Posts tagged with "Koning Eizenberg":
It took decades of piecemeal construction—a new day school here, a dank brick chapel there—to build the Temple Israel of Hollywood (TIOH). But it would require 10 years of work by Koning Eizenberg Architecture to transform the 90-year-old Spanish Colonial Revival–style temple into a flexible and social campus for worship. So far, the project has yielded a collection of generous, sunlit spaces, including a sculptural multiuse chapel.
The chapel is a study in contrasts: A large glass wall populated by staggered, canted window panes fronts a courtyard framed by the masonry-clad temple and a low administrative wing, the glass surfaces of the new chapel sheathed by a folded-aluminum louver system. That steel-supported shade was meticulously designed and fabricated against the restrictive physical tolerances of the aluminum material—its design is partially inspired by the ceremonial tallit cloth. The expanse is interrupted by a wall enclosing the Ark of the chapel, an extra-thick volume that appears to be made of solid sandstone but is actually hollow inside. The sedimentary exterior treatment on the Ark is achieved by hand-applying compositions of different colored sands and tiny pebbles—brought to Los Angeles from congregants’ visits to Jerusalem—over a shotcrete substrate.
Nathan Bishop, principal at KEA and project designer for TIOH, explained that a tight budget forced the architects to develop custom but frugal approaches. “There are no off-the-shelf products,” Bishop explained regarding the chapel’s major components.
Along the inside of the chapel, the Ark itself is interrupted by a large vertical screen made of CNC-milled maple. The Ark screen is decorated by a dense geometric pattern that conceals a space containing a Torah. The chapel interior is topped by a suspended CNC-milled, segmented plywood ceiling. Its crisscrossing and angular profiles sweep from east to west, variable peaks and valleys rising and falling to create a cavernous lid. The segments allow for the ceiling to have two readings: an airy structure from below, and a solid one from afar.
Bishop explained that among the Ark wall, sunshade, and chapel ceiling, the designers aimed to establish an open-ended dialogue between architecture and ritual. The sunshade, for example, can exist as a discrete architectural element reflecting light every which way, while remaining vaguely associated with “something that feels like the frayed end of the tallit,” as Bishop put it.
2016 Best of Design Award in Building Renovation: The Strand American Conservatory Theater
Architect: Skidmore, Owings & Merrill Location: San Francisco, CA
The Strand renovation provides a highly visible experimental performance space for the American Conservatory Theater within a formerly abandoned hundred-year-old movie theater on San Francisco’s Market Street. The space houses an intimate 285-seat proscenium theater, a public lobby and cafe, educational facilities, and a 120-seat black box theater and rehearsal space.
Care was taken to sensitively retrofit the shell of the former 725-seat cinema: The facade and structural supports were restored and essential modern theater elements were layered over the raw backdrop of the original building. Playing off of the building’s cinematic roots, the centerpiece of the lobby is a suspended two-story, 504-square-foot translucent LED scrim—the first permanent indoor usage of this technology.
Development and Project Manager, Financing Consultant Equity Community BuildersGeneral Contractor Plant Construction Company LED Panel Winvision Concrete Specialist Bay Area Concrete Historical Architects Page & Turnbull
Honorable Mention, Building Renovation: PLICO at the Flatiron
Architect: Elliott + Associates Architects Location: Oklahoma City, OK
This project includes the renovation of a two-level 1924 flatiron building and the construction of a modern, yet complementary rooftop addition that relates in shape, scale, color, and detailing while differentiating itself through materials and setbacks.
Honorable Mention, Building Renovation: Temple Israel of HollywoodArchitect: Koning Eizenberg Architecture Location: Los Angeles, CA
The light-filled design for this progressive reform congregation was inspired by a fringed Tallit (prayer shawl), while the ark is placed within a sedimentary wall that includes rocks gathered from Israel by its congregants.
