Downtown Des Moines, Iowa, courted an all-star list of architecture firms for a new $92 million corporate headquarters that has the unfortunate baggage of being helmed by the world’s most cringe-inducingly named and spelled convenience store chain, Kum & Go. BIG, Morphosis, SOM, Bohlin Cywinski Jackson, Renzo Piano Building Workshop, and Safdie Architects all competed for what CEO Kyle Krause is calling Des Moines’ next landmark. And that landmark is going to be designed by the Piano man himself. According to the Des Moines Register, the convenience store was attracted to Piano's "ability to emphasize collaboration, transparency and light." The new building will be located between 14th and 15th streets north of the Pappajohn Sculpture Park, and locals hope the new building will take a back seat to the art on display that includes works by the likes of Jaume Plensa. The headquarters will house 300 employees in some 120,000 square feet and is expected to be complete in 2017. "What we want to do is create the best environment for our associates," Krause told the Register. "Architecturally, sure, they'll do a great job, but it's really about that inside space and what you can create inside the building that is best for our people." He added that Piano is "a great down-to-earth guy who we think can create the space that creates the transparency, the collaboration, the openness for our people to have a nice work space." Eavesdrop can’t be the only one who feels uncomfortable gassing up at this midwestern roadside retailer—but maybe a work of starchitecture can change our minds.
Posts tagged with "Morphosis":
In a previous Eavesdrop, we reported that the famous Morphosis-designed restaurant Kate Mantilini in Beverly Hills was chafing at city plans to landmark the premises. Well it appears the problem may have been resolved. Eavesdrop heard over cocktails that Morphosis itself has been tagged to do the restaurant’s renovation. No official word yet, but this seems like a natural fit, doesn’t it?
The facade's stainless steel panels form a wave pattern, cutting down on glare and heat loads while representing the contribution computing has made to design.The recently completed Bill & Melinda Gates Hall at Cornell University in Ithaca, New York, combines the schools’ Computing Science and Information Science departments under one roof. Designed by Morphosis, the facility encourages spontaneous interactions between these two disciplines with common spaces for comingling and transparent partitions that allow views, and daylight, to pass from space to space. The building envelope, a unitized glass curtain wall system, is wrapped in a band of perforated stainless steel panels that forms a dynamic, angular wave pattern across the surface. In addition to creating a sense of movement across the exterior, it serves as a fitting symbol of the contribution that computing has had on the arts and sciences: The architects used advanced digital modeling tools to design the geometry, pattern, and details of this additive layer, and made it to function both as an aesthetic gesture as well as a performance enhancing element of the architecture. “The goal was to establish a consistent level of daylighting throughout the interior,” said Cory Brugger, director of design technology at Morphosis. “We maximized the exterior glazing to get the light coming through. The design of the screen reduces the amount of glare and heat gain and starts to help with the performance of the facade system itself.” Located between Cornell’s historic Barton Hall and Hoy Field, Gates Hall fits 100,000 square feet of program in fives stories on a site roughly 150 feet long by 80 feet wide. “It’s a fairly squat building with a large foot print,” said Brugger. “So what we wanted to do was find a way to give some break on the facade.” The metal screen forms a band that covers the second through fourth floors. The first and fifth floors are fully glazed. At the main entrance on the building’s west side there is a large cantilever covering an entry court with some indigenous plantings and sculptural precast concrete “rocks.” Here, the facade becomes an integral part the overall massing of building, breaking down proportions of footprint and creating a sense of motion, giving the sense that structure is coiled to pounce across the road. Morphosis specified a YKK YUW 750XT 4 sided SSG unitized curtain wall system outfitted with a Viracon VNE 24-63 double glazed insulated glass unit. Ithaca does have a heavy winter, and heating days predominate over cooling days for the facility. To optimize the daylight/insulation ratio, the architects intermixed fully glazed panels with insulated spandrel panels. “There’s an alternation between full glazing and spandrel panels that helped us balance the environment and meet our efficiency target,” said Brugger. “It’s not fully glazed everywhere.” The curtain wall’s aluminum mullions are reinforced with steel, giving them the necessary stiffness to support the screen system. Morphosis designed the screen system in its own proprietary software program and used Rhino with Grasshopper to do the visualization. To coordinate fabrication of the panels with Zahner in Kansas City, the architects worked with CATIA and Digital Project. Zahner fabricated the screen panels out of 316 stainless steel. There are 457 panels total, in 13 different types, that bolt back to the vertical mullions at one of three elevations. The perforated panels have an angel hair finish. “It’s a non-directional finish takes away most of the gloss of stainless steel and gives it a little more depth in reflectivity, kind of a clean, matte finish,” said Brugger. “It still has a certain luster and gloss, but it cuts down on glare.” W&W Glass installed the facade, first putting up the YKK curtain wall and then erecting the screen system in a second pass. “We couldn’t unitize the two systems because they’re quite large and differently sized,” said Brugger. “Each stainless panel takes up two curtain wall modules.” The curtain wall modules are 5 feet 9 inches wide, whereas the stainless panels are 10 to 12 feet wide. The panels are set at different angles across the facade depending on solar orientation, with those on the south face at the most obtuse angle to create the deepest ledge for shading. This variation around the building envelope creates visual interest and expresses the computational nature of the design.
