Posts tagged with "San Francisco":
Los Angeles–based Synthesis Design + Architecture (SDA) recently completed work on a 1,100-square-foot sheath for the IBM Watson Experience Center immersion room in San Francisco. The interpretive wrapper—fabricated by Arktura in Los Angeles and executed in conjunction with an overall interior design by Gensler’s San Francisco office—is designed to express data visualizations generated by IBM Watson’s computing powers while also concealing the 350-square-foot sales space from view.
For the project, the design team interpreted and translated data maps depicting the volume of digital sales on mobile devices between 2013 and 2015 in order to derive an expressive moiré-patterned cocoon made out of dual-layered, curvilinear CNC-milled aluminum plates. The plates, backed by bright white lights, can be read by Watson Center docents in order to express a so-called “data narrative” in which Big Data—data sets so complex or vast that conventional data processing can’t process them—plays the titular role charting the growing influence of mobile-based sales.
Describing the project, Alvin Huang, principal at SDA, said, “The kinetic moiré effect that is produced as visitors move around the immersion room breathes some life into the static pattern, which speaks to the fact that data is live and constantly changing—even though the installation itself is static.” IBM Watson Experience Center 505 Howard Street San Francisco Tel: (800) 426-4968 Architects: Synthesis Design + Architecture; Gensler
The residential tower has been plagued with issues since last year when news got out that it had sunk 16 inches since its opening in 2008 (make it 17 now). It’s not just sinking, either—the tower is settling unevenly and leaning more towards the northern side in a 14-inch tilt from the building’s roof.
Millennium Partners, the developers behind the Handel Architects–designed building, hired a team of engineers, who believe they have a solution that will prop the tower back up. According to LERA and DeSimone Consulting Engineers, drilling 50 to 100 new piles down to bedrock from the building’s basement will rectify the problem. This fix could cost up to $150 million.
The building’s million-dollar apartments have attracted big-name buyers, including San Francisco Giants outfielder Hunter Pence and former 49ers quarterback Joe Montana. But when it was revealed that the tower had sunk more than its predicted six inches, residents filed individual lawsuits. The tower’s homeowners association (HOA) also filed a case against both Millennium Partners and Transbay Joint Powers Authority, the firm behind the adjacent Transbay Transit Center.
The gravity of the situation is increasing as a new report by Arup, which has conducted previous reports on the tower, reveals that the rate of sinking remains constant with no sign of let up. “This accelerated movement highlights the need to retrofit the foundation as soon as possible,” Daniel Petrocelli, who is the lead attorney against the developer, said in a statement in NBC Bay Area.
A statement released by the developers in response to the report continued to pin the blame on construction of nearby developments, which they claim destabilize the soil under the tower. “We are hopeful that the HOA will take steps to protect the building from further harm from adjacent construction at the Transbay Transit Center and Salesforce Tower projects,” the statement read. “Our top priority has always been getting to a fix.”
Fougeron Architecture uses an unusual rainscreen and sculptural stairs to enliven multifamily housing
400 Grove—a formerly vacant parcel that is now a 34-unit market-rate development by Fougeron Architects in San Francisco’s Hayes Valley—boasts a facade on Gough Street articulated by exaggerated bays along its uppermost floors, and pierced by a zigzagging, five-story-tall opening. The floors closer to the street feature opposing geometries with expanses of glass storefront on the ground-level retail spaces. The scissoring facades are clad in a rainscreen made out of deeply stained wooden dowels—a repetitive, vertically oriented hatch that softens the building’s sharper angles. The third floor is set back and rectilinear in comparison to those above, occupying the variable spaces underneath the overhanging floors.
The interruption in the Gough Street facade leads to an interior courtyard that contains private and shared outdoor spaces and circulation cores. The dowels make an appearance here as well as guardrails for the stairwells. The designers chose to sink the building’s parking garage five feet below grade, allowing for the courtyard to be slightly elevated above the street but not so high that it is inaccessible. The courtyard is visually connected to the commercial spaces via a large window and is populated by water-wise plants—Marta Fry Landscape Associates served as the landscape architect for the project.
Studios and one- and two-bedroom units are organized around the courtyard. Instead of wrapping the courtyard in overhanging single-loaded corridors, which would force living room windows to face onto the walkway as is typical, the architect repositioned the circulation to allow for the units along the north end of the building to be accessed via a pair of bridges that lead to shared-entry landings. Anne Fougeron, principal of Fougeron Architecture, said, “We wanted to put the open space in the middle of the site instead of along one side.”
Units along the southern wing of the building are organized so that one enters into the kitchen from the corridor, with living room spaces located along the southern facade overlooking the street. As a result, almost all of the apartments feature two exterior exposures. Fougeron added that the “facade echoes bay windows in a new way by interlacing their geometries in and out at different cadences” so as to “paginate the building so that it doesn’t read as a five-story building.”
“Finance” usually conjures images of staid blue suits, brass plaques, and hallways lined with nondescript carpet. But when wealth-management firm Cambridge Associates moved from Menlo Park, California, to San Francisco, Amy Callahan, the firm’s managing director of operations, sought out San Francisco–based design studio O+A to “push the limits of a traditional workplace.”
