford Center, a 12,000-seat indoor field connected to an outdoor Dallas Cowboys’ practice field featuring an expansive glazed curtain wall. With the Ford Center’s completion in 2016, the development has greatly impacted the vitality of the region and the local community. The City of Frisco and the eight schools that make up the Frisco Independent School District will utilize the new Cowboy’s practice facility. “The Star has been a catalyst development for the five billion dollar mile,” said Scott Armstrong, senior associate with Gensler. “Since the completion of the Cowboys’ facility, the real estate development in the surrounding area has gained exponential traction.” Over the next two years, The Star will add an Omni Hotel and additional retail space; a Baylor, Scott & White Health facility will be completed on the remainder of the site.

Other projects are slowly gaining momentum: The $1.5 billion Frisco Station began construction in October of last year. The 242-acredevelopment spearheaded by Hillwood Properties will add nearly six million square feet of new office space with an accompanying mixed-use program, including a 40-acre medical park, 2,400 apartments, 300,000 square feet of retail, and 650 hotel rooms.

Meanwhile, The Gate, a 41-acre luxury development under the direction of Dubai’s Invest Group Overseas, continues to search for investment to partner in the $700 million project.

Wade Park, the largest development of the four, has seen some site work although construction has yet to take place. According to a November 2016 article by Dallas Morning News, the project’s first phase that would feature a large retail component was postponed with completion set for 2018. Its website lists signed tenants such as Whole Foods, iPic Theaters, and Pinstripes bowling.

Just off the Five Billion Dollar Mile, another project provides a contrast to the Mile’s predictable designs. One Legacy West will make a minimalist design statement amongst the horizon. “Given the context we, and our client, the Gaedeke Group, chose to differentiate One Legacy West through an architecture that is simple, ordered, and restrained,” said Mark Dilworth of Morrison Dilworth + Walls. From a 15- by 15-foot column grid, the firm developed a strict logic where the final outcome is a cube in and of itself. The move renders the architecture simultaneously iconic, as it is functional and flexible for the tenants. It is one of the rare, architecturally rich projects in the area based solely upon form. One Legacy West will be complete by mid-2017.

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Sasaki fountain at Citicorp Center may be demolished

One of Hideo Sasaki's few remaining works in New York is set to be demolished as the Landmarks Preservation Commission (LPC) approved changes to the exterior of 601 Lexington Avenue, formerly known as the Citicorp Center.
This is incorrect. LPC considers DOB permits issued prior to the designation of any building as grandfathered. In the case of Citicorp, the property was designated after these permits were issued, and therefore the work in those permits was grandfathered and not under review by the LPC at this week’s hearing. This is not related to the Statement of Regulatory Intent. The Statement of Regulatory Intent clarifies that in the case of this designation there is another regulatory layer (Department of City Planning) and that the two agencies will coordinate when reviewing the plaza in the future. Statements of Regulatory Intent are not unusual in LPC Designation Reports.
  The building, designed by Hugh A. Stubbins & Associates in 1973, features a stepped public plaza by Sasaki Associates. As it dips into 601 Lexington Avenue, the plaza, built in exchange for a taller tower, reveals a fountain and entrances to the subway. Amid a dense urban setting, many consider the cascading design a welcome sight. Its corner location encourages passers-by to look up in tandem with steps towards the building's open vertices made possible by Stubbins's unusual column arrangement. Dubbed “super” columns, the four skyscraper supports rise above 100 feet and cover 24 square feet each. The resultant cantilevers articulate space in a way not commonly found in Manhattan and in the space, one is seldom aware of being situated below the 915-foot-tall structure, once described by critic Ada Louise Huxtable as a “singularly suave blockbuster that comes down to the street with innovative drama." This feature has prevailed for almost 40 years and subsequently, the sunken space works in an established harmony with the skyscraper. At the time of Stubbins’s death in 2006, critic Paul Goldberger called the Citicorp Center “probably the most important skyscraper built in New York in the 1970s because of its elegant and memorable shape, but also because of its engagement with the city at the base.” Tuesday's review included building entrances along 52nd and 53rd streets, as well as skylights and rooftop mechanical equipment. The Sasaki plaza, designed by principal emeritus Stuart Dawson, was included in the landmark designation, but DOB permits to alter the plaza were approved prior to the designation, and so the plaza changes were not under review by the LPC. In a March 23 email, a LPC spokesperson clarified that the permits are unrelated to the designation report's statement of regulatory intent (page 14) that states that the City Planning Commission is responsible for approving all changes to the plaza. The pre-approved permits and the statement of regulatory intent essentially remove the plaza from the LPC's purview, a situation infuriated some preservationists who came out to speak the meeting.
The renderings Gensler presented depicted the plaza without the fountain that was initially intended, in the words of the architect, to "mask much of the street noise and add to the feeling that the passerby is free from the congestion of the street." In a statement to The Architect's Newspaper (AN) Dawson commented on the situation:
I was and am incredibly proud of the work we did on the sidewalks, plaza, cascading fountain, and interior atrium of the Citicorp Center. The response from the public was immediate and strong: they loved it. As the fate of this work is up in the air I cannot help but to return to the original idea that carried through all aspects of the project: the idea of connection. At the time, we asked why not carry the fountain and broad steps all the way from street level; to chapel and atrium entrance level; to the subway level? While it required difficult permitting and multiple bureaucratic maneuvers, it seemed well worth the effort—and it was. It was a first! And today, as I learn that the plaza we designed is in danger of demolition I ask that we consider connection once more. I would like to see the plaza live on, connecting one era of design into the next. Once again, it may take some persistent maneuvering but I believe it will once more be worth it.

