Posts tagged with "San Francisco":

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Aidlin Darling Design balances raw and polished surfaces in SFMOMA’s In Situ restaurant

San Francisco–based Aidlin Darling Design (ADD) and three-starred Michelin chef Corey Lee have teamed up for In Situ, a new 150-seat restaurant located within the original Mario Botta–designed portion of the San Francisco Museum of Modern Art that was recently expanded by Snøhetta.

The restaurant is designed as an alternate-dimension art museum, where “borrowed” dishes on loan from the kitchens of the world’s most renowned chefs make up the menu, meticulously recreated by Lee’s team. And so, ADD has rendered an intentionally spare interior made of mostly-found surfaces, with many of the existing, roughed-out textures of the extant space remaining—some polished, some raw. Other interior elements, inserted neatly into that rough, gray box, act as bespoke elements: a sculptural timber ceiling, custom-made tables hewn from raw logs, and delicate bar stools and lounge chairs. Site-specific artworks are also scattered around the restaurant, which is lit from one side by a large storefront window opening onto Third Street.

The space is divided into two dining areas. The first, a large, informal dining room, is populated by bar-top and communal tables, is capped by the sculptural timber ceiling. Its surface is made up of delicately jagged and parallel wooden boards and extends across both dining rooms, alternating between various degrees of geometric relief. Further into the space, the second, more formal dining room is made up of intimate seating areas.

In Situ 151 Third Street San Francisco, CA Tel: 415-941 6050 Designer: Aidlin Darling Design (ADD)

[In Situ also won our 2016 Best of Design Award for Interior > Retail/Hospitality. Click here to learn more!]

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BREAKING: Los Angeles chosen as new site for MAD Architects’ Lucas Museum

The Board of Directors for the Lucas Museum of Narrative Arts elected this afternoon to pursue Los Angeles as the latest site for their troubled museum proposal. The decision marks the third time the museum board has attempted to find a site for the $1 billion, MAD Architects-designed scheme. The firm's initial San Francisco proposal was rebuffed in 2015. The team made a try for a site in Chicago, only to scrap the plans in the face of fierce opposition to the project by a local community group known as Friends of The Park. Instead, Los Angeles's Exposition Park, home to the Los Angeles Memorial Coliseum, California African American Museum, California Science Center, and the Museum of Natural History of Los Angeles County will now potentially host Lucas's namesake museum. The Los Angeles proposal was selected after the museum team made parallel pitches for a second site on San Francisco's Treasure Island and one in L.A.'s Exposition Park. The new museum, if built, will be located along the city’s Expo Line light rail line, within proximity of the forthcoming Gensler-designed Los Angeles Football Club soccer stadium, and would cap a park already brimming with global cultural and entertainment destinations. In announcing their decision, the Lucas Foundation's board of directors extolled the virtues of the urban park and its surrounding neighborhood, saying, "While each location offers many unique and wonderful attributes, South Los Angeles’s Promise Zone best positions the museum to have the greatest impact on the broader community, fulfilling our goal of inspiring, engaging and educating a broad and diverse visitorship." In an effort to preserve the green spaces of the park, the selected scheme will include public open space on its rooftop. Renderings for the proposal show the curvaceous museum located in a leafy, park setting topped with tufts of greenery. The museum also appears to gingerly touch the ground by coming down in a series of large, discrete piers. It's still unclear what sorts of developmental hurdles the museum will need to surpass prior to start construction, but the project clearly has a fan in L.A. mayor Eric Garcetti, who after learning of the decision, remarked to the Los Angeles Times, “It’s a natural place to have this museum in the creative capital of the world and in the geographic center of the city. It’s a banner day for L.A.” This article appears on HoverPin, a new app that lets you build personalized maps of geo-related online content based on your interests: architecture, food, culture, fitness, and more. Never miss The Architect’s Newspaper’s coverage of your area and discover new, exciting projects wherever you go! See our HoverPin layer here and download the app from the Apple Store.
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Four NFL teams swap stadiums on the West Coast

