Posts tagged with "NBBJ":
Like other cities across the country, Seattle has been suffering from a severe lack of housing supply that, over the long term, has caused housing prices and rents to skyrocket. A slew of big-budget, mostly luxury skyscraper projects are in the works, however, and aim to bring many more units online over the coming years, hopefully easing the housing crunch. It might seem confusing to counter high housing prices with luxury developments. But given a multi-decade-long trend of under-building, millenials’ stunted entry into the housing market, and the fallout from the foreclosure crisis of 2008, the only way to make prices (which have increased 35 percent over the last five years in the rental market) go down is simply to build more of everything.
In Seattle, the city’s Denny Triangle—just beyond the city’s downtown—has been the recent site of a tectonic shift in real estate and development. Architecture firm NBBJ is currently working on a huge, 3.3 million-square-foot corporate skyscraper campus for online retailer Amazon here that will span three city blocks and include three 37-story tall towers, two mid-rise office buildings, and a series of “biospheres” containing exotic plant specimens. The development has jumpstarted other housing and mixed-use projects along Denny Way and the surrounding streets, laying the groundwork for a new mixed-use tower district. This summer, Dean Jones, principal at Realogics Sotheby’s International Realty told the local NBC news affiliate, “In the next five years, Denny Way is going to feel a little bit more like Manhattan,” as he shared a video showing 26 high-rise projects currently in the pipeline.
Jones is part of the team tasked with promoting the new Nexus development, a 40-story Weber Thompson–designed condominium tower that broke ground earlier this year and will be completed in 2019. The project is the first high-rise condominium to begin construction downtown since 2012 and consists of a series of stacked boxes, each slightly off-axis from the one below. The tower’s shifting volumes conceal 383 apartments, designed in a variety of configurations, ranging from studio units to multi-bedroom dwellings. As of October, 80 percent of the units had been pre-sold.
Another development by Weber Thompson is located at 970 Denny, a 440-foot-tall mixed-use tower that aims to activate street-level areas along the Denny Way corridor with a pair of low-rise, seven-story tall office and commercial blocks flanking a mid-block tower. These smaller masses are articulated using brick cladding and large expanses of glass. They will contain 15,098 square feet of retail space, with storefronts and the apartment tower’s entrance marked by V-shaped column-supported steel canopies. The tower podium will be capped by a landscaped park, containing a freestanding pavilion structure, with a similar space located at the tower’s stepped apex. The structure will contain 461 apartment units and is being designed to LEED Silver standards. The tower itself is clad in expanses of curtain wall glass that feature operable windows. The complex is currently under construction and is set to open in 2018.
Nearby, Zimmer Gunsul Frasca Architects (ZGF Architects) are working on a two-building complex: the 11-story Tilt49 office tower and the 41-story AMLI Arc housing tower. The office building will feature 300,000 square feet of space, with the ground floor containing retail. Right next door, the $115-million AMLI Arc tower will contain 393 apartment units, a 509-stall underground parking garage, and amenity spaces on the 12th and 41st floors. The tower will offer different apartments types, including an industrially-inspired model and another unit type with more upscale, “condo-quality finishes.” The residential tower is aiming for LEED Gold certification. Construction is well underway for both buildings and is slated for completion sometime in 2017. The project is being built by Mortenson Construction’s Seattle office.
Lastly, the 41-story tall McKenzie Tower by developer Clise Properties and designed by Graphite Design Group will be located diagonally across from the new Amazon tower complex. It will feature 450 residential units and 8,000 square feet of retail. The elliptical building is designed to maximize views from within each unit, presenting a wide-set gaze over the city. The tower’s shape will also minimize the monolith’s impact on surrounding viewsheds. Like the other schemes mentioned here, the tower will rise out of a low-rise podium and will be clad in glass curtain walls.
These transformative projects portend the growing influence of the region’s technological powerhouses on the built environment. With Amazon and others adding thousands of new jobs at a steady clip, it seems like Seattle-based architects and developers will keep working like this for a long time.
Though digital modeling and documentation tools have been an integral part of architectural practice for decades, until recently, visualization tools hewed closely to traditional elements of two-dimensional representation. Several firms and independent practitioners, however, are striving to adopt virtual reality (VR) as a design tool.
At the corporate level, established firms like Gensler and NBBJ are setting up in-house VR departments and standing to benefit from their corporate heft and connections.
NBBJ’s Seattle office recently launched a business partnership with construction industry start up Visual Vocal to incubate and develop what the firm referred to as a “breakthrough virtual reality productivity platform.” The tool aims to streamline the firm’s collaborative design process by allowing clients on-demand access to project information and design updates. NBBJ Managing Partner Steve McConnell described the firm’s approach in a press release: “This partnership will radically shift the way design feedback is sourced and integrated into projects, and the speed at which it can be done. As a result, we can more broadly and deeply engage project stakeholders.… Virtual reality will deepen design discourse and bring together communities in new and exciting ways.”