Christabel Gough of the advocacy group Society for the Architecture of the City told AN that the Sasaki project has "fallen between the cracks of arcane inter-agency procedures and is not protected. Boston Properties would earn the gratitude of so many New Yorkers by abandoning the demolition plan revealed today." 

According to the LPC, the changes put forward by Gensler and Boston Properties were approved by the City Planning Commission prior to 601 Lexington Avenue’s designation as a landmark in December 2016 and that permits to alter the plaza had already been filed with the Department of Buildings (DOB). Despite an extensive search, at press time AN was unable to locate the permits on the DOB's website.

At the hearing, preservationists and commissioners raised questions about the missing foundation. "The HDC wishes to express its regret at reports that the water feature may be removed from the space, which seems like an unfortunate loss," said Barbara Zay, of advocacy group the Historic Districts Council. "We would suggest that the LPC retain a seat at the table in discussions for the fate of courtyard by working closely with the owner, and perhaps the MTA, to find an alternative or return this decorative feature which provides an element of civility and whimsy to the space.” Echoing Zay, Commissioner Michael Goldblum expressed regret about the turn of events. "It’s a shame that the plaza will be changed and the fountain lost," he said, adding that the fountain was a "key element of how the public experience this complex." Fellow commissioner John Gustafsson clarified that no decision on the plaza could be made. "We’re not expressing an opinion here because we can’t," he said. The only changes on the agenda then, were to that of the facade, particularly on 53rd Street. Here, a recessed entrance would be eradicated, but the LPC voiced weariness ahead of this decision.

AN asked representatives from Gensler and Boston Properties at the hearing about why they are eliminating the plaza. Both declined to comment.

In her closing statement, chair Meenakshi Srinivasan noted that "the Citicorp Building has a long history of changes... We recognized that these spaces will continue to change." She concluded that the proposed modifications were consistent with the building's history, and retained the spirit of the original design intent, particularly with the building's zoning history in mind. Prior to granting its approval, the LPC suggested that the proposed changes to the recessed entranceway be reconsidered. But questions remain as to why a plaza so integral to the landmark is beyond the LPC's oversight in the first place. AN will keep readers updated on this story as it develops. Update 3/22/17: This article originally stated that Sasaki's plaza was not included in the building's December 2016 landmark designation. It was in fact included in the designation. The post was also updated to include clarifying information about the plaza's jurisdiction and additional background on the statement of regulatory intent. The text was updated to reflect that Sasaki Associates principal emeritus Stuart Dawson designed the fountain.
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New York’s angled icon, the Citicorp Center, in line for a 200,000 square foot renovation