One of Morphosis’ earliest projects, the Beverly Hills restaurant Kate Mantilini (1986), is now up for landmarking by the city of Beverly Hills. We hear that Beverly Hills Mayor Lili Bosse is obsessed with getting this done, but ironically the restaurant’s owners are not so happy about it. The rumor mill says they’re afraid of being locked into a design forever. Especially one from the 80s. Imagine if someone told you that you had to keep your 80s hair for the rest of your life?
A group of Cooper Union professors, alumni, and students has filed a lawsuit against the school’s Board of Trustees over its decision last spring to start charging undergraduate tuition at the school. At the time, the board said the cash-strapped institution had no choice but to break their long-held tradition of offering free arts and architecture education. They announced that the change would go into effect this coming fall, and that tuition would be set on a sliding scale. The group who filed the suit—the Committee to Save Cooper Union—is attempting to block this change before new students arrive this fall. The committee is also calling for an audit into the school’s finances, which they allege have been grossly mismanaged. According to the New York Daily News, "the scathing Manhattan Supreme Court documents accuse the school’s leaders of spending on fancy new buildings, borrowing more money than the school could afford and losing tens of millions by investing in a trustee’s own hedge fund." One of those "fancy new buildings" is the school’s gleaming, 175,000-square-foot structure designed by Morphosis that opened five years ago. A spokesperson for Cooper Union said, in part, "we are disappointed that the Committee to Save Cooper Union would choose costly litigation over constructive conversation."
In November, the Los Angeles City Council named Armet & Davis' Johnie’s Coffee Shop, the restaurant at the corner of Wilshire and Fairfax, a historic cultural landmark. That’s a win for preservationists concerned with the legacy of the Googie style, the auto-oriented, steel-and-neon aesthetic that spawned diners and coffee shops across Southern California from the 1940s through the 1960s. It might also give a leg up to locals interested in seeing Johnie’s returned to its original use. Because Johnie’s Coffee Shop isn’t a coffee shop, and hasn’t been for over a decade. Since 2000, it’s been closed to the public and used exclusively for filming. The restaurant’s film credits, both before and after its conversion to a 24/7 theatrical set, include The Big Lebowski and Reservoir Dogs. But while the best use for a building like Johnie's might have a stronger community orientation, in the meantime its co-optation by the film industry isn't all bad. When it takes over a building, the film industry buys time for preservationists and others hoping to breathe new life into an under-used landmark, Adrian Scott Fine, Director of Advocacy at the Los Angeles Conservancy explained. "It's kind of an advantage that Los Angeles has over other cities," he said. In addition, "People discover buildings through film," Scott said. "Johnie's, some of the films it's been in, it's clearly the star of the film." Approximately two years ago, the Los Angeles Conservancy honored Mad Men and its creator, Matthew Weiner, for the way in which it showcases midcentury modern architecture. Weiner has been active in efforts to preserve Los Angeles landmarks, Fine said, and the show has featured preservation-themed plot lines, including the demolition of New York's Penn Station. This all got us thinking: what other LA architectural landmarks are now used primarily as stage sets? The answer, it turns out, is quite a few. From one of Julia Morgan’s earliest Hearst commissions to a 1958 Pereira & Luckman high-rise, here’s our list of Los Angeles masterworks currently in the hands of the film industry. Herald Examiner Building (Downtown, Broadway and 11th Street) Media magnate William Randolph Hearst commissioned 2014 AIA Gold Medal recipient Julia Morgan to design a new headquarters building for the Los Angeles Examiner newspaper in 1913, ten years after the paper’s founding. When the Herald Examiner, the Los Angeles Examiner’s successor, went under in 1989, the Hearst Corporation held on to the structure. In 2008, Brenda Levin (who cites Julia Morgan as her role model) was set to renovate the building—but then the economy tanked. Plans to rehabilitate the building, and build two Morphosis-designed residential towers adjacent to it, were put on indefinite hold. Today, the Herald Examiner building is used exclusively for filming. Scenes in The Usual Suspects, Dreamgirls, Spider-Man 3, Zoolander, Castle, Bones, and It’s Always Sunny in Philadelphia, plus music videos by Eminem, Shakira, and Christina Aguilera were shot there. Interior location sets include an apartment, bar, jail, and police station. Park Plaza Hotel (Westlake, 607 South Park View Street) Art Deco and Corporate Moderne architect Claud Beelman designed the Park Plaza Hotel as Elks Lodge No. 99 in 1925. During the 1932 Olympics, the building hosted several indoor swimming events. The Park Plaza, which is listed as a Los Angeles historic-cultural landmark, features four