Gensler’s Los Angeles office has taken the opposite approach, creating a virtual reality department that engages with existing VR technologies, looping the latest design tools into Gensler’s corporate workflow as they come online. Gensler’s San Francisco office utilized VR to create a highly detailed climate model as it designed a new headquarters for computer graphics card maker Nvidia. Alan Robles, experience designer in charge of VR technologies at Gensler’s L.A. office, described the firm’s efforts as an attempt to streamline the use of VR as a design tool, calling VR the “next logical evolution for rendering technologies.” Gensler integrates VR into its workflow early in the conceptual diagram stage while also pairing Unity software with Autodesk Revit later in the process to bring designers and clients directly into a working digital model where design options can be updated in real time.
The firm’s VR capabilities are also being utilized in the ongoing design of the new Los Angeles Football Club stadium in South Los Angeles, where Gensler’s team was able to integrate VR design approaches early into the design process to communicate possible sponsorship opportunities and overall project concept. VR is incorporated into the conceptual design phases, making Gensler’s approach toward VR basically one of normalizing the technology as a design tool. The evolution of project concepts in VR takes off from there, with the technology being deployed as necessary to convey design intent. These efforts result in a custom app made by Gensler’s in-house team that clients can use as a personalized marketing and development tool.
Operating in a parallel stream, a school of emerging designers has taken up VR as a key visualization and production tool.
Güvenç Özel, principal at Özel Office, made use of VR in a recent competition proposal made for NASA. His NASA 3D-Printed Habitat project, runner-up in the competition, creates a VR environment to convey its design intention and functionality. The project, showcased at the Architecture and Design Museum’s recent exhibition, Come In! DTLA, allowed observers to wear VR headsets to explore the scheme: A space capsule 3-D-printed from martian rock and occupied as an operating base for astronaut-explorer scientists.
Özel, who spoke to AN via email, described VR’s potential impact on architecture in no uncertain terms, saying, “The immersiveness of these digital environments are becoming so convincing that they start to exist as environments in their own right. I am convinced that the architecture of our near future involves physical and digital spaces superimposed on each other, and will further blur the lines between what is interface design and what is architectural design.” Designer Devin Gharakhanian, in collaboration with VR specialist Nels Long, presented Room XYZ at this year’s One-NightStand L.A. showcase, utilizing VR to recontextualize an all-white room into a variety of experiences. The project, in a different iteration, places the viewer into a precise, virtual recreation of an elaborately staged room. For the two architecturally-trained artists, the works serve to explore existential architectural issues directly.
Adding to this inertia, is a growing stock of interdisciplinary, VR-focused coworking spaces and organizations that are coalescing across L.A., where the edges of the visualization, filmmaking, and architectural professions run into one another, like Virtual Reality Los Angeles, Navel.la, and RotoLab. With the recent announcement by computing giant Intel of a new collaboration with Microsoft aimed at developing VR capabilities for Windows-based machines and plans to open an L.A. research studio, the future of VR is here—and it’s very real.
The two 10-story towers are clad in white metal and clear glass, carefully balanced to reduce solar heat gain and provide a sense of lightness.Samsung’s new North American headquarters, designed by NBBJ, is a landmark facility in Silicon Valley embracing new urban guidelines developed by San Jose officials to prioritize active streets and environmental sensitivity. The project creates a sense of lightness with a transparent, environmentally responsible facade, and has been used as a case study project within NBBJ’s international network of offices. The compound is composed of two ten-story towers designed around an interior courtyard and floating open-air gardens. The architects adopted the diagram of a semiconductor as inspiration for the building, defined by an energized void space between separated slabs. Connecting stairs located at every two floors establish a centralized “3-D Main Street” linked by pocket parks. The ground floor extends an open public program into the adjacent city, providing a connection to the tech community. Despite working in a ten-story office tower, Samsung employees are never farther than one story from outdoor space. Utilizing a courtyard typology to maximize daylight and natural ventilation into a flexible open office layout, the project anticipates LEED Gold certification. The facade system for the facility plays a significant role in the project, achieving three key functions: encouraging social interaction, communicating a brand identity, and sensitively responding to the environment by incorporating renewable energy and managing solar conditions. Rather than designing an all-glass facade, NBBJ developed a white metal, glass, and terracotta exterior with an undulating gradient of punched window openings responsive to environmental criteria. For example, the building orientation is aligned to San Jose’s city grid, which is rotated off a north-south axis, causing direct heat gain to be managed across multiple facades. This assisted with solar heat gain concerns and established an aesthetic identity for Samsung’s headquarters. The interior facade is noticeably more transparent, utilizing a floor to ceiling glazing system. Collaborating with ARUP, NBBJ designed the facade to be a shop-built assembly—it was craned into place, ensuring a high-quality, controlled assembly process. The architects teamed with Benson, who fabricated the facade panels. The building is formally very simple, but becomes activated by people, fostering a collaborative environment. This is a “generative” building, designed for flexibility to allow for as many new ideas as possible. A collaborative, interactive spirit drove the project’s design from the start. The outcome is an open, tolerant, flexible building that enables possibilities and drives innovation.
