Los Angeles mayor Eric Garcetti has announced his intention to declare a so-called “shelter crisis” in the city, announcing $20 million in new funding for emergency shelter services like tents, trailers, and temporary shelters. The new program—called “A Bridge Home”—will pave the way for the municipality to speed up the approval of new emergency shelter and transitional housing projects, as well, The Los Angeles Times reports. The announcement, made during Garcetti’s annual “State of the City” address, comes amid ever-increasing rates of homelessness among the city’s residents. According to the Los Angeles Homeless Services Authority, there were at least 34,189 Angelenos experiencing homelessness in 2017, up 20 percent from the previous year. In Los Angeles County, the number was much higher, with 57,794 county residents living in unsheltered conditions. With millions of Angelenos overly burdened by their rents and a state-wide housing affordability crisis that has no end in site, the extent of the city’s homelessness crisis is likely to continue to grow. That is, unless new efforts undertaken by city leaders can prove to be effective. Garcetti’s declaration comes on the heels of a series of new initiatives following the passage of Proposition HHH and Measure H in 2016 and 2017, respectively. The two homelessness alleviation measures aim, respectively, to utilize a $1.2 billion bond to build 10,000 new supportive housing units but while also directing resources toward preventing rent-burdened and recently-rehoused households from falling back into homelessness. While those 10,000 units make their way through the planning, design, and construction process, Measure H initiatives will work toward addressing the causes of homelessness on the ground today. The measure consists of 21 interconnected strategies aimed at tackling affordability issues and includes rental subsidies, job training programs, and funding for case management services while also promoting County-wide coordination between agencies on where new transitional and supportive housing developments can be located. Last week, the Los Angeles City Council moved to untangle regulatory approval for new shelters from conventional community review processes, a move that will convert these developments into by-right projects that do not require the types of tedious reviews that have slowed down their development across the city. The City Council also moved to pass a new ordinance allowing for existing motel properties across the city to be converted to rapid-rehousing sites. Los Angeles County is working to facilitate the rental of Accessory Dwelling Units to individuals and families who were formerly experiencing homelessness by allowing homeowners with ADUs on their properties to accept housing vouchers, as well. The pilot project is currently underway. All told, Garcetti aims to earmark nearly $430 million toward homelessness alleviation measures next year, including more than $238 million in funds generated from the Measure HHH funds.
Posts tagged with "Los Angeles":
Billionaire Elon Musk and his Boring Company are moving forward with plans to build an underground network of personal vehicle tunnels below the streets of Los Angeles. After drilling a preliminary tunnel below the Tesla and SpaceX company headquarters in nearby Hawthorne, California, the company is now moving forward with an additional 2.7-mile “proof-of-concept” tunnel for a “zero-emissions, high-speed, underground, alternative means of transit for personal vehicles and/or single-rider use” that will run under Sepulveda Boulevard on L.A.’s Westside. The test tunnel will begin at 2352-2356 South Sepulveda Boulevard, a property owned by The Boring Company, Urbanize.LA reports. From there, it will run roughly 30-70 feet below ground to an area below the intersection of Washington Boulevard and Sepulveda Boulevard in Culver City. The tunnel will not daylight at this point, according to initial documentation. The tunneling depth will allow the engineers to avoid underground utilities and other potential obstructions and is subject to change as conditions closer to the surface permit. Though the route has been vetted for the potential existence of archeological and paleontological materials, plans for independent monitors will be put in place should any sensitive resources be discovered over the course of work on the tunnel. In order to build the tunnel, The Boring Company has received a preliminary reprieve from California Environmental Quality Act (CEQA) restrictions at the behest of the Los Angeles City Council, which will also take up the final approval for the concept on behalf of the Los Angeles Bureau of Engineering if the test tunnels are successful. Further sections beyond the test tunnel will be subject to a variety of environmental and community reviews. The test tunnels will not be available for public use and will be used solely for testing of a proposed “skate” technology that could eventually be used to ferry automobiles and passengers throughout the system. The test tunnel is expected to be completed in nine months; a final timeline for approval and construction of a usable tunnel has not yet been released.