San Francisco, Los Angeles, San Diego, and Las Vegas National Football League (NFL) teams are playing a game of musical chairs, as a new generation of stadium-centered mega-developments attempt to lure established franchises to and from the West’s largest cities. NFL teams are notorious for holding their host cities hostage when it comes to demands over new stadium construction, and the current team swap going on across the region is no exception. Reuters reported earlier this year that when the Rams, formerly of Saint Louis, left the Gateway City for Los Angeles at the start of the 2016–2017 season, they also left behind a staggering $144 million debt resulting from the 1995 construction of the HOK Sport (now Populous)–designed Edward Jones Dome that the municipality must pay off on its own. All this for a structure used to host eight games during the normal football season. The Rams were lured back to Los Angeles in the same way they were lured away from it: with promises of a brand-new, state-of-the-art sports temple. In the most recent case, however, the altar in question will be entirely privately funded by Rams owner Stan Kroenke who is a billionaire. It will also be smack dab in the middle of the new City of Champions mega-development, a 238-acre neighborhood being built atop the site of the former Hollywood Park racetrack in Inglewood. Overall, the City of Champions project is due to cost $2.5 billion and will include 3,000 housing units, 620,000 square feet of commercial space, as well as a new casino and hotel. The stadium component, designed by global architecture firm HKS, features a sail-like, triangular ETFE super-roof supported by thick columns that caps the stadium and also shelters a large, outdoor “champions plaza” to be used as a communal gathering spot for spectators. The 80,000-seat stadium will be able to hold up to 100,000 fans for concerts and is being designed to accommodate two football teams. Simultaneously, Kansas City–based MANICA Architecture had proposed a competing stadium for the nearby city of Carson, California, in an attempt to lure the Rams and, potentially, the San Diego Chargers to a new stadium there. After the HKS proposal for the Rams became a reality, MANICA’s proposal resurfaced in Las Vegas as a potential new home for the Oakland Raiders, a team that itself went from Oakland to Los Angeles and then back again during the late 1980s and early 1990s over unmet stadium-upgrade demands. MANICA recycled its nearly $2 billion Carson proposal for Sin City, trading in an open-air proposal for an air-conditioned scheme featuring a retractable roof. The project was approved in November of this year after much political wrangling that included raising special taxes to fund the stadium’s construction and a $650 million cash infusion from billionaire Sheldon Adelson. While the Raiders’ move to Las Vegas has not been finalized, the team’s current bout with wanderlust began after a deal to share the recently completed, $1.2 billion HNTB-designed Levi’s Stadium in Santa Clara, California, fell through. That stadium was designed to accommodate two teams, hold between 68,500 and 70,000 spectators during sporting events, and be the first ground-up LEED Gold–certified NFL stadium in the country. In December, officials in the Bay Area announced yet another plan to try and keep the Raiders in Oakland by putting forth the plans for a new $1.25 billion, 55,000-seat football stadium to replace the existing OaklandAlameda Coliseum. The last time the Oakland Coliseum received major upgrades was back in 1995 when a $25.5 million renovation brought luxury suites to the stadium. The new plans include space for a new Oakland A’s baseball team ballpark, while also including a sizeable commercial component, and even a “Grand Central Station-like” transit connection to the regional Bay Area Rapid Transit system to connect the new sports complex with the metropolitan region. Although the Raiders are working toward moving to Las Vegas, and the Rams are settling into their new home in Los Angeles awaiting the 2019 completion of the City of Champions complex, the future of the San Diego Chargers remains in doubt, as well. A ballot initiative in support of their newly proposed stadium was a casualty of this year’s November elections, paving the way for the Chargers to potentially take up residence in Los Angeles if they can’t figure out a new approach. That ballot initiative would have raised area hotel tax rates to help fund a new stadium. Both teams have until January 15th to vet bids from their respective cities before they can begin to formally consider other offers. Either way, things don’t look great for the prospects of either team to stay in their respective cities. The Los Angeles Times recently quoted NFL Commissioner Roger Goodell as saying,“We have not made great progress in Oakland and San Diego. There is not a stadium proposal on the table that we think addresses the long-term issues of the clubs and the communities. So we need to continue to work at it.”
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Arquitectonica’s One Mission Bay tops out in San Francisco