But the organization’s goals—limited high-density development and the preservation of spread-out, low-density neighborhoods—also happen to align with the growing voices of so-called Not In My Backyard (NIMBY) groups. The suburban-minded citizenry supporting the NIMBY movement aim to use political and legislative maneuvers to maintain sparse, auto-dependent neighborhoods, propping up property values and physically manifesting social stratification in the process. The Los Angeles region’s capacity for high-density housing has been slowly hemmed in by these groups over the decades, resulting in the current and ongoing housing crisis. Estimates indicate that the L.A. region would need to build more than a quarter-million units today just to keep up with demand, and as of December 2015, the region’s vacancy rate for rental units stood at a meager 2.7 percent, a historic and unhealthy low. Increasingly, academics and housing and social justice activists have argued that high rents resulting from low vacancy rates actively harm local economies and the poor. This idea has gained such prominence that even President Barack Obama has voiced his position. In the recently-released Housing Development Toolkit, President Obama calls for anti-NIMBY planning ideas, saying, “By modernizing their approaches to housing development regulation, states and localities can restrain unchecked housing cost growth, protect homeowners, and strengthen their economies.”
Westside Residents Left Scrambling to Know When LA City Council Will Hold Martin Cadillac Project Hearing https://t.co/ql8GSDQczP— PreserveLA (@PreserveLA) September 15, 2016
UPDATE LA City Council approves boutique hotel in Hollywood, displaces tenants & wipes out affordable housing units. https://t.co/cbu7PzDvxW — PreserveLA (@PreserveLA) June 30, 2016Amid the larger context of an intensifying regional homelessness crisis and the potential economic sluggishness resulting from high housing costs, one must ask which version of Los Angeles that the anti-development measures aim to preserve. One of the group’s central policy planks is the abolition of so-called “spot zoning” decisions, the types of lot-by-lot concessions working within contemporary Los Angeles’s outdated zoning code demands. Because Los Angeles’s zoning ordinances and current General Plan have not been updated since the 1990s, many of the large-scale projects delivering housing infrastructure to the region—luxury, affordable, and supportive alike—require “spot” modifications to the code in order to allow for the higher density and height associated with their development. CPLA, in a press release, accuses the City Council, where “campaign cash, gifts, and donations” are exchanged openly, of being too cozy with these developers, saying that benefactor developers “are allowed to destroy community character and max out local streets and water mains” through their use of these spot zoning measures. Because the Los Angeles City Council has the power to approve and make demands of development projects that need spot zoning variances, the opportunity for crooked politics is certainly rife, but many across the region are asking if an outright moratorium on spot zoning isn’t too drastic of a response given the current conditions. And because high-density housing development is already relatively limited to certain pockets and enough housing has not been built overall, the region is also contending with a parallel gentrification and displacement crisis. The initiative is seen by the development community as a project-killer and in pro-housing circles as a threat to working class neighborhoods. Housing advocates argue that a halt in construction would further limit the development of affordable units in tow with the luxury projects the initiative seeks to curb, and push wealthier professionals into working class neighborhoods, displacing residents further down the economic ladder.
What Happens When Opponents of the Neighborhood Integrity Initiative Panic?https://t.co/DzvDiNAbdp pic.twitter.com/GeaWlai0v5 — PreserveLA (@PreserveLA) August 16, 2016Michael Lehrer, principal at Lehrer Architects in Los Angeles, told The Architect's Newspaper (AN) via email, "The insidious effect of the new initiative will be a trickle down lack-of-housing. There will be less and less affordable housing, so that cheaper housing will be filled by people of more means. More people of lesser means will then become homeless." NII backers, though, have successfully peddled fear and suspicion through their campaign, bringing together an unholy alliance of Hollywood celebrities, anti-gentrification and working class advocacy groups, and wealthy landowners, blaming the skyline-changing projects for altering a perceived sense of “neighborhood character” and decrying the city’s “rigged development system.” These groups ignore the fact that the largest impediment to the city’s affordability lies not with luxury towers, but with an overabundance of single family homes and low-density zoning. If Los Angeles is to get more affordable, it must densify—not continue to spread out into the desert. Lehrer went on to say that restricting development as the NII proposes to do "radically restricts housing development. Legitimate concerns about lesser quality development must be answered