The rumor mill is buzzing around the purportedly budding relationship between Boston-based architect and artist Neri Oxman and actor Brad Pitt. According to Page Six, Oxman met Pitt when he was referred to her for guidance on an architectural project. Since then, the two have developed what the publication called a "professional friendship." Celebrity gossip mag US Weekly took it a step further, claiming the two have been secretly rendezvousing for months, with Brad even tagging along on Oxman’s professional trips across the globe. The Israeli-American Oxman, a professor at MIT and founder of design group Mediated Matter, is known for her forward-thinking approach to architecture and design that fuses natural, biological forms with the growing capabilities of digital fabrication. Oxman has produced acclaimed pieces such as “The Silk Pavilion,” a CNC-fabricated scaffold coiled with silk thread produced by 6,500 silkworms, and “Gemeni” a solid wood chaise crafted to resemble a cocoon, adorned with cells of varying colors and rigidity. Her ventures into 3-D printed wearables also include a design for Björk's Vulnicura tour, a movable mask that mimicked the musician's own bone and tissue based on scans. Oxman’s work is exhibited widely, including at MoMa, San Francisco's Museum of Modern Art, and the Centre Pompidou. This is not Pitt’s first flirtation with the world of architecture. The Hollywood star met and befriended Frank Gehry in 2001, leading to an internship focused on computer-aided design at the international architect’s Los Angeles office. Since then, Pitt has gone on to found Make it Right, a non-profit focused on delivering environmentally-friendly housing to post-Katrina Louisiana. During this venture, Gehry designed a duplex in New Orleans’ Lower Ninth Ward, his only residential project in the state of Louisiana. While Pitt has dabbled in architecture and design, he has nothing on Oxman’s impressive record of academic and design accolades, including the 2016 MIT Collier Medal, the Textiles Spaces 2015 Award, and the 2014 Vilcek Prize. Whatever the truth about their relationship is, Oxman is probably too good for Pitt.
OMA’s first cultural building for California has been revealed, as the firm provided a first look at the forthcoming Audrey Irmas Pavilion in Los Angeles, a cultural center for the neighboring Wilshire Boulevard Temple. OMA New York was commissioned for the project after winning a design contest in 2015, and the completed cultural center will sit next to, and dialogue with, L.A.'s oldest synagogue. The historic Wilshire Boulevard Temple was built in 1929 in the Byzantine-Revival style, and deference to the institution informed the Audrey Irmas Pavilion’s design. The serious slope on the building’s west façade will push it away from the existing temple, while it also leans south and away from a historic school. Located on an intersection, the dramatic forces that influenced the building’s orientation have also resulted in the pavilion “reaching out” to Wilshire Boulevard. “We wanted to focus on communicating the energy of gathering and exchange,” said lead designer Shohei Shigematsu in a statement. “The pavilion is an active gesture, shaped by respectful moves away from the surrounding historic buildings, reaching out onto Wilshire Boulevard to create a new presence. Within the building, a series of interconnected meeting spaces at multiple scales provide ultimate flexibility for assembly while maintaining visual connections that establish outdoor indoor porosity and moments of surprise encounters.” The pavilion will hold three distinct gathering spaces throughout, including a main event space, smaller multi-purpose room, and a sunken garden. Each of the interior spaces will be stacked vertically and arranged to give visitors specifically framed views, while remaining interlinked. The scattered openings across the pavilion’s hexagonal façade are meant to filter light to each gathering space while also reorienting guests to the rest of the campus. “Audrey Irmas Pavilion, designed by OMA—the firm’s first cultural building in California—will offer an irresistible invitation to gather, celebrate, learn and reach out to others,” said Rabbi Steve Leder in a statement. “In a city so large and diverse, we need community, and we need inspiring, welcoming places. Los Angeles deserves a modern masterpiece devoted to bringing people together, located in the heart of the city’s most diverse neighborhood. We are very proud that Wilshire Boulevard Temple will be a vital part of a cultural, religious and socially conscious conversation that is defining 21st Century Los Angeles.” The Audrey Irmas Pavilion is named after philanthropist Audrey Irmas, who spearheaded the capital campaign for the project in 2015 with a $30 million donation. The L.A.-based Studio-MLA will be serving as the project's landscape architect, while Gruen Associates are cited as the executive architect. OMA expects to break ground on the center this year, with plans to open in 2020.