601 Lexington Avenue, widely known by its former title as the Citicorp Center, may be the subject of a revamp totaling 200,000 square feet, courtesy the New York office of global architecture firm Gensler. The recently landmarked building (designated in December) could see a new exterior plaza and array of terraces added if the design is approved by the Landmarks Preservation Committee (LPC) next week. Further changes include an atrium located inside (and thus exempt from LPC endorsement) that will house a coterie of retail outlets and dining facilities. Speaking to The Architect's Newspaper, a spokesperson for Gensler clarified that the plaza is indeed "being redesigned" as renderings suggest. 601 Lexington Avenue was designed by Hugh A. Stubbins & Associates in 1977 and completed the following year. The resultant angular apex created a silhouette that has become an icon of the Manhattan skyline and was a feature that led the building's landmark designation last year. It's at the other end of the building, at Lexington Avenue and 53rd Street, however, where the changes will be made. Critic Paul Goldberger was complimentary of the existing ground-level features at the time of Stubbins's death in 2006: “[It is] probably the most important skyscraper built in New York in the 1970s because of its elegant and memorable shape, but also because of its engagement with the city at the base," he said. According to Gensler, the building's owners, Boston Properties is "focused not on increasing rents, but on increasing the value of the entire neighborhood by making a distinctive plaza and atrium space." The firm continued: "To this end, the new outdoor plaza and terraces make room for more dining and retail options, while enlivening the staid office component. The resulting 200,000-square-foot redevelopment transforms an internally focused space into a bustling urban oasis for Manhattan’s Midtown East neighborhood." 601 Lexington (c) Gensler_4 Changes date back to as recently as 2010 when a new office lobby was installed. Twenty years ago, the existing atrium and open-air concourse were renovated. The LPC hearing for the changes will be on Tuesday, March 21.
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Corgan and Gensler adding new international concourse at LAX

Architecture firms Corgan and Gensler, along with operator Los Angeles World Airports, broke ground yesterday on a new, 12 gate, $1.6 billion concourse expansion aimed at boosting the super-jumbo airplane handling capabilities at Los Angeles International Airport’s (LAX) Tom Bradley International Terminal (TBIT). The project, known at the Midfield Satellite Concourse (MSC) will connect to the existing and recently-expanded TBIT via a pair of underground tunnels, complete with three sets of moving sidewalks. One of the tunnels will be used by passengers exclusively while the second will be utilized by the airport for operational services. Once traveling through the tunnel, passengers will emerge inside the new terminal, where the new gates—two of which are specially designed to accommodate the next generation Airbus 380 super jumbo and Boeing 747-8 Intercontinental jets—await. The expansion will include 50,000 square feet of gateway space, including 44,000 square feet of “L.A.-centric dining and shopping options,” according to a press release issued by Gensler. The new concourse will also feature 60,000 square feet of airline lounges, two nursing rooms, a service animal relief area, and children’s play areas that will be integrated into the spaces surrounding the boarding gates. In addition to the leisure and waiting areas described above, the expansion includes the 85,000-square-foot Baggage Optimization Project that will add a new baggage handling facility to the airport. The new facility will include an 11,000-square-foot tunnel to along the north side of the structure as well as a 45,000 square foot tunnel along the eastern edge that will connect to the airport’s baggage conveyance systems. The new concourse is designed to mimic the wave-inspired geometries of TBIT and features a linear collection of curved roof structures studded with clerestory lights. The spaces within the new concourse are designed to maximize daylighting as well as ease of movement through the waiting and leisure areas, with a special emphasis on maintaining sightlines between these spaces and the departure gates. GKKWorks will act as associate architect on the project. The project is expected to be operational by 2019 and fully completed by 2020.
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Renderings revealed for Gensler’s tenth tower along L.A.’s new hotel and entertainment district