Developers CIM Group and Miami-based architects Arquitectonica recently topped-out construction on a 16-story condominium tower complex in San Francisco’s Mission Bay neighborhood. The 350-unit One Mission Bay development is located across from the city’s booming South of Market district and is currently billed as the tallest residential structure under construction in the neighborhood. The waterfront development is made up of a 13-story tower containing 198 units and a shorter, six-story partial perimeter block building containing 152-units located on a two-acre site. The condominiums range in configuration from studios to three bedroom units. Waterfront units in the 13-story portion of the development are clad in floor-to-ceiling glass walls while other exposures and the majority of the six-story masses feature large, square-shaped punched openings interspersed by sections of masonry cladding. The project also features roughly 16,000 square feet of ground-level commercial spaces, three parking levels, and a constellation of rooftop amenities like a heated pool. The project’s triangular site yields interesting configurations at two of the corners. At one such point, where the 13-story tower is located, the building masses come together and branch out for a short distance along opposing edges of the site. Units along the sharply-angled crook along the interior of the tower created by this situation, according to renderings produced by rendering firm Bluesteel, also feature floor-to-ceiling glass walls with units looking directly—and perhaps uncomfortably—into one another. A second corner features rectangular massing that extends out perpendicularly from the corner, with two wings of the building, aligned with the edges of the site, branching off this central mass.
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2016 Best of Design Award in Building Renovation: The Strand American Conservatory Theater by SOM

The Architect’s Newspaper (AN)’s inaugural 2013 Best of Design Awards featured six categories. Since then, it's grown to 26 exciting categoriesAs in years past, jury members (Erik Verboon, Claire Weisz, Karen Stonely, Christopher Leong, Adrianne Weremchuk, and AN’s Matt Shaw) were picked for their expertise and high regard in the design community. They based their judgments on evidence of innovation, creative use of new technology, sustainability, strength of presentation, and, most importantly, great design. We want to thank everyone for their continued support and eagerness to submit their work to the Best of Design Awards. We are already looking forward to growing next year’s coverage for you.

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 Builders

General 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 Hollywood

Architect: 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.

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Foster + Partners breaks ground on San Francisco’s second-tallest tower

Foster + Partners, and Heller Manus developers Oceanwide Holdings broke ground last week on the Oceanwide Center in San Francisco, a mixed-use project that, when completed, would become the city’s second-tallest tower. The project, a 2.4-million square foot complex consisting of condominiums, office space, and a hotel, occupies a 1.4-acre site and has been designed to contain public spaces in a pair of adaptively-reused historic structures along the ground floor. The complex will be composed of two towers: a primary 850-foot, 75-story tall structure containing 1,010,000-square-feet of office space and 111 condominium units and a 605-foot, 54-story tall tower containing a 171-room Waldorf Astoria hotel and 154-condominium units. The taller tower is demarcated by a large-scale, diagonally gridded truss system that climbs the height of the tower, creating a crenelated cap at the apex, while the shorter tower features a gridded facade filled with rectangular, punched openings. The gridded structure of the larger tower meets the floor to create a giant, open-air, landscaped plaza. The tower complex joins a series of other projects, including the Pelli Clarke Pelli Architects—designed Salesforce tower, the Heller Manus Architects—designed 181 Fremont, and the Handel Architects—designed Millennium Tower, are transforming the Transbay area of San Francisco. The new tower district is rising around the Transbay Terminal, a new multi-modal transit hub also designed by Pelli Clarke Pelli Architects. The first phase of the terminal is due to be completed in late 2017. Controversy erupted this year when the nearby Millennium Tower began to sink, a result of the fact that the tower is built on a concrete slab supported by 60- to 90-foot deep friction piles and not, as would be more structurally-appropriate for the area’s soil conditions, end-bearing pylons. As a result, the tower’s foundation does not actually reach the bedrock below the city and the tower has not only sunk 16-inches into the ground, but has also tilted between two- and six-inches toward the northwest. To avert a similar problem, Oceanwide Center is designed to be supported by foundation piles that drive down up to 400-feet below ground and connect directly with bedrock.   Oceanwide Center is due to finish construction in 2021.
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2016 Building of the Year > West: San Francisco Museum of Modern Art Expansion by Snøhetta