Solomon Cordwell Buenz, TCA Architects, and developers Carmel Partners have unveiled renderings for the 1,210-unit Cumulus development, a new mixed-use project slated for the former KLOS and KABC radio broadcast facilities at the La Cienega/Jefferson Expo Line stop in Los Angeles. The tower-and-slab project will bring a cluster of seven-story courtyard apartment blocks as well as a 30-story housing tower to a transit-adjacent area currently populated mostly by industrial structures and single-family homes. The structures will feature ground-floor retail spaces and will also surround a new one-acre public park designed by Studio MLA. Renderings for the 11-acre project depict the mid-rise apartments laid out in a perimeter block formation, with the central green wrapped by an internal street and overlooked by the units above. The apartment blocks themselves are sheathed in various finishes and feature articulated massing, shifting floor plates, and collected amenities along various rooftop levels. According to a draft environmental impact report, the development will contain 300,000 square feet of commercial floor area, including 200,000 square feet of office space, 50,000 square feet of grocery store, 20,000 square feet of restaurant space, and 30,000 square feet of general retail. Despite being located along a transit stop, the project contains 2,371 vehicle parking stalls for all the combined uses that are arranged throughout the complex in a five-level parking podium. The project will also contains 1,500 bicycle parking spaces located in an indoor bike room. The apartment tower has its own dedicated two-story parking podium and does not connect to the mid-rise blocks. The tower is slated to rise 330 feet and will join the forthcoming 17-story (W)rapper tower coming to the area by Eric Owen Moss Architects. Urbanize.la reports that excavation for the project’s parking is set to begin in two months. A final construction timeline is not available
Cyprien Gaillard’s 3-D “Nightlife” offers mesmerizing look at cities and their histories of resistance
Marcel Duchamp Prize-winning artist Cyprien Gaillard’s film Nightlife (2015), currently on view for the first time in the United States at Gladstone Gallery in New York, is a portrait of the living city. Gaillard, who was born in Paris and lives and works between New York and Berlin, practices across media, including photo, film, and sculpture. He is known for his meditations on memory, history, and failure—including work on the legacy and present of modern architecture. His latest film, Nightlife, was filmed with advanced imaging techniques and drones, and the camera flows and glides between close-up, abstract shots to floating arial views with ease. Upon entering the gallery, a nautilus shell in a recessed light box mounted in a black wall marks the entrance to the screening area. Viewers are offered 3-D glasses, which enhance the hallucinatory, ecstatic nature of the piece. Though comprising seemingly abstract shots—swaying trees, fireworks, city streets, aerial views of buildings, all, of course, shot at night—the film is deeply allegorical, telling a complex history of revolution and resistance through objects, plants, and buildings that live and breathe as characters. Presented without caption or narration, the film advances in what might be described as four acts through Cleveland, Los Angeles, and Berlin, coming full circle in Cleveland again. The film opens on an almost indiscernible closeup of a plant before moving on to Rodin’s The Thinker, outside the Cleveland Museum of Art. The spinning camera revels in the sculpture’s apparent decay, the result of a 1970 bombing by the radical left-wing organization the Weather Underground. Nightlife then advances to Los Angeles, where it depicts dancing, rioting trees on the streets of the city—primarily the Hollywood Juniper, a non-native species that has been a recurring motif in Gaillard’s work. Shored up against the architectural forms, the trees not only trouble the boundaries of natural and artificial, but also evoke notions of indigeneity, migration, and belonging. The trees' movements might also be read more explicitly as a reference to the so-called L.A. riots of 1992 and to other forms of civil action and resistance. Though arguably all of Nightlife depicts the city as protagonist, the most explicitly architectural moment is the third act, which features the Berlin Olympiastadion. Built for the 1936 Olympics, the stadium served as a monument to the Third Reich. It now functions as a space for a variety of events, including an annual fireworks competition, the Pyronale, which is displayed in the film in explosive technicolor. The film returns to Cleveland, landing on American runner Jesse Owens's Olympic oak tree planted at the Ford Rhodes High School. Owens, whose four gold medal wins as a black athlete at