with higher collective, legislative, and political leadership for design excellence and thoughtful urbanism and architecture that cherishes streets and quality pedestrian experience. That’s what we must always focus on and demand." In Santa Monica, the proposed Measure LV is on the Nobember 2016 ballot and would dole out even more draconian measures by requiring every building built taller than 32 feet in height to be put to a public vote. Regarding how anti-development initiatives like Measure LV would impact the ability of local architects to produce innovative architectural solutions that work toward alleviating the housing crisis, Julie Eizenberg and Hank Koning of Santa Monica—based Koning Eizenberg Architects told AN, “Requiring a public vote on buildings over 32-feet will inhibit any creative solutions in the development of multi-unit housing. Project budgets will stay the same, but the money currently spent on inventive solutions and creative design will instead be spent campaigning for a public vote. It’s a shame people are so afraid.” The Santa Monica ordinance would also upturn decades of civic progress for the beachside municipality that has a long tradition of mixed use development and pedestrian life. Worse still, the recently-opened Expo Line extension to the city from Downtown Los Angeles has reinvigorated the city’s potential for transit-oriented development; Measure LV would decapitate that energy with generational consequences. Koning and Eizenberg take issue with the relatively-low height threshold imposed by the measure, saying, “Under the current code, the maximum height that can be built by-right on most boulevards in Santa Monica is already 32-feet. Anything over that, up to a cap of 55-feet, goes through the Development Review Process that involves extensive public hearings. In most cases, we’re only arguing about 23-feet—but those feet make all the difference in terms of efficiency, cost-effectiveness, and housing creation." The Los Angeles chapter of the American Institute of Architects (AIALA) also recently came out against Measure LV, saying in a press release, “Measure LV ... is extreme, costly, and would result in devastating consequences ranging from haphazard planning, increased housing costs and decreased supply of affordable housing.” AIALA argues that the measure would undermine the city's Land Use and Circulation Element, a planning instrument already developed for Santa Monica via a “20-year-long democratic process.” The organization points out that Measure LV would hinder the development of housing units, overall, undercut the orderly planning approaches already in place through unpredictable voter approvals, lacks exemptions for public buildings like firehouses, and could also potentially limit the effectiveness of the city’s Architectural Review Board. L.A's measure, among several development-related initiatives that have gained traction this election year, will have to wait until the presidential election is over to have its test before voters.
In 2006, the 28th St. YMCA was added to the City of Los Angeles Historic-Cultural Monuments List, and in 2009 it was added to the National Park Service’s National Register of Historic Places.In 1926, just three years after becoming the first African-American member of the American Institute of Architects (AIA), Paul R. Williams designed a landmark YMCA building on 28th Street in Los Angeles. Nearly ninety years later, the building has been restored, and transformed, into a modern multi-family housing complex. Koning Eizenberg Architects (KEA) worked on the project for Jim Bonner, FAIA, architect and executive director of the nonprofit affordable housing organization Clifford Beers Housing. The architects restored the historic 52-unit building, reorganizing the layout into 24 studio apartments, and constructed a new 5-story, 25 studio apartment building next door. The project features a perforated metal screen scrim wall, an integrated photovoltaic panel wall, restored historic stone work. and a shared roof deck that programmatically connects the historic building with it’s modern neighbor. There were two very different projects involved: a substantial restoration and a 5-story new infill construction building. Brian Lane, Managing Principal at KEA says these two projects were “married at the hip”: “We were digitally analyzing Paul Williams’ work on top of crafting our own work.” The architects carefully looked at shadow lines to understand the restored, cast-stone balcony and other components, generating drawings from a careful analysis from historic photographs, looking at shadow lines to understand profiled depths of the historic work. This commitment to digital analysis is most noticeably exploited on a new perforated metal scrim wall, visually buffering the apartment buildings’ circulation system from the sidewalk. The patterning and tabbing of the aluminum metal panels are derived from digitally-controlled abstractions of historic ornamentation found on Williams’ building. In addition to the two-dimensional surface treatment of the aluminum, the panels are assembled on a sub-frame that incrementally rotates outward to provide views of nearby downtown Los Angeles. Julie Eizenberg, Founding Principal of KEA, says that this move creates an