ballrooms: the Grand Ballroom, whose decorated ceiling beams were modeled after a palace in Florence; the Art Deco Terrace Room, formerly the Elks Lodge meeting room; the Bronze Ballroom, distinguished by its copper-gilded columns; and the smaller Gold Room, named for the gold-leaf detail on its Corinthian columns. Both indoor and outdoor spaces, including the Tuscan Patio, can be rented for filming, weddings, and other events. Greystone Mansion (Beverly Hills, 501 Doheny Road) The lavish Beverly Hills estate known as Greystone Mansion was designed by Gordon B. Kaufmann beginning in 1925 for Edward Laurence Doheny, Jr., son of Los Angeles’s original oil magnate. Kaufmann, who would go on to design both the Hoover Dam and the Los Angeles Times building, designed the fifty-five room mansion in the Tudor style. The estate gained notoriety soon after construction finished, when Doheny, Jr. was found dead of an apparent murder-suicide. The City of Beverly Hills purchased the property in 1955, and built a reservoir on the site. The grounds of the mansion are open to the public, while the interior is available for filming and events. Greystone Mansion is featured in movies including The Muppets, The Social Network, What Women Want, Air Force One, and Ghostbusters. Los Angeles Theatre (Downtown, Broadway and 6th Street) In the ultimate Hollywood irony, the Los Angeles Theatre now just plays one on TV. The film palace was designed in 1931 by S. Charles Lee, after the Fox Theatre in San Francisco. A popular theater designer, Lee’s other Los Angeles buildings include the Alex Theatre, the Saban Theatre (formerly the Fox Wilshire), the Star Theatre, and the Tower Theatre. The Los Angeles Theatre, which the Los Angeles Conservancy calls “[t]he most lavish . . . of Broadway’s great movie palaces,” features a six-story lobby with a Louis XIV-inspired sunburst motif, plus a glass-ceiling ballroom and a nursery decorated with a circus theme. The building is available for rent as a film location, and for special events, live stage performances, and film screenings. "[The film industry] has certainly been instrumental in keeping the theaters going, where historic theaters are certainly one of the most difficult [building types] to adapt," Fine said. "I'm not sure, if you look at other cities with historic theaters, if we hadn't had the filming industry doing things, we probably would have lost them." Los Angeles Center Studios (City West, 1501 W. Fifth Street) When the Los Angeles Center Studios’ original tower, designed by Pereira & Luckman, was completed in 1958, it was the tallest structure in downtown LA. Hexagonal in shape, the International Style building is entirely unornamented, except for the aluminum sunshades at the base of each window. By 1998 the building, which was originally designed as part of Union Oil’s headquarters, was threatened with demolition. A group of developers bought the complex and converted it into a full-service TV, film, and commercial production studio. The Pereira & Luckman tower is now dedicated to entertainment and creative office space.
Facades+ PERFORMANCE is only ten days away! Space is filling up fast, so don’t miss your chance to be part of this groundbreaking, two-day convergence of the industry’s leading innovators. Register today to take advantage of our exclusive educational opportunities, including a day-long symposium examining new perspectives on building skins and sustainable practices, and hands-on technical workshops in the latest design and analysis technologies that are revolutionizing contemporary architecture. And don’t forget about our in-depth, seminar-style dialog workshops, in which leading professionals from across the AEC industry sit down with you to discuss their most innovative recent projects. Space is limited, and some sessions are already SOLD OUT, so sign up today to reserve you seat! Join the movement that is changing the face of the built environment, only at Facades+ PERFORMANCE – Chicago, Oct. 24-25th! The conference kicks off next Thursday morning with a keynote address from founding principal of Behnisch Architekten, Stefan Behnisch, as he discusses the evolving role of building enclosures amidst ever-advancing technologies. The symposium will continue throughout the day as representatives from SOM, Thornton Tomasetti, Rojkind Arquitectos, and other leading firms will discuss the most pressing issues in sustainable, high-performance facades. Registered architects can earn 8 AIA LU/HSW credits. The following day, attendees can customize their schedules to best suit their professional goals. Sign up for two, half-day dialog workshops to join representatives from SHoP Construction, Gehry Technologies, Morphosis, and other industry leaders for intimate discussions of exciting, real-world case studies. Or register for our cutting-edge technology workshops, and join the experts for full-day, project-based instruction in the most relevant applications of breakthrough technologies, like environmental analysis with Grasshopper and Ladybug, and parametric facade design with Dynnamo for Revit—another exciting opportunity to score your AIA credits! For a complete schedule of events, check out the full Facades+ PERFORMANCE site.