the 1936 Olympics in Nazi Germany flew in the face the Third Reich’s extensive racist propaganda campaign, was awarded an oak sapling for each of his gold medals (the oak tree serves as a symbol of Germany). In lieu of the sound of its settings, the film loops a sample of Alton Ellis's Blackman's Word (1969) throughout, its repetition pulling the viewer into Nightlife’s self-contained world even more completely and unifying the disparate scenes. (Originally featuring the refrain “I was born a loser,” it was re-recorded in 1971 as “I was born a winner.” Critically, both versions feature in the film.) Not merely a vibrant portrait of cities at night, Nightlife traces the residue of history left on the landscape—be it "natural" or built. Nightlife originally appeared at Sprüth Magers in Berlin and is on view at Gladstone Gallery through April 14th. Cyprien Gaillard: Nightlife Gladstone Gallery, 530 West 21st Street,New York, NY Through April 14th
Earlier this week we learned that Los Angeles Times architecture critic Christopher Hawthorne would be stepping down to take on the city’s newly-created role of Chief Design Officer. The move is a bold, encouraging one that should go a long way toward, as Hawthorne put it, “raising the quality of public architecture and urban design across the city—and the level of civic conversation about those subjects,” through his employment of oversight, advocacy, competitions, forums, and more. But it’s the second part of that statement, regarding civic conversation, that, regardless of this positive development, is under siege in the architecture world. Until Hawthorne is replaced — and given the turmoil at the L.A. Times that’s no certainty— our country will have still fewer regular architectural critics at its major metropolitan news outlets. You can count them on one hand in fact: Blair Kamin at the Chicago Tribune, John King at the San Francisco Chronicle, Mark Lamster at the Dallas Morning News, Julie Iovine at the Wall Street Journal, and Inga Saffron at the Philadelphia Inquirer. Beyond these dailies, while New York Magazine’s Justin Davidson and Curbed’s Alexandra Lange offer regular critiques, the New York Times’ critic Michael Kimmelman is M.I.A., the New Yorker has never replaced Paul Goldberger, and at The Boston Globe, The Miami Herald, The Nation, The San Jose Mercury News, and Vanity Fair, Robert Campbell, Alastair Gordon, Michael Sorkin, Alan Hess and Goldberger—all talented voices, as are all the people listed above— haven’t appeared for at least half a year. Papers like The Seattle Times, the Providence Journal, and the Washington Post never replaced their outgoing critics, USA Today has never had one, and half of the nation’s ten largest cities have no critic. It goes without saying that the L.A. Times absolutely must name a new full-time architecture critic, particularly at a time when the nation's second largest city is undergoing unprecedented transformation. Without a well-positioned critical voice, the city will lack a professional to alert them to and analyze these tumultuous built changes, or an advocate to critique decisions that, as they so often do in the developer-driven city, advance private interests over the public good. (Or, on the other end of the spectrum, marginalize design through discourse and work that most people can't relate to.) A critic can and must do much more, from awakening us to triumphs in sustainability and technology to suggesting ways to minimize sprawl or enhance public space. We don’t have to always agree with them, but he or she plays an essential role in instigating and informing a vital public discourse and to alerting us to the critical role design plays in our lives. The same goes for so many of the country’s cities, where nobody is minding the store, architecturally. The results speak for themselves: an overwhelming majority of architecture, both public and private, that’s ok, fine, serviceable. But not enough. It’s an architecture that, like most of our economy, excels for the very richest individuals, corporations and cultural institutions, but offers mediocrity to almost everyone else. Architecture should and must be for everyone, across the board, from housing to retail to schools to government buildings to civic parks. It must help propel our society, and our spirits, forward through inspiration and innovation, not just provide luxury, comfort, or status. Of course, architecture criticism isn’t limited to major commercial outlets. There are fantastic voices at many design periodicals, like this one. But critics at general interest publications still, even in this fractured media landscape, have the greatest ability to reach a wide audience, outside the bubbles of design or niche journalism, who are often preaching to the converted. While the news, sports, fashion, entertainment, and financial media promote and