Paperwork was filed this week with the Los Angeles Department of City Planning by developer Trical Construction, Inc. to replace the existing City Lights on Fig complex in Downtown Los Angeles with a Gensler-designed, 53-story glass hotel tower. The project, if completed, would add yet another monolith to the entertainment district’s growing contribution to the city’s skyline. Urbanize L.A. reports that the existing project, a 100-unit, five-story tall apartment complex, was built by the developer in 2004 and is being cleared, in part, to help achieve the city’s goal of increasing hotel supply around the Los Angeles Convention Center (LACC) and L.A. Live complex. The City is seeking to locate 8,000 hotel rooms within proximity to the LACC complex. A study from 2015 indicates that 3,172 hotel rooms exist in the area, with approximately 2,000 new ones on the way. The Trical Construction project would increase that number by over 50 percent, adding 1,024 rooms, and will be operated as two separate hotels. The developer has not announced which hotelier will run either of the two proposed establishments. Renderings for the proposed complex indicate that the new tower will make use of recently loosened restrictions that will no longer require tall buildings in the city to be capped by flat-topped helicopter evacuation pads. As a result, Gensler’s tower is designed to have a pointed, faceted top. The renderings depict a rectangular tower clad in riveted glass curtain walls. It's a relatively subdued design considering Gensler’s other, recently-revealed tower for the area, which is made up of stacked geometric shapes and punctured by a roughly 20-story hole. The newest project will comprise the 19th such tower for the growing entertainment district, ten of which are designed by Gensler. Renderings also depict large, ground level electronic signage in keeping with many of the other recently-proposed projects. The proposed tower, located in a new Sign District surrounding the LACC and L.A. Live areas, will bring a mix of commercial electric signage as well as art-focused installations to the pedestrian areas in the neighborhood.
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Check out Gensler’s perforated and fritted glass facade for this building in Tysons, VA

In central Tysons, VA, Gensler's Washington D.C. office has designed a mixed-use building that will house a fitness center, conference spaces, and offices. The latter will sit atop a nine-story, perforated metal-skinned podium that hosts a parking garage. The tactful metal facade bridges the two glass skins above and below it, mediating transparency in the process. At street level, glass fenestration encloses 25,000-square-feet of retail, amid other amenities—a bonus for shoppers stepping off the Greensboro Metro station which is a mere 50 yards away. Duncan Lyons, a senior associate at Gensler's D.C. office, said the building's design is “unique” for a mixed-use project and is “dynamic, yet flexible enough to attract a variety of tenants.” Floor plates will range from 20,000 to 28,000 square feet and the project offers public and private green terracing, shaped as triangles along the building’s stepped back and angled massing. The corresponding volumes are partially defined by skin, too, with various types of glazing being used either side of the parking garage’s metal facade. Above the garage, fritted glass panels—comprising 13 levels—are segmented into two volumes. Both facades employ a pattern of tall vertical piers and openings which link the levels together visually, while, according to Lyons, “providing a different material combination and view experience at each zone of the building.” Meanwhile, below the garage, a glass skin wraps around the corner edges facing onto the street. Due to the topography of the site, the glazing follows steps that run down the northside, westwards, and onto an entrance to the Greensboro Metro Station. This journey allows pedestrians to see more of the building’s street level interior as they go down, with entrances to this double-height space at both the top and bottom of the steps. “Within each zone, amenity spaces, collaboration areas, and extended terraces provide numerous interior and exterior experiences,” said Lyons. “It all adds up to a rich mixture; brings life, character, and vitality to the building; and makes the project a singular attractor,” he continued. “[The] design experience supports the continued growth of transit-oriented development and true place-making at Tysons Corner in the most responsive, distinctive, and adaptable way.” Duncan Lyons will be a co-chair for the Facades+AM conference in D.C. this March 9. He and Jeff Barber—design leader and principal and Gensler—will be speaking about this project in further detail. Seating is limited. To register, go to am.facadesplus.com.
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Gensler reveals renderings for 52-story tower in Los Angeles