October is upon us, which means that the Chicago edition of Facades+ PERFORMANCE is only a few weeks away! Be there as leading innovators from across the AEC industry converge on Chicago from October 24th and 25th at AN and Enclos' highly anticipated event to discuss the cutting-edge processes and technologies behind the facades of today’s most exciting built projects. Don't miss your chance to take part in our groundbreaking lineup of symposia, keynotes, and workshops, and work side-by-side with the design and construction visionaries who are redefining performance for the next generation of building envelopes. Our Early Bird special has been extended until Wednesday, so register today to save on this unbeatable opportunity! Join Neil Meredith of Gehry Technolgies as he examine the relationship between digital design methodologies and real-world construction and fabrication constraints in the complex, wooden ceiling of the Burj Khalifa’s lobby. With representatives from Thornton Tomasetti and Imperial Woodworking, Meredith will lead an intimate, interdisciplinary discussion of the innovative, on-site solutions that his team developed in order to deliver one of the most visible features of the world’s tallest building, so don’t miss out on this rare opportunity! With the deadline fast approaching, Mederith and his team at Gehry Technoligies worked with SOM, Imperial Woodworking, and Icon Integrated Construction to develop new systems, mid-construction, for the design and fabrication of the large, double-curved, wooden ceiling of the Burj Khalifa. Coordinating the work of architects, fabricators, and construction professionals through complex, shared parametric models, Meredith redesigned the ceiling system from the ground up using pre-fabricated, unitized panels to create its astounding, wooden forms. Join in the discussion to hear the rest of this dramatic AEC industry saga in the not-to-be-missed dialog workshop, “Designing for Wood Fabrication in Complex Geometries: The Burh Khalifa Ceiling,” and learn the technologies and techniques behind the creation of this historic project. After earning his Masters in Architecture from Univeristy of Michigan Taubman College of Architecture and Urban Planning, Neil Meredith taught and ran the Digital Fabrication Lab at his alma mater. Meredith earned hands-on experience with cutting edge design technologies and real-world construction challenges with Detroit-based design/build firm M1, the European Ceramic Workcentere in Holland, façade consulting office Front, and as founding partner of design and fabrication studio Sheet. In 2007 Meredith joined up with Gehry Technologies, the go-to design technology and consulting company for the industry’s leading architects. Through the pioneering use of the latest digital tools and processes, Gehry Technolgies has worked with world-class, visionary architects, like Zaha Hadid, David Childs, Jean Nouvel, and of course Mr. Gehry himself, to triumph in the realization of the truly innovative forms of some of the era’s most ground-breaking projects. Register for Facades+ PERFORMANCE today to take part in this and other exciting workshops and symposia. Featuring representatives from SOM, Morphosis, Thornton Tomasetti, and other industry-leading firms, this is one event that is not to be missed. Check out the full Facades+ PERFORMANCE site for the schedule of events and book your tickets now to start the next chapter in your professional career!