dissect the minutiae of their fields before millions, prompting debate, feedback, and change, the architecture and construction industry — a significant force in overall U.S. GDP—is largely on the fringe of the public conversation. (One example: If you watch March Madness this week, you’ll see more college basketball critics on one telecast than you’ll find countrywide speaking to architecture. Aline Saarinen was once NBC News’ full time architecture critic, but those days of elevated exposure are long gone.) Meanwhile, critics, as with so many players in the ailing journalism world, are increasingly being sidestepped for computerized engines like Rotten Tomatoes or for blogs that aggregate other work and churn out press releases. Or even worse, for abbreviated Facebook or Twitter posts. Algorithms and big data have their place in showing us where we are, but they can’t replace analysis, critique, understanding, common sense, and heart. Having Hawthorne— along with advocates like Deborah Weintraub at the L.A. Bureau of Engineering and Seleta Reynolds at the L.A. Department of Transportation— stationed at City Hall will be bring a keen eye and a valuable voice to the official conversation. But that conversation needs to extend to a much wider public, through experts outside the city payroll. As for his new job, Hawthorne must, as he suggests he will, make his work to improve the civic realm as public as possible, ensuring that design involves everyone, not just those in power. This is a fantastic opportunity for a gifted communicator to bring the public inside a generally opaque realm through his writing, speaking, and facility for public engagement. But he also needs a partner or two (preferably more) in the media, and as more chief design officers (hopefully) pop up around the country, so must they. Architecture is not art in a gallery. Along with landscape architecture and urban design, it is a public profession. It is for the public, not despite them. We need to empower more informed voices to keep it that way.
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Over sixty years ago the original Wilshire Grand Hotel opened as the Hotel Statler, thanks to the City of Los Angeles, which issued the largest single building permit in their history for the construction of the $15 million project. That landmark legacy continues today, as the new 1,100-foot-tall Wilshire Grand tower lays claim to being the tallest building in Los Angeles, the tallest building in California, and the tallest building west of the Mississippi River. The tower formally breaks from a 1974 ordinance requiring towers to have flat roofs for helicopter rescue in the event of fire. A tapered form was permitted due to advances in fire safety and building technology, such as a reinforced concrete central core that exceeds the city’s current fire code. The facade features a fully integrated, centrally controlled experiential LED lighting developed by StandardVision. The linear fixtures were custom made per floor, and installed throughout each of the tower's 73 floors. One centrally controlled system ties the entire system together. This allows possibility for the facade for incorporate full motion video, artwork, accent lighting, and brand signage as desired. All linear accent lighting was integrated into the glazing panels, and the fixtures were pre-installed in the facade contractor’s shop prior to site delivery. This unitized approach minimized staging time on-site and allowed for a smooth installation workflow. Joshua Van Blankenship, vice president of media platforms for StandardVision, said this was one of the biggest challenges of the project. Another technical challenge was to ensure lighting occurred seamlessly despite traveling over expansion joints in the facade and encountering over 200 parametrically controlled panel widths. “Resolving these two factors with Benson [the facade contractor] allowed us to save tens of thousands of man-hours in exterior installation, and focus our budget on providing the technology solution the architect wanted without a single SV change order,” he said.Penetrations through the building envelope were reduced to a singular point per floor level. A small kick plate access hatch offers accessibility from the interior. This utility space houses LED drivers for the fixtures and wiring for the system. The detailing and design coordination of this moment in the facade went through rigorous proof of concept water-testing to ensure performance. Van Blankenship credits a close design-build relationship between documentation and fabrication teams at Benson and StandardVision for the success of the integrated lighting system. “Our designers in L.A. were regularly working these shifted-hours to have time to overlap with Benson's Singapore team, and by the end of the process, we were incredibly efficient in defining