The Architect’s Newspaper (AN)’s inaugural 2013 Best of Design Awards featured six categories. Since then, it's grown to 26 exciting categoriesAs in years past, jury members (Erik Verboon, Claire Weisz, Karen Stonely, Christopher Leong, Adrianne Weremchuk, and AN’s Matt Shaw) were picked for their expertise and high regard in the design community. They based their judgments on evidence of innovation, creative use of new technology, sustainability, strength of presentation, and, most importantly, great design. We want to thank everyone for their continued support and eagerness to submit their work to the Best of Design Awards. We are already looking forward to growing next year’s coverage for you.

2016 Building of the Year > West: San Francisco Museum of Modern Art Expansion

Architect: Snøhetta Location: San Francisco, CA

The expansion of the San Francisco Museum of Modern Art reimagines SFMOMA as a new art experience and gateway into the city of San Francisco. Snøhetta integrated the building with the existing Mario Botta design from 1995, while making the museum more accessible than ever, tripling the amount of exhibition space and expanding the public gallery and outdoor areas. Seeking to engage with the community in a proactive way, the addition opens up new routes of public circulation through the South of Market neighborhood and into the museum.

General Contractor Webcor Builders

Facade Contractor Enclos

Lighting and Facade Engineering

Arup Structural Engineering Magnusson Klemencic Associates FRP Fabricators Kreysler & Associates Graphic Perf® Entry Panels Arktura Honorable Mention: Building of the Year > West: Washington Fruit & Produce Co. Office Headquarters

Architect: Graham Baba Architects Location: Yakima, WA

Tucked behind landforms and site walls, this courtyard-focused office complex provides a serene refuge from the noise and activity of nearby fruit packing warehouses. Taking cues from an aging barn, the building is light and open with a muted palette, reclaimed wood siding, and a rooted connection to the land.

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100-percent affordable housing complex proposed for San Francisco’s Mission District

San Francisco–based David Baker Architects, along with affordable housing developers BRIDGE Housing Corporation and Mission Housing Development Corporation, have released conceptual renderings for an upcoming, 100-percent affordable housing complex in San Francisco. The project, 1950 Mission, is to be developed in the Mission District neighborhood of the city and will provide 157 affordable units to the area, with 20 percent of those units set aside for formerly homeless families and the remaining homes allotted for families making between 45 and 60 percent of the area median income. According to city-data.com, the average median income for the Mission District in 2013 was $73,718.

The 1950 Mission complex is designed as a pair of apartment blocks connected by a central courtyard with a large, nine-story building fronting Mission Street and a smaller, five-story structure located along a mid-block alleyway.

The primary structure on Mission Street features a variously articulated facade arrangement that is segmented into three sections with a central stepped black-panel-clad portion flanked on either side by street-fronting apartment blocks. These facades, similarly clad in panelized finishes along the lower four floors with stucco walls above, feature storefront windows along the ground floor and punched openings denoting the apartment units above. The storefronts include smaller-than-average retail spaces designed to be occupied by local businesses, with plans to include an art gallery as well. The commercial areas along the ground floor will also feature varying ceiling heights, between 11 and 20 feet, in an arrangement that will help to boost the overall number of units developed through the project. The areas along the ground floor are set back from the building mass in certain areas, allowing the units above to create covered outdoor space underneath by acting as shade-casting overhangs.