Anticipation is growing for AN and Enclos’ eagerly awaited Facades + PERFORMANCE conference, touching down in Chicago from October 24th to 25th. Leading innovators from the architecture, engineering, and construction industries will share their insights on the latest in cutting-edge facade technologies that are redefining what performance means for 21st Century architecture. Don’t miss your chance to join Cory Brugger, Director of Technology for Morphosis Architects, as he is joined by a group of industry specialists to lead an in-depth dialog workshop on expanding the idea of performance in the design, engineering, and fabrication of innovative building systems. "Traditionally, performance has been defined in singular terms," Brugger told AN, "but when it comes to delivering architecture, it can encompass everything from energy usage to fabrication technique. For us, performance is multifaceted and interdisciplinary. We have found that technology provides a platform for incorporating a variety of performance criteria in our design process, allowing us to create innovative architecture, like the Cornell NYC Tech project on Roosevelt Island." Set to open its doors in 2017, Morphosis’ winning design for the highly publicized Cornell Tech campus will be breaking ground on Roosevelt Island in the coming year. As part of this ambitious, 2.1 million square foot development, Brugger and his colleagues at Morphosis hope to earn LEED-Platinum certification by with their 150,000 square foot academic building by utilizing cutting-edge modeling techniques and an array of sustainable technologies. "In general, we are designing for extremely high EUI (energy use intensity) goals, which are being accomplished through the use of comprehensive models that integrate mechanical systems, day-lighting analysis, and architectural assemblies," said Brugger. "This effort is being supported by a 140,000+ square foot PV array that is integral to both the performance and aesthetics of the design. Other technologies include high performance facade systems, smart building technology, and geo-thermal wells." In conjunction with master-planners SOM and landscape architects James Corner Field Operations, Morphosis are working to create a new model for high-tech education in the information age by extending the definition of performance beyond traditional notions to incorporate far-sighted social and technological considerations. Reserve your space at Facades+ PERFORMANCE now to take part in an intimate discussion. Brugger will be joined my Paul Martin (Zahner), Tyler Goss (CASE), Matt Herman (Burro Happold), and Marty Doscher (Dassault Systèmes ) on Friday, October 25th at the Illinois Institute of Technology Main Campus in Chicago. Don’t forget to check out our other exciting key-notes, symposia, and workshops on the complete Facades+ PERFORMANCE schedule.
With the ongoing attacks on American interests in the past, the US Department of State's Bureau of Overseas Buildings Operations (OBO) has moved it’s government buildings from the heart of Beirut, to the calmer suburbs of the north of the Lebanese capital, specifically Awkar. OBO is currently evaluating a group of design teams to be commissioned for the design and construction of the new US embassy in Awkar, just 7 miles north of Beirut, and in close proximity to the existing embassy. Six firms participated in Stage 2 evaluations, and the list has now been shortened to three finalists. The three shortlisted teams are: Diller Scofidio + Renfro Mack Scogin Merrill Elam/AECOM Morphosis Architects The project site is approximately 43 acres, located on a steep hillside in a neighborhood of residential and light commercial uses. The new Embassy complex will include a chancery, representational housing, Marine residence, support offices and utility buildings, a parking structure, access pavilions, and a community center. OBO’s mission is to provide a safe, functional facility, while representing the best in American design and engineering.
The U.S. Department of State’s Bureau of Overseas Buildings Operations (OBO) has shortlisted six firms to design the new U.S. Embassy in Beirut, Lebanon. The new Embassy will be located in Awkar, about 7 miles north of the city center, in the vicinity of the existing Embassy. The new compound will consist of a chancery, support offices, a parking structure, Marine residence, Representational and staff housing, and a community center. Thirty-nine firms replied to the public announcement regarding the task of designing the center. The shortlisted firms are: · Diller Scofidio + Renfro · Mack Scogin Merrill Elam/AECOM · Morphosis Architects · Rafael Viñoly Architects · Steven Holl Architects · Yazdani Studio According to the OBO, the six selected submissions display an exceptional array of high-design projects, characterized by novel site and landscape plans, and a strong understanding of sustainability practices. The firms on the preliminary shortlist will bring together their technical teams to present comprehensive information on their companies and their credentials for the second evaluation stage. OBO’s Excellence in Diplomatic Facilities initiative sought out the project, which encompasses a holistic project development plan that aims to construct facilities that are exceptional in all aspects. OBO’s objective is to supply secure, practical facilities that signify American values and the best in American architecture, engineering, technology, and sustainability.
Ladies and gentlemen, we finally have a blood feud in Los Angeles. It seems that Los Angeles Times architecture critic Christopher Hawthorne doesn’t care for Thom Mayne’s work. At all. Reviewing his new Perot Museum in Dallas, he called the building, “One of the pricey, preening old breed.” Adding, “it is a thoroughly cynical piece of work, a building that uses a frenzy of architectural forms to endorse the idea that architecture, in the end, is mere decoration.” Hawthorne has used this vitriol on other Mayne buildings, like the Caltrans building and the Cahill Center at Caltech, which, he said, employs a “skin-and-stair strategy that allows the client to make the rest of the building—every interior office or gallery—conventional at best and banal at worst.” Mayne, not surprisingly, doesn’t appear happy. In a recent public tour of his new offices in Culver City, led by our friend and design journalist Alissa Walker, Mayne said he would not be allowing a local architecture critic to write about his new building for his firm’s offices—he was asking a science writer to do the story instead. “All local writers are horrible,” he said. “There are no good writers in Los Angeles.” We beg to differ!