how our respective scopes were going to relate.” he said. “Throughout this entire process AC Martin, Turner and Rosendin (the electrical contractors) were great partners in helping to make this hybrid system work.” Wilshire Grand’s lighting system highlights a robust curtainwall system that was optimized for California’s seismic loads and solar gain. Thornton Tomasetti developed a parametric facade panelization model that consolidated and synchronized information in required for architectural documentation and specialty construction. Concurrently, Glumac developed energy models and shading studies throughout the design process to study building envelope performance. The models take into account shade from DTLA’s surrounding context cast onto the tower, proposing a series of varied fin depths along the south facade. This level of study saved curtain wall material while maximizing the shading potential of the building envelope. California’s Title 24 energy code limits glazing to 40 percent window-to-wall ratio (WWR), but with these advanced parametric modeling and analysis tools, the design teams were able to demonstrate a larger WWR of 50 percent could still outperform California code baseline through careful specification of glazing material, insulation values, and shading schemes.
While much of the buzz surrounding the Academy Awards centers on the winners and the red carpet, there's one thing all eyes are sure to be on: the stage. And that's why the Academy has gone all out this year, with a maximalist fantasy of a set design to honor the awards' 90th anniversary, which takes place on Sunday, March 4. The crystal confection is the brainchild of Derek McLane, a Tony and Emmy award–winning scenic designer who incorporated a whopping 45 million Swarovski crystals into the design. This is McLane's sixth time designing Hollywood's most-watched stage, and it's his most ambitious–and abstract—yet. The centerpiece of the design is a crystalline proscenium, made of octagonal tiles blending crystal, metal, and mirror, while the stage itself is a dynamic design that will shift throughout the event, thanks to a combination of physical and digital effects. And, fittingly for the Oscars' 90th anniversary, the stage design pulls inspiration from a wide range of references from throughout film history, from classic Hollywood Regency design to Art Deco. It's too soon to call it, but the stage might just be the night's best dressed.
Officials in Los Angeles broke ground late last week on the second leg of a long-planned 9.1-mile extension of the city’s Purple Line subway. The so-called Section 2 extension will bring an additional 2.59 miles of underground track and two new stations to the line in addition to the 3.92 miles currently under construction for Section 1 of the extension, The Source reports. The Los Angeles County Metropolitan Transportation Authority (Metro) began construction on the Section 1 extension in 2015 and is currently 30 percent done with work on that leg. Work on Section 1 is expected to be completed by 2023, with Section 2 wrapping up in 2025, and a planned Section 3 completed the following year. Metro is aiming to finish the entire 9.2-mile extension before the year 2028, when Los Angeles is due to host the Summer Olympics. Section 1 of the extension will thread the heavy rail line to the intersection of Wilshire Boulevard and La Cienega, just west of the Los Angeles County Museum of Art campus. Sections 2 and 3 will bring the line to Century City and the Veterans Administration campus in Westwood, respectively. Metro recently awarded a $1.37-billion construction contract to joint venture contractor Tutor Perini O&G to build the Section 2 subway; Another joint venture contractor—Skanska-Traylor-Shea—is building Section 1. Work on the line has already begun to impact the areas around the extension, with many new high-rise projects currently in the pipeline for sites immediately surrounding Wilshire Boulevard. The expansion has also spurred new construction of luxury-oriented housing adjacent to existing stops, as well. During a public presentation earlier this month, Metro officials detailed construction activity for the extensions, providing an update on utility relocation work, detailing which street tree specimens would need to be removed—and replaced—to facilitate construction, and also debuted preliminary renderings for the above-ground elements of several new transit stations. Renderings for these new stations depict glass canopy-topped subway entrances surrounded by hardscaped plaza spaces. Next, Tutor Perini O&G and several utility companies will work on reorganizing the maze of pipes and conduit below city streets for Section 2 areas, while work on a staging site that will be used to begin drilling the subway tunnel takes place. Work on the Section 1 extension will continue as planned.