The smaller apartment block will be accessed via a mid-block public approach that also connects to the central courtyard space and will feature an “artists’ paseo,” a walkway flanked with artists’ studios. With this arrangement, the designers hope to create a community gathering spot and arts-focused public space. The second apartment structure is set back from the alley with a 10-foot-wide planted area and features masonry-clad, undulating facades with specialized window hoods covering most of the building’s punched apertures. Those hoods are articulated to shield the openings from solar glare, and dot the stepped facade along various exposures. The building is topped by a rooftop garden and urban agriculture facility the architects have dubbed “Jardin de Las Familias,” and is connected to the larger structure via a series of stacked skywalks that traverse the courtyard area.

The project will provide on-site supportive services for future tenants via providers PODER, Mission Neighborhood Centers’ Head Start and Early-Head Start, Lutheran Social Services, and Mission Girls Services mentorship programs. Cervantes Design Associates will serve as associate architect on the project, which is currently moving through the entitlement process. A timeline for construction has not yet been released.

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Colin Touhey of Pvilion on the future of facades and flexible solar panels

Colin Touhey is the founder of Pvilion, a New York-based company that designs and manufactures flexible photovoltaic (PV) solar structures and products. He is also wrapping up a fall semester fabrication studio at Columbia University GSAPP titled “Wired Skin.” Touhey will be presenting at the upcoming Facades+AM San Francisco conference on the concluding panel, titled Facades: The Next Generation. The Architect's Newspaper (AN): What’s your office like? Half of our office is a design office, and the other half is a workshop where we get our hands dirty. We are also building what we're designing. We're not a contractor, we're not an engineer, and we're not an architect—we're a little bit of all of those things. We come into a project as scrappy experts. We're talking about how to hoist up a building component early on in the design process. When we sign a contract with someone, we don't know how we're going to solve a problem, but we know that we will be able to figure out a solution. More conservative firms would say, ‘Oh we'll sell this when we know exactly how it's going to get done.’ If we knew exactly how to do a project before we started it, we wouldn't be in business. How does Pvilion balance futuristic tech with commercial work? We see what's 10-years out, and are working on that. But we also have [a] real product today. The two feed off each other. While we [have] a futuristic technology, we're not futurists. We're not sitting around speculating about what's going to happen in 50 years. What are some issues you are working through at Pvilion? We're trying to create building skins that both increase energy performance and reduce fossil fuel consumption. We're also providing a platform in which an architect can create. Rather than working with glass or steel, if you're wrapping a building in a flexible material, you can create interesting forms, and with those forms you can produce electricity. Also, we are thinking a lot about the installation process. Like Christmas lights, 30 to 50 solar panels can arrive on site folded up and pre-wired. When you're paying union labor to hang off the side of a facade with a tower crane, you want an efficient installation process. Due to the modularity of the system, you can replace components as needed without taking the entire system down. What’s next for facades? We're not only coming up with some rendering and saying, ‘Wouldn't this be the city of the future!?’ This is real now. We're not a research lab with kooky ideas about stuff that will never be built. We have real projects, we're really building things, and we have experience. Our work is UL certified, grid-tied, and warranty-able for 25 years. One of the really interesting things we're looking at now is dynamic facade elements. [With] these pieces, you have...south, east, and west facades [that] may all be moving throughout the course of the day, like a solar tracker. When you add the fourth dimension into a building, which is time, you end up with a moving system—your building is changing over the course of a day, and over the course of its lifetime. That's an entirely new concept that is really exciting for us. When your goal is to maximize energy production, dynamic facade elements are very intriguing. For example, consider a fabric membrane that's twisting over the course of the day, so it's opening up the facade when there isn't much light, and it's closing it up where there's more light, and it's simultaneously producing more energy. Can you give us a preview of what we can expect from your studio at Columbia? We are looking at the building facade as an opportunity to provide shade, increase building performance, and provide electricity. The idea of a wired skin—a living breathing organism—is electrical and mechanical and serves many purposes. The skin should protect you from the environment. It is a porous envelope, but also an enclosure. How do you balance the openness of the facade? Do you cut holes in it? Do you open it up? Do you fully enclose it? Do you create heat chimneys so that air flows between the glazing and your skin? Also, what are its thermal properties, and how can you take advantage of shading the building. Those are all the things we're exploring. Since we are not academic professors, we're grounding this course in reality—which is important to us. It's a fabrication studio class, so we're building facade elements. The deliverable at the end of the semester is to build a facade element that moves and works, and then provide a scale model of the building that has hundreds of facade elements on it. We're saying if you can't build it, you shouldn't be designing it.
Touhey takes the stage with Jason Kelly Johnson of Future Cities Lab and Sanjeev Tankha of Walter P. Moore to discuss the next generation of facades. Go to Facades+ AM San Francisco to learn more about the event and the other sessions taking place.
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Endemic Architecture reimagines the Victorian turret at Jai & Jai Gallery