effect that is “less rigid,” and “loosens where things begin and end.” The wall system is the result of a collaborative and iterative design process with LA-based C.R. Laurence who, among other things, fabricated the panels. KEA exploited design opportunities of die-cut metal fabrication after discovering a significant cost savings over newer water jet-cutting technology. This included experimentation with the perforation process: various radii were tested, and they developed a “hanging chad” perforation style that cuts and bends the metal at a controlled 37.5 degree angle. The architect’s iterative process during the design phase of the metal screen wall included studies of numerous digitally abstracted patterns, laser-cut study models in chipboard, and mock-ups of the panels. By selectively controlling which perforations remain connected to the panel, a secondary pattern becomes visible in the panel. Lane says there was significant value brought to the project through this low cost fabrication method: “We got a real richness and depth to the panel in a very affordable way.” One of the successes of the screen is the dynamic visual quality of the screen through various lighting conditions. Sunlight is reflected off of the perforated screen during the day, while a soft backlit glow is emitted through perforations during the evenings. On the south facade of the building, a “rainscreen” made of jet black photovoltaic panels is set one foot off of the stark white stucco building facade. While some efficiency was lost by orienting the panels in a vertical array, locating the panels on the facade was done out of necessity. With the rooftop area taken up by various building systems, the south facade became an opportunity to integrate renewable energy features. In the spirit of this “low-tech/high-value” type of project, the PV array helps to block direct gain, while promoting air circulation behind the assembly. Architecturally, the project has been celebrated for it’s novel organization of building systems, its “low-tech” approach to adding value to standard building components, and its dialog between old and new (namely its registering of a digitally manipulated image of historic architectural ornamentation prominently on a primary facade). Outweighing the architectural innovations are the social and cultural benefits to the design, which re-establishes this building’s role as an important cultural community resource by bringing living quarters in compliance with contemporary standards and offers a sense of dignity to low income housing residents and staff.
From the AIA: The historic YMCA (1926) had been a focus of African-American life in the era of segregation but had fallen into severe disrepair. The design re-establishes the building’s role as a community focus, restores principal spaces for youth training programs, brings existing living quarters in compliance with contemporary standards and adds new housing units. Inventive integration of new building systems released the existing rooftop for outdoor social space that connects and anchors old and new. The new addition is thin and cross-ventilated. It is shaded to the south by a vertical photovoltaic panel array and wrapped to the north with lightweight perforated metal screens that contrast with the heft of the original masonry building.Brockman Hall for Physics, Rice University; Houston KieranTimberlake
From the AIA:The campus of Rice University is a continuously studied and managed “canvas” that represents an intensive ongoing collaboration between architects, planners, and administrators. Its park-like environment—with live oaks, lawns, walkways, arcades, courtyards, and buildings—comprises a clear and timeless vision. The Brockman Hall for Physics needed to fit within this distinctive setting, to gather together a faculty of physicists and engineers working in as many as five separate buildings, and to house highly sophisticated research facilities carefully isolated from the noise, vibrations, and temperature fluctuations that could destroy experiments.California Memorial Stadium & Simpson Training Center; Berkeley, California HNTB Architecture; Associate Architect: STUDIOS Architecture
From the AIA: The historic stadium is one of the most beloved and iconic structures on the UC Berkeley campus. The key goals for this project were to restore the stadium’s historic and civic prominence, integrate modern training and amenity spaces, and address severe seismic concerns. By setting the new athlete training facility into the landscape, a new grand 2-acre public plaza for the stadium was created on the roof. A new press box/club crowns the historic wall; its truss-like design acts as a counterpoint to the historic facade.Cambridge Public Library; Cambridge, Massachusetts William Rawn Associates; Associate Architect: Ann Beha Architects
From the AIA: The Cambridge Public Library has become the civic “Town Common” for a city that celebrates and welcomes its highly diverse community (with over 50 languages spoken in its schools). With its all-glass double-skin curtain wall front facade, the library opens seamlessly out to a major public park. This double-skin curtain wall uses fixed and adjustable technologies to ensure that daylight is infused throughout the interiors and to maximize thermal comfort for the most active patron spaces looking out to the park.Danish Maritime Museum; Elsinore, Denmark Bjarke Ingels Group