It’s finally happened—the furious rush of development along Figueroa Street in Downtown Los Angeles stretching from the still-under-construction Wilshire Grand Tower has finally reached Interstate-10. The highway is Downtown L.A.’s informal southern boundary, separating the increasingly tony central city from starkly less affluent neighborhoods located directly to the south. Over the last year, as the Wilshire Grand Tower has gone up and the city’s transit system immediately below has expanded, a large collection of proposals for a new district of high-rise, residential towers has been gradually unveiled beside the L.A. Live and Los Angeles Convention Center complexes. The latest proposal, first reported by Los Angeles Downtown News, marks the 18th new tower proposed for the stretch, with at least 17 other new high-rise housing towers currently awaiting approval or actively under construction. Gensler has a hand in several of the projects, including the Metropolis (four towers), 1020 South Figueroa (three towers), and Fig+Pico (two towers) projects. SOM and P-A-T-T-E-R-N-S are behind the Olympia development (three towers), while CallisonRTKL is working on the Oceanwide Plaza (three towers) development, and Harley Ellis Devereaux and Hanson LA are partway through construction on the twin Circa towers. Gensler’s latest contribution to the district—1660 South Figueroa—will take over an existing car dealership lot and will contain more than 300 residential units, as well as a 250-key hotel and 15,000 square feet of ground-floor office and retail space. Broken down further, the tower is expected to contain 202 market-rate condominiums and 134 apartment units, including 23 condominiums and nine apartments reserved for low-income households. The project also calls for 499 parking stalls dispersed across nine levels of parking, five of which would be located underground. In contrast to many of the other projects mentioned above, most of which are articulated as generic, glass-clad mixed-use towers composed predominantly of vertically-extruded floorplates located atop ornamented retail and parking podia, 1660 South Figueroa is articulated as a hodge-podge of typological tower forms. The tower’s tripartite vertical organization exists as a long and narrow, 19-story housing block at its base that features balconies and large-scale punched openings at its upper reaches. That mass is topped by a pair of 20-story glassy condo towers, one canted slightly off-axis, creating a narrow and tall donut hole at the center of the building. Above that? A six-level mass itself topped by a diminutive, multi-story mid-rise mass. Throughout, the agglomerated mass of towers features grassy accretions, vegetated expanses of building mass punctured by horizontal, punched openings. Details for the project are forthcoming; groundbreaking, construction timeline and budget for the project have not been released.
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Chicago’s Willis Tower to get $500 million renovation

Plans have been revealed for a $500 million renovation of Chicago’s iconic Willis Tower. The renovation will be the first since the 108-story tower was completed 43 years ago. Gensler’s Chicago office is leading the design for the project, which is being initiated by Blackstone and Equity Office. The plan for the Willis Tower includes the transformation of approximately 460,000 square feet of the building’s interior and a completely new public experience at its base. New amenities to the tower will include a fitness center, tenant lounges, and private event space. The tower’s observation floor, Skydeck Chicago on the 103rd story, will also be remodeled. The base will include more than 300,000 square feet of new retail, dining, and entertainment spaces, and 30,000-square-foot outdoor deck and garden space. Included in the base's redevelopment is a three-story glass structure atop the building's plinth, as well as a three-story subterranean winter garden. “With this historic investment the Willis Tower will remain a vibrant and modern icon that inspires both young and old for generations to come,” Chicago Mayor Rahm Emanuel said during the announcement of the renovation. “But more than that—today Blackstone is doubling-down on its confidence in the future we are building in the city of Chicago.” Built in 1973, the Willis Tower was the tallest building in the world for nearly 25 years. It is still the second tallest in the United States, behind New York’s One World Trade Center. To achieve its immense height, architect Bruce Graham and engineer Fazlur Rahman Khan envisioned the building as nine square structural tubes. As part of the renovation announcement, Equity Office committed to offering 5,000 Skydeck tickets to Chicago Public School students. Equity Office will also donate $100,000 to Project Pipeline, a program sponsored by the Illinois chapter of the National Association of Minority Architects (I-NOMA). Project Pipeline’s goal is to educate and mentor minority students through the process of becoming licensed architects. The tower was renamed the Willis Tower in 2009. Many Chicagoans still refer to the building by its original name, the Sears Tower.
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Dallas AIA chapter announces 2016 Built Design Awards