Pre-Hispanic revivals—from the Aztec, Maya, and other civilizations—were popular in California during the 1920s and 1930s in the design of theaters, hotels, furnishings, and jewelry, but such engagements with the Mesoamerican past had other fascinating manifestations from the 1950s to the 1970s. This panel will explore the new ways artists used pre-Hispanic imagery to mark regional and cultural identity, whether as emblems of defiance by the Chicano civil rights movement or symbols of timeless craft traditions. Moderated by LACMA associate curator Megan E. O’Neil, the panel includes University of Pittsburgh assistant professor Jennifer Josten, UCLA Fowler Museum chief curator Matthew Robb, and artist Judithe Hernández.
Los Angeles–based Omgivning, though only nine years old, is already well known when it comes to adaptively reusing some of L.A.’s most historic structures. The firm’s name—taken from the Swedish word for “ambiance”—was started by Karin Liljegren in 2009 after she spent 15 years specializing in adaptive reuse projects, including the revitalization of Downtown L.A.’s Old Bank District, at Killefer Flammang Architects. Liljegren’s office grew out of a desire to “help people connect to something” in their built environment, as she explains it, a concept the designers use to push the limits of adaptive reuse. The office has worked on over 250 projects, everything from two-million-square-foot behemoths to tiny coffee shops, and it currently has a slate of impressive designs in the pipeline that will help reshape how Angelenos live and work in their city. Broadway Trade Center Omgivning is currently working on a 1.1-million-square-foot restoration of the Broadway Trade Center in Downtown Los Angeles. The five-story Beaux Arts–style structure—designed in 1908 by Alfred Rosenheim as a department store—has been underutilized since the 1970s. Omgivning is repurposing the building into a mixed-use complex that will contain storefronts and a food hall along the ground with 400,000 square feet of creative office spaces on the levels above. The architects will also add a series of rooftop structures to the complex, housing a private social club, a 100,000-square-foot hotel, and two roof decks. Though the project will contain two separate rooftop pools, designs are being carried out in a somewhat open-ended fashion in anticipation of potential market shifts that could require the complex to be reorganized in the future. Sears Building The office is also working to reconfigure one of the city’s most recognizable landmarks: the Sears, Roebuck & Company Mail Order Building designed by George C. Nimmons, in Boyle Heights. The art deco megastructure contains 1.8 million square feet of interior space and is made up of eight separate structures all contained under one roof. For the project, Omgivning is carving nine light courts into the ten-story building to bring in daylight and accentuate each of the building’s discrete sections. The light courts will create massive indoor atria while also allowing for the restoration of the original facades along each of these exposures. The massive development will act as a “city unto itself,” Liljegren explains, adding that the scale of the project is such that it can support a wide array of uses, like restaurants, 100,000 square feet of retail, 200,000 square feet of creative offices, 1,030 residential units, and a 130,000-square-foot rooftop. Broadway Lofts Omgivning’s recently completed Broadway Lofts project brings 58 live-work units to an adaptively reused six-story historic office building in Downtown L.A. The complex is packed with multilevel lofts that are connected via new light wells, similar to but at a much smaller scale than the light wells planned for the Sears building. The wells, spanned by new glass bridges and highlighted with floor-to-ceiling window assemblies populated by colored glass, bring interior views and daylight to each of the units. The arrangement allows for each of the 650-square-foot units to receive daylight from two directions. Don Francisco’s Coffee The office also works at the small scale, as evidenced by the tropically inspired designs for the 4,500-square-foot Don Francisco’s Coffee storefront in the historic Spring Arcade Building in Downtown L.A. The white-walled Cuban-themed cafe features wooden midcentury modern furniture, decorative tilework, and gold-topped tables strewn about a long, narrow space. The soaring volume is divided up by concrete structural columns, while a pair of arched doorways frame a separate study room lined with tropical plants.