Oakland, California–based Endemic Architecture’s most recent exhibition, Mind Your Mannerisms, at Jai & Jai Gallery in Los Angeles, examines the existential meaning behind San Francisco’s variant of the Victorian turret, what the firm refers to as one of many “architectural darlings” that populate our world.

For the firm, “darlings” consist of fundamentally architectural symbols that convey meaning in built form universally, like the column, the pediment, or the chimney. These “darlings” are the elements that are both widely understood by laypeople as words used in architecture’s formal language and simultaneously deployed (or subverted) by architects themselves to say, “this is (still) architecture.”

In Mind Your Mannerisms, the selected “darling”—turrets—is poked, pinched, and puckered in an effort to not only lend a sense of intellectual rigor to its whimsical forms, but to also induce new layer of new meaning and understanding resulting from the anipulation of its symbolic, anachronistic geometries.

The firm utilizes collections of contextual photography showing the diverse manifestations of the turret typology in San Francisco’s built environment as a starting point in order to generate generalized drawings of particular, observed tendencies. In the process, the darling gets redefined from an object made up of discrete architectural components into a collection of quasi-digital surfaces where a series of formal maneuvers have been applied to two disparate objects: the turret itself and the so-called “Victorian” building to which it is attached.

The firm uses these guiding considerations to generate interventions enacted upon a handful of existing and observed turret types, focusing on these aspects of each and amplifying or deforming their found conditions. These interventions are initially explored through a series of beguiling, shaded line drawings, side-by-side comparisons of found and manipulated elevation views displayed in gold-painted frames. The turrets take on the formal ambiguities of M.C. Escher drawings, as cornices become tangent to and sweep around rounded corners, conical roof forms loft to meet simply sloping ones and sections of walls are deleted or extruded up and down the form. Shingles and siding are along for the ride, too; they are scaled, alternated, and shifted accordingly.

The drawings are then taken into three dimensions via three large, ambiguously-scaled maquettes. Two of these objects are installed directly on the gallery walls, which have been painted with the black silhouettes of generic Victorian building forms. A third form is freestanding, its bulbous and rumpled masses sagging in an exaggerated, Pablo Escobar–style paunch. The turrets are lent a scale-less distortion by the firm’s use of repurposed, full-scale turret windows salvaged from recently-demolished structures in the models. The relic windows, one with panes fritted, the other with a set of secondary, chamfered interior surfaces located just inside the window frame, again obscure the true nature of these sculptural objects. Is each one actually a turret-shaped building? Are they one-to-one mock-ups of diminutive turrets? It’s hard to tell, but that’s partially the point. This transformation from orthographic drawing to object-in-the-round gives each turret conflicting, multiple meanings, as the physical properties of their material components clash with one another. One wall-mounted turret is clad in sheets of woodgrain veneer, cut out and styled so their ends curl up. The freestanding turret is topped with a tiara of faux-fur.