Out of 46 submissions, the Dallas Chapter of the American Institute of Architects has selected four projects to receive its 2016 Built Design Awards. This year’s recipients were selected by a jury composed of internationally renowned architects Matthew Kreilich, AIA, design principal and partner at Snow KreilichArchitects in Minneapolis; David Lewis, AIA, a founding principal at LTL Architects in New York; and Sebastian Schmaling, AIA, founding principal at Johnsen Schmaling Architects in Milwaukee. The final award recipients were selected based on each project’s unique response to its cultural, social, environmental, programmatic, and contextual challenges. “The 46 entries submitted for Design Awards this year were commended for their quality and representation by the jury,” said Michael Friebele, associate AIA, 2016 AIA Design Awards chair and senior associate at FTA Design Studio. “The six awarded projects were recognized as not only the best in design, but also for their unique range of program and context, a direct reflection of the expertise behind our jury this year. We are pleased to honor and celebrate the recipients and their contribution to the elevation of design in our community.” The jury also recognized two additional projects with citation awards.

1. Fire Station No. 27, Perkins+Will (Dallas)

Fire Station 27 was designed to re-establish a proper civic presence and foster a strong connection to the surrounding community that is often lacking in this building type. Responding to a compact site, Fire Station 27 was the City of Dallas’s first multistory station in over one hundred years. It consists of 23,600 square feet with two levels above grade and one level of parking below grade with capacity for 15 personnel per shift.

Jurors commended the project’s success as an urban infill building, as well as its strong organizing concept and celebratory story wall.

2. Prospect House, Max Levy Architect (Dripping Springs)

At this rural wedding and event center, celebrations are accommodated inside, outside, and on a big screened-in breezeway. Above the main hall is a huge wind vane whose mast extends down into the room and supports a 12-foot-diameter ring that turns with the breezes, connecting festivities inside with the world outside.

Jurors celebrated the thoughtful, restrained design, its elemental quality, and the overall modesty and simplicity of the project.

3. Hilti North America Headquarters, Gensler (Plano)

In the new Hilti North America Headquarters, the client’s top priority was celebrating the culmination of Hilti’s people and products. Not only was the entire office built exclusively with Hilti construction tools, over 26,000 modified Hilti products were woven into the architecture of the space—all intended to generate and showcase a pride in the product and the people who design, create, and market it.

Jurors praised the project’s clear concept, clean detailing, and the creation of shared spaces that foster interaction and collaboration.

4. Houndstooth Coffee and Jettison Cocktail Bar, OFFICIAL (Dallas)

The design for Houndstooth Coffee and Jettison Cocktail Bar was driven by the building’s dual function as a bar and a coffee shop and their shared connection. The design centers on an elemental concept of day to night, with Houndstooth filling the larger, sunlit space, and Jettison occupying the intimate back corner. High ceilings create openness in the coffee shop and a “floating” wood-clad volume, referred to as the cloud, serves as the central focal point, drawing the eye up while balancing the space and concealing the mechanical system. Jettison Cocktail Bar takes the inverse of the cloud design with a lowered ceiling and a central void looking into the painted gold trusses that have the character of a chandelier.

Jurors appreciated the elegant yet playful interiors, the creative use of light, and the duality of the distinct spaces.

Projects receiving Juror Citations are:

5. House at Rainbo Lake, Max Levy Architect (Henderson County)

Located in a swampy forest along a lake, this weekend retreat houses an extended family of sportsmen and nature enthusiasts. Each room is a separate building, and a screened in porch connects each building. Color is instrumental to this design, and coloration of exterior materials merges with the site.

6. Twin Gables, FAR + DANG (Dallas)

Set within a transitioning East Dallas neighborhood, this project bridges the traditional forms of the existing surrounding homes with a modern, high-density prototype. These duplex units embrace the length of the property and are designed around visual connections to a series of carefully composed outdoor spaces.