O+A design studio director Mindi Weichman spearheaded the project, helping Cambridge Associates select a stripped-bare circular space with wide-sweeping views of San Francisco. “The footprint was definitely challenging,” she said. “At first, they thought they wanted private offices for all the principals and senior associates, with everyone else in an open space. But the initial planning for this showed that the perimeter would become very inefficient. We suggested workstations with large barriers so that there would be secluded zones and privacy, but no wasted space.”
From there, open desks custom designed by Knoll were provided for the rest of the employees, and other spaces were created for varying levels of privacy—from the self-explanatory conference and quiet rooms, to the library (communal, but not social) and then the kitchen area, which serves as a place to hang out and have informal gatherings.
This design strategy required toeing the line between traditional and modern office typologies. For example, keeping the concrete floors “took a bit of convincing,” Weichman said, but it created a harmonious interplay with more classic components. “[Cambridge Associates] wanted to tell a story of permanence and timelessness—and just as steel and glass serve as symbols for those values in architecture, they also convey cost and quality in the professional world.” Walnut was used extensively throughout, lending old-school warmth to the space, and a limestone wall in the reception area is polished, but not traditional.
While these client-facing areas remain conservative, with a neutral color palette of burgundy, navy, and olive, components such as a sculptural horsehair fixture by Apparatus and tessellated walnut walls in the conference rooms keep things interesting. Local art consultant Laura Grigsby contributed architectural, abstract paintings, and photographs for additional texture and color.
Employee-only areas are more playful. In the kitchen, the ceiling is peeled back to display the building’s infrastructure—just a dash of industrial aesthetic. “They wanted to show that they have an edgy side, but in a more refined way,” said Weichman. “The design is relative to whatever is happening to the space—the kitchen is a casual, louder, and more entertaining space versus the conference room, where things are clean and more buttoned up.” In the hallway, a string of weighted pendulum lights by Roll & Hill also add levity. “They can be moved, but I think the employees are scared to touch them,” laughed Weichman.
Ultimately, O+A presents a fresh approach to the now-ubiquitous open-office model replete with “standard start-up amenities.” Though there is a distinct lack of Ping-Pong tables and kegerators, the main pillars of the modern workplace—flexible seating, natural light, opportunities for socialization and relaxation—are thoughtfully well executed.
The Pacific Pointe development, designed by David Baker Architects (DBA) with Interstice Architects as associate and landscape architects, is the first 100-percent-affordable housing development in the new Hunters View area of San Francisco. The development is among the first completed projects in the new 420-acre neighborhood, a former naval shipyard that was—until recently—one of the most polluted sites in the country. After 20 years of remediation work, the enclave at the southern tip of San Francisco is now slated to receive upward of 10,000 new housing units as well as a slew of recreational and commercial programs.
The 60-unit apartment complex—developed by AMCAL Multi-Housing and Young Community Developers—is located near the center of the new environ, at the corner of Friedell Street and La Salle Avenue. The complex is organized as two interlocking L-shaped wings bridged by a two-level courtyard. The building features units ranging from one- to three-bedrooms supplemented by ground-level assembly and amenity spaces.
The five-story complex is punctuated along Friedell Street by a perforated Cor-ten steel panel–clad circulation tower that connects to a monumental stairway running through the principal courtyard. That stairway jogs across the elevated portion of the courtyard and eventually empties out onto a generous seating area with custom benches and native plantings. That elevated portion conceals play areas, building programming, and parking below, while stretching deep into the site where it is overlooked from multiple vantages by single-loaded corridors leading to unit entrances. The courtyards are articulated by generous planters framed by Cor-ten steel panels that are interrupted by jagged, stepped benches and wood platforms. Andrew Dunbar, principal at Interstice Architects said, “A fresh-air entry court is located at the lower level; above the parking, we were able to create a park-like courtyard that creates an intimate interconnecting ‘front yard’ for all the inhabitants.” The seating areas contain an unusual element: Raw 10-foot-long logs are embedded directly into the seating and stage areas. “We liked the surrealist effect of the logs as floating elements in the sea of wooden water—they speak to driftwood and offer imaginative play opportunities that recall the logging industry that once used the bay,” Dunbar explained.
The remainder of the complex is organized as a series of simple apartment blocks with several alternating sections of massing projecting beyond the main bulk of the complex. These overhanging areas create coverings for doorway stoops in certain areas and provide simple shade over windows in others. Along the stoops, the scale of the building breaks down to include more raised Cor-ten steel panel planters, modestly planted green areas, and broad stair landings designed for children to play on.
In most areas, the units are studded with flush-mounted floor-to-ceiling casement windows articulated to look double-hung. Window assemblies containing large picture windows are wrapped by planar shading devices that demarcate certain aspects of the program—namely the living areas. As is customary in much of DBA’s recent work, these shared ground-floor areas are detailed with smooth, cast-in-place concrete. The articulated portions of the building containing housing programs are variously clad in smooth, painted stucco, or horizontal siding.