Are floating houses the answer to London’s housing crisis? 100 ideas for affordable housing to be showcased
Walk this way: Architecture firm NBBJ proposes a moving sidewalk to replace London Underground Circle line
High performance and cultural relevance meet in concrete, metal, and steel mesh envelope.For the stakeholders involved in building the new Rev. Avery C. Alexander Academic Research Hospital (also known as University Medical Center, or UMC) in downtown New Orleans, the project was about much more than replacing facilities damaged during Hurricane Katrina. "The grander story is the effort to rebuild New Orleans," recalled NBBJ principal Jose Sama. "There was a lot of emotional attachment to the original hospital, Charity Hospital, and also—rightly so—the pride the community has for the character of the city. Everyone wanted to make sure the project was going to be something that was of New Orleans." In a joint venture with Blitch Knevel Architects, NBBJ rose to the challenge with a design that subtly reflects the city's cultural heritage. The building envelope, a combination of precast concrete, metal panels, high performance glazing, and stainless steel mesh, contributed significantly to both the project's aesthetic aspirations and its performance goals. The overarching concept for UMC, explained Sama, was to "create a performance in place." For the architects, "performance" holds a double meaning. "Performance is embedded in [New Orleans] culture, but this is a more high-level sense of performance," said Sama. "Place," in turn, draws on the city's climate and character. "We looked at various clues in the urban environment and how those could affect the design," said Sama, recalling visits to the hospital's Canal Street neighborhood and the French Quarter. Then, of course, there are the environmental threats made all too clear by the Katrina experience. "We completed [the design] with the understanding that we had to create an envelope that could withstand hurricane-force winds and missile impact," said Sama. "That was an important piece of selecting the glass and the curtain wall system." In fact, most of the damage sustained by Charity Hospital was the result of flooding rather than high winds. As a result, the architects faced a mandate to elevate all critical hospital functions above 22 feet. "We envisioned this as a floating hospital," said Sama. "The notion was that the more public zones, the softer spaces like dining, registration, and the lobbies, would occur at the ground level. Then you move up to an elevated plane of critical services. That way they could function regardless of flooding." The building envelope reflects this programmatic move: The first floor of the central campus structure—the diagnostic and treatment center—is wrapped in a transparent curtain wall with a strong emphasis on the horizontal while the upper, critical floors feature a precast concrete facade. The two other project components, the medical office building and the inpatient towers, offer variations on the theme. The former is clad in an insulated metal panel system, the latter in precast concrete, glass, and stainless steel mesh. A number of subtle gestures connect the hospital exterior to New Orleans' history and culture. One thing Sama noticed on his site visits was that "the notion of the garden is important, and the notion of getting outdoors." With that in mind, the architects created a central entry pavilion "designed such that you have a very pronounced sense of entry created by a porch, or a projecting eave—it almost has the effect of a trellis," said Sama. They also created informal gardens wherever possible. The signature garden, nestled between the towers and the diagnostic center, is water-based, and imagines the seating areas as lily pads floating on a pond. "The idea that here in the middle of New Orleans you find a water-intensive garden was really critical," said Sama. The patient towers, too, embody a strong connection to the outdoors via balconies for patients and staff. Metal scrims in Cambridge Architectural's Mid-Balance architectural mesh simultaneously provide aesthetic interest and fall protection. "We studied what we could do with the scrim," said Sama. "We think we picked just the right scale. It's appropriate for someone sitting on the balcony, but also for someone walking by." The mesh panels produce a "soft veil effect," he observed. "In the morning light, it glistens. The intent was to create a memory of Mardi Gras beads, in terms of color and glistening. People will pick up on that different times of day." Cambridge Architectural contributed to several other elements of the project. Mesh fins in the Scale pattern are attached with a custom cable tensioning system to the upper levels of the patient towers, to provide solar shading. On the parking garage portion, designed by Blitz Knevel Architects, 86 panels of Scale mesh again add both visual impact and fall protection without compromising ventilation. On the south elevation of the garage leading to the UMC helipad, a custom-built shade mesh fin system cuts solar gain and glare. Many of the references embedded in the new UMC hospital—the way in which the towers' orientations recall traditional New Orleans shotgun houses, or the connection between the stainless steel mesh and Mardi Gras beads—are so understated as to operate on almost a subliminal level. But like the city itself, the building comes alive at night, finally, and literally, revealing its true colors. "The building from the outside is very neutral," explained Sama. But thanks to accent colors on the inpatient tower stairs, revealed through translucent glass, plus accent lighting on the bulkheads above, after dark the towers shine, he explained. "The whole point was that at night they would glow with color from within."