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AC Martin and Onni group to demolish William Pereira-designed L.A. Times building in Los Angeles

Los Angeles-based architects AC Martin and Canadian developer Onni Group have released preliminary renderings for the long-rumored, 1,126-unit Times Mirror Square development that aims to replace the 1970s-era William Pereira addition to the Los Angeles Times building in Downtown Los Angeles. The project, part of a larger, overall redevelopment of the L.A. Times headquarters complex that also includes a new, 30-story tall tower by Gensler, would connect to the existing L.A. Times building via ground floor retail spaces and an outdoor, retail-lined paseo. The original 1940s-era, art deco style L.A. Times headquarters is expected to receive modest restorations via the project while the iconic, late modern era Pereira-designed structure will be completely demolished to make way for the development. The Pereira structure is just four years shy of being eligible for the National Register of Historic Places and is not listed as a local Historic-Cultural Monument. Urbanize LA reports that AC Martin would bring a pair of high-rise residential towers to a neighborhood soon-to-be-brimming with open space amenities like the forthcoming revamp to Pershing Square park by Agence Ter, First and Broadway (FaB) park by Mia Lehrer and Associates and OMA, and the five year old Grand Park by Rios Clementi Hale Studios. A 37-story tower would be located directly across the street from Lehrer's FaB Park, with a taller, 53-story monolith located directly behind. Both towers are capped by pointy, crenelated caps and will reportedly rise 465- and 655-feet in height, respectively. The towers will contain parking stalls for 1,000 vehicles despite being located almost directly atop a forthcoming transit stop on the city's Regional Connector line. This article appears on HoverPin, a new app that lets you build personalized maps of geo-related online content based on your interests: architecture, food, culture, fitness, and more. Never miss The Architect’s Newspaper’s coverage of your city and discover new, exciting projects wherever you go! See our HoverPin layer here and download the app from the Apple Store.
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New renderings revealed for Los Angeles Football Club stadium

The Los Angeles Football Club (LAFC) and architects Gensler have revealed new renderings for the $250-million LAFC stadium in Los Angeles’s Exposition Park. The new renderings also showcase the stadium’s new name—the Banc of California Stadium—and provide a glimpse into the complex’s sleek interiors. The 22,000-seat stadium was approved by the Los Angeles City Council in 2016 and is now currently under construction. The structure is designed as an open-air stadium with steeply-raked and sweeping seating areas shaped around the field. That “European-style” arrangement, according to the architects, emphasizes fans’ experience of watching each match by putting the viewer in a closer relationship with the field and players. The complex will also include commercial and restaurant functions oriented toward the larger community. Renderings for the complex show generous pedestrian areas surrounding the main entry of the stadium as well as tree-lined paths leading to other attractions in the park. The stadium joins a growing number of new attractions coming to the urban park, including the recently-proposed Lucas Museum of Narrative Art (LMNA) building designed by Chinese firm MAD Architects. The board of directors for the LMNA announced last week it was choosing Los Angeles as the location for its new museum. LAFC’s new stadium takes the place of the recently-demolished Welton Becket-designed L.A. Sports Arena, a structure built in 1959 that played host to the Los Angeles Lakers and Los Angeles Clippers professional basketball teams as well as college basketball teams for University of Southern California and University of California, Los Angeles. The L.A. Sports Arena held its final event in March when Bruce Springsteen performed a sold-out concert there. The new stadium is expected to open for the 2018 soccer season. This article appears on HoverPin, a new app that lets you build personalized maps of geo-related online content based on your interests: architecture, food, culture, fitness, and more. Never miss The Architect’s Newspaper’s coverage of your area and discover new, exciting projects wherever you go! See our HoverPin layer here and download the app from the Apple Store.
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Three huge LED public art installations planned for downtown L.A.

Over the last few years, the areas around L.A. Live and the nearby Los Angeles Convention Center in Downtown Los Angeles’s South Park neighborhood have been undergoing a development boom, with mid- to high-end condominium and apartment complexes sprouting up at a steady clip. However, a new crop of projects currently either under construction or in the entitlement stages of development—dubbed Metropolis, 1020 Figueroa, Circa, and Oceanwide Plaza by developers—signal an infusion of upscale amenities headed for the area, all connected to the financial core and the rest of the city by a growing transit system, including the Long Beach–bound Blue Line and Santa Monica–bound Expo Line.