From the AIA: The design solution to the site’s inherent dilemmas was to wrap a subterranean museum around a dry dock like a doughnut, where the hole was the dry dock itself and the centerpiece of the museum’s collection. Three two-level bridges span the dry dock, serving as shortcuts to various sections of the museum. All floors slope gently, so that a visitor continually descends further below the water’s edge to learn about Danish maritime lore. The civil engineering and construction work for the museum were among the most complicated ever undertaken in Denmark.John Jay College of Criminal Justice; New York City Skidmore, Owings & Merrill
From the AIA: Located in Manhattan, John Jay College of Criminal Justice’s new building provides all the functions of a traditional college campus within the confines of a single city block. SOM’s 625,000-square-foot addition doubles the size of the college’s existing facilities by adding classrooms, laboratories, auditoriums, faculty offices, and social spaces. These functions are arranged within a new 14-story tower and four-story podium topped with an expansive landscaped terrace that serves as an elevated campus commons. A 500-foot-long cascade runs the length of the podium and functions as the social spine of the campus. SOM’s design places a premium on communal and interactive space so that students may enjoy the experiences of a traditional college setting.Krishna P. Singh Center for Nanotechnology at the University of Pennsylvania; Philadelphia WEISS/MANFREDI
From the AIA: Challenging the established model of laboratory buildings, the Krishna P. Singh Center for Nanotechnology is organized around an ascending spiral that hybridizes the tradition of the campus quadrangle with the public promenade. The Center for Nanotechnology twists its laboratories around a central campus green, opening the sciences to the University of Pennsylvania’s landscape while providing a suite of public spaces within the building for cross-disciplinary collaboration amongst scientists. Here, multiple types—courtyard, laboratory loft, ascending gallery—each with their own distinct histories, are grafted together to create a new, but recognizable hybrid.LeFrak Center at Lakeside Prospect Park; Brooklyn, New York Tod Williams Billie Tsien Architects
From the AIA: This project restored 26 acres of Brooklyn’s Prospect Park, designed by Frederick Law Olmsted and Calvert Vaux in the 19th century and added a new 75,000-square-foot, year-round skating and recreational facility. In the winter, the facility’s two rinks are open for ice skating, and in the summer one rink converts to roller skating and the other to a large water-play fountain. Clad in rough-hewn gray granite, the new LeFrak Center appears to be large stone retaining walls set in the landscape. Much of the structure is tucked into the land. The L-shaped plan consists of the east and north block, both one-story structures with roof terraces connected by a bridge.Sant Lespwa, Center of Hope; Outside of Hinche, Haiti Rothschild Doyno Collaborative
From the AIA: The Center of Hope, commissioned by World Vision, is located in a rural region in Haiti and provides support, education, and skill building opportunities. The design process involved the entire community from children to elders. Construction included on-the-job skills training for over 100 residents. The courtyard scheme and breezeway capture prevailing winds while opening expansive views to the mountains beyond. Careful planning for natural ventilation, daylighting, water collection, sewage treatment, and electricity generation resulted in a completely self-sufficient building. The participatory and empathetic process created an uplifting environment that inspires hope.United States Courthouse, Salt Lake City, Utah Thomas Phifer and Partners; Naylor Wentworth Lund Architects
From the AIA: The design of the new United States Courthouse in Salt Lake City emanates from a search for a strong, iconic, transparent, and metaphorically egalitarian form to symbolize the American judiciary system. The primary nature of the courthouse’s cubic mass projects grounded dignity, immovable order, and an equal face to all sides. The 400,000-square-foot, 10-story courthouse resides on a landscaped terrace that spans an entire city block, uniting the new and existing federal courthouses as a public-access amenity while fulfilling a required federal security setback from the street.Wild Turkey Bourbon Visitor Center; Lawrenceburg, Kentucky De Leon & Primmer Architecture Workshop
From the AIA: Located on a bluff overlooking the Kentucky River, the visitor center is the newest component of recent additions and expansions to the Wild Turkey Distillery Complex, one of seven original member distilleries of the Kentucky Bourbon Trail. The 9,140-square-foot facility houses interactive exhibits, a gift shop, event venues, a tasting room, and ancillary support spaces. Utilizing a simple barn silhouette (an interpretation of Kentucky tobacco barns common to the area), the building, clad in a custom chevron pattern of stained wood siding, presents a clear and recognizable marker in the landscape.