And if we can look past the Seuss-ian  forms the turrets take and look at them for what they are—geometric abstractions—something clicks into place: Thenhaus and his team are using San Francisco’s turret as a learning tool. By imposing an order and then manipulating that order, working to generate new forms that still fit the decided upon definition for what a turret is, the designers lend clarity to something that is otherwise shrouded in mystery. The question is: Are the new creations Victorian turrets, still?

It’s hard to tell because Victorian architectural forms juggle many considerations simultaneously: They are typically proportioned in accordance with light and air, are aggressively ornamented, and do a great job of breaking down massive buildings into pleasant  agglomerations of cute things like cornices,windows, porches, and yes, turrets. Victorian architecture makes no sense at all, however, from the point of view the rationalist, diagram-driven, methodology of contemporary practice that has been applied to its formal existence here.

By subsuming the particularities of the Victorian ecosystem of styles in this way, the researchers point out the barren lexical memory of their profession and the ways in which building components, once discrete, measurable and observable objects, have been replaced in contemporary discourse with digital modeling processes and “if, then” reactions, in which collections of dots, lines, and planes are swept, lofted, tweened, and booleaned to generate form. In both cases, meaning results from the processes undertaken in order to generate form and not, as is the case with Victorian architecture, from the symbolic and physical properties of the forms themselves.

Viewed through this lens, the works presented in the exhibition can be seen not merely as generative, architectural by-products begat from architecturally-focused observation, but as a part of that conversation in their own right. That is, Endemic’s turrets, with their quizzical proportions, jiggery-pokery of material, and side eye toward playful formalism are as helpful in Endemic’s attempt to define the turret typology as the observed turrets themselves.

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Redefining residential architecture: Clark Manus

The Architect's Newspaper (AN) spoke with Clark Manus, formerly the 87th president of the AIA, who will be presenting at the upcoming Facades+ AM San Francisco panel titled “Redefining Residential Architecture.” Manus has served as an advisor to the Mayor of San Francisco, chairing the Citizens Advisory Group for the area that was vacated for the removal of the freeways in Rincon Hill in the 1980s. He currently lives in Oakland and was appointed by its mayor to serve as Planning Commissioner. Also a CEO of Heller Manus Architects, Manus says his firm has completed over 50 projects at a range of scales, jokingly saying they have done everything aside from hospitals and jails. We spoke about defining issues in the Bay Area that are shaping new construction: cost of construction, San Francisco’s historic urban fabric, energy codes, and more. On Cost of Construction Manus says the difference in the type of facade materials you would use in a Type III building—rainscreen assemblies, punched windows, shingles—is dramatically different than a Type I building where curtain walls are utilized. Manus said California’s statute of limitations for condo liability—set at 10-years—establishes a motive for developers to construct buildings using more durable Type I construction, as opposed to Type III or Type V, when they can afford it. "You begin to look at issues on the facade related to the efficiency of the structural system, and the use of skin materials that are going to be better to deal with water and noise: potential problems that might exist over time. So the difference between using a curtain wall versus a window wall is maybe a dollar issue, but we tend to try and help clients understand the basis for deciding on a skin irrespective of the efficiency of the floor plan is really related to a whole bunch of other issues. There's a whole bunch of glass curtain wall buildings." On Context and Urban Fabric “In some ways San Francisco is a little schizophrenic in that it absolutely loves its Victorians and historic fabric, but it also aspires to looking for a modern vocabulary.” Manus says facade expressions vary heavily with context. In traditional neighborhoods, an emphasis on compositional strategies involving bay windows and other vernacular elements are prioritized, while areas with less context tend to receive a more minimal and/or modern aesthetic. “Community groups in these neighborhoods want to be involved in a dialogue about what will be constructed. As an architect, this presents a challenge in terms of where your project fits and where it does not. There is also a planning department that does very detailed design review on projects, so as an architect you go through a discussion with them in addition to presenting to community groups about what might fit in. Our projects in these neighborhoods are not the same ones we would do in a new district where there is no context.” On Energy Codes Despite a temperate climate, heat gain from glazed facades still presents a significant design issue. Manus says energy conscious design has a lot to do with the facade, it's orientation to the sun, glazing, and other elements that will assist the building in getting to a higher level of efficiency. "The energy codes are really great at creating a better environment, but have made glass darker and darker which, in my mind, is not really conducive to creating a visible transparency for residential use. It's really unfortunate. If you want to see the life of the city, and what's going on behind the facade, you don't want a dark or mirrored glass." Manus' projects, while market rate, have significant inclusionary housing in them. Anywhere from 12, 15, or 18 percent, which he cites as an “unusual rate.” He concludes that the growth of San Francisco—or the “transformation of San Francisco,” as he calls it—is great, but very challenging because with success comes things that you sometimes don't anticipate. “I think getting out in front of developments and truly creating new housing takes a long time. Issues like high cost of construction basically take hold very early on in the process. The regulatory environment, compounded with the process of developing drawings, and the course of construction takes time—you could either be through another cycle, or you could have created other problems you didn't anticipate.” Manus takes the stage with Anne Fougeron of Fougeron Architecture and Cynthia Parker of BRIDGE Housing to discuss more aspects of facades and residential architecture. Go to Facades+ AM San Francisco to learn more about the event and the other sessions taking place.
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Bohlin Cywinski Jackson transforms data center into open, flexible office for Square