Three of the four projects mentioned above—1020 Figueroa, Circa, and Oceanwide Plaza—are to be located on the blocks directly across the street from the StaplesCenter, with the Metropolis development located a block northwest. Through their sheer density and size, they will bring a sorely missing street culture to an area that is roaring back to life.

But what will greet those pedestrians when they step off the trains and onto the streets? Walls of LED screens.

That’s because each project features large expanses of LED ribbon walls wrapping street-level commercial and leisure programs. And, to varying degrees, these ribbon walls are being programmed with art content in an effort to bring a new form of artistic expression to the street.

The Metropolis project, consisting of a multiphase, multi-tower hotel and apartment complex on a 6.33-acre site, is currently under construction, with the first phase of the project due to finish at the end of 2016. Eventually, the $1 billion-plus development will consist of four towers: Tower I will be 38 stories tall and contain 308 condominiums; Tower II will be 18 stories tall and contain a 350-room hotel; Tower III will be 40 stories tall and contain 514 condominiums; and Tower IV will be 56 stories tall and contain 736 condominiums. This project, designed by Gensler, is much further along in the construction process than the others and, as such, its arts program is starting to come into sharper focus.

The Metropolis project, like the others mentioned here, is subject to Section 22.118 of the City of Los Angeles Administrative Code, “Arts Development Fee Credits” (ADF) provision that requires commercial projects valued at $500,000 or more to pay a fee either based on the square footage of the building or equal to one percent of the project’s Department of Building and Safety permit valuation—whichever is lower—into a fund used to increase access to public art citywide. The ADF fund is administered by the city’s Department of Cultural Affairs, an arm of the city government that maintains a trust fund organized by project address to be used to fund arts initiatives at required sites, as necessary. This “one percent for the arts” approach is common in many California municipalities and is being stretched by this collection of projects to incorporate potentially new definitions of what public art might be in the city.

For Metropolis, arts consultants Isenberg & Associates partnered with project management firm DG Hunt & Associates to find suitable artists for the project. After a lengthy selection process, a team made up of digital media artists Refik Anadol and Susan Narduli was selected for the project. Their work Convergence, a 100- by 20-foot LED wall installation, will be unveiled in January of 2017 as construction on phase one wraps up, creating, the developers hope, an opportunity to introduce the project to the city and local community. Anadol and Narduli describe Convergence as “a generative construct fuelled by data and informed by aesthetics,” a synergy of Anadol’s digitally focused art practice and Narduli’s narrative-infused artwork. The duo wants the artwork—located in a plaza facing Francisco Street on the site’s eastern edge—to “create a lively public space by giving urban activities a new experiential dimension.” They plan to do this by fusing the “real-time demographic, astronomical, oceanographic, tectonic, and climate data streams, as well as social media posts, traffic, and news feeds into a constantly shifting cinematic narrative of Los Angeles.” The project was developed hand-in-hand with the architects as part of the overall design process, and is being deployed as an integrated architectural component of Metropolis.

According to the team’s statement, “Convergence explores new ways of storytelling through an intelligent platform that both expresses and responds to the spirit of the city in a seamless fusion of digital content, public space, and urban life.” The work will be available in situ for pedestrians to experience as part of the new sports and entertainment promenade the developers behind Metropolis hope to extend from L.A. Live to the upper reaches of the financial district. It will be available online, as well as via a mobile-device-friendly website accompanied by real-time audio. Experiencing the work in person will generate changes to the physical manifestation of the art, as the attendant data resulting from proximity, interaction, and occupation become woven into a living digital display.

It’s unclear what pedestrians can expect from the arts programs developed for the other three projects, but if Anadol and Narduli’s Convergence is a guide, expect more lights, more data, and perhaps most importantly, a closer relationship among architecture, digital art, and the public realm.