Whether or not we’ve realized it, most of us have bought products through Square, a company that supplies small businesses with the now-ubiquitous square-shaped hardware and software that remotely processes credit card payments. Square’s new offices in San Francisco are meant to be as minimal, clear, and usable as its products.

Located in what was once a miserable, almost completely windowless Bank of America data center, the new 300,000-square-foot, fourth-floor office is just the opposite: an open, light-filled workspace organized by a central “boulevard,” lined with gathering spaces (including a library, gallery, and cafe), and a wide variety of working spaces, including bench-style work desks, tables, and semi-private, acoustically lined “work cabanas.”

To manage the space’s ridiculously big floor plates (100,000 square feet, four times the typical size), according to Bohlin Cywinski Jackson (BCJ) principal Gregory Mottola, the firm studied urban precedents as varied as Dubrovnik and Milan, looking at everything from urban plazas to enclosed arcades. Unifying the office floors is a massive amphitheater stair that cuts through floors six, seven, and eight, and provides zones for individual work, group meetings, and large presentations. The stair is fitted with movable, lightweight powder-coated tables that snake their way down its length to create unique working and relaxing environments. Another office anchor is the eighth and ninth floor “Square Stair,” a floating switchback connecting the office floor to the main dining level.

“You’re giving up rentable floor area, but the payoff is you have these incredible group amenities,” said Mottola. “The key was this idea of creating a really collaborative, transparent company. You don’t want to have one place feel disconnected from the rest.”

Clean lines and lots of white (on steel panels, stretch-fabric ceiling panels, and drywalls) reflect the brand’s identity and lightens the mood, while salvaged wood elements, like the eucalyptus amphitheater stair, Plyboo cabanas, and end-grain woodblock flooring in the lobby, provide warmth and visual interest. Splashes of color demarcate important spaces, provide needed accents, and reflect the locale: Bright orange, for instance, recalls the Golden Gate Bridge, while blue shades evoke the nearby San Francisco Bay. The company installed new windows along the perimeters of the sixth, seventh, and eighth floors, drawing in natural light where there once had been none. Another big aspect of the design within a limited budget was lighting. BCJ employed a variety of techniques, from spear-shaped “light saber” LEDs above the boulevard to indirect lighting in the workstations and sculptural accent pendants in the lounge spaces.

“We tried to make the most of those dramatic moments when we could,” said Mottola, who noted that Square was drawn to BCJ’s clean work for Apple’s stores, but not its purely monochrome palette. As the company grows at an exponential rate, the airy, collaborative, and flexible spaces will no doubt come in handy. “We want them to be able to grow and shift over time,” he added.