Craft 3 by Gensler_LA

A GENS LER SOUTHWEST R EG I ON PUB LI CAT I ON

“Craft is the gap between good and great.” J AY S I LV E R B E R G

“Craft is the soul of an idea made visible.”

“Craft is both a way of building and a way of thinking, which both take a surprising amount of time to accomplish.” T E R E N C E YO U N G

P H I L I P P E PA R É

“A great design is only great if it is derived with a full understanding of how things are made, and that is why craft is so critical.”

“Making things is at the heart of what we do, and craft is at the heart of making.” K E V I N H E I N LY

ROB JERNIGAN

“Many products are made, few are crafted. Craft is a product of skill, time and care, adding value to a basic material.” L E E PA S T E R I S

“The creation of space is inherently defined by materiality and the sophistication of its transitions. Through the craft of making, we experience architecture with all our senses. Craft and its mastery brings architecture to life.” OLIVIER SOMMERHALDER

“One could argue that it’s merely an idea until it’s realized into the built form. Only then does it become Architecture. Craft, down to the smallest of detail, is how those ideas are transformed into reality; it’s the essence of architecture.” G E N E W ATA N A B E

“Craft lives in the tiniest of details.” WARWICK WICK SMAN

“Craft is the process of weaving together disparate elements of design into a cohesive, functional, and pleasing whole.” RON TURNER

“Craft is the essential physical manifestation of design and an indispensable part of our collaborative process. Integration of touch, texture, and artistry brings our work to life.” SABU SONG

“Craft is about looking for the familiar through human touch, while creating the delight of the unforeseen.” BARBARA BOUZA

BUILT PROJECTS 4 HY U N DAI CAPITAL E U ROPE S PI R AL S TAI R

14 D IS N E Y S TOR E S HANG HAI

24 M E NTOR G R APH IC S

32 OU E S K YS PACE MON U M E NTAL S TAI R

42 CB R E M A SON IC TE M PLE

50 M US E U M OF PHOTOG R APH IC AR TS D E S K

60 TH E PAR IS IAN M ACAU

72 HY U N DAI CAPITAL OPE N S TU D IO

80 B MO F I E LD CANOPI E S

94 HY U N DAI CAPITAL CONVE NTION HALL

104 CB R E DOWNTOWN LOS ANG E LE S

112 TU R E LK DOWNTOWN LOS ANG E LE S OF F ICE

SMOOTH STEEL

HYUNDAI CAPITAL EUROPE SPIRAL STAIR A STEEL SP I R A L STA I R R EQU I R I NG PR EC I SE 3D M ODELI NG AN D SEG M ENTAT I ON LOCATION CLIENT SUBCONTR AC TOR LIGHTING CONSULTANT

FR ANKFURT, GERMANY HYUNDAI CAPITAL ARNOLD AG KGM

finishing of the stair is renowned for their versatility in project work, from creating highly specialized industrial parts to art installations for artists such as Jeff Koons.

Prior to its renovation, Hyundai Capital Europe’s headquarters was comprised of three floors without a prominent internal connector. To accommodate the client’s desire to create an uplifting workplace that eschews hierarchical separation in favor of freeflowing spaces, an interior spiral stair was designed at the center of the floor plate. It acts as the main point of connection for the 37,000 square feet of office space.

Two layers of ¼ inch steel were pressed together and welded, forming the stair walls. 16 prefabricated panels were assembled on site and lacquered in the field with automotive paint to create the seamless look of the spiraling guardrail. The smallest of details were vital to the appearance of the stair. The marble treads and risers are illuminated by concealed, continuous LED lighting within the handrail.

Strategically located to connect a variety of amenity spaces such as a living room, game room, library and pantries, the spiral stair provides direct and convenient access to all three floors. It serves as a catalyst for collaboration, learning and socialization among employees. These types of activities are prerequisites for the creation of a strong sense of community and firm culture that is central to Hyundai Capital Europe’s vision.

Cove lighting throughout creates an ethereal lightness to further reinforce the intellectual and museumlike quality of the space. Finished with a deliberately simple color palette of white, black and gray, the project offers a blank canvas as background to daily activities, where finance and art coexist for the benefit of customers and employees alike. The space is designed to inspire employees by elevating work to an art form, while conveying to visitors the company’s commitment to design and professionalism.

Lightness, both literally and figuratively, was a prominent design driver. But this was a real challenge to accomplish. As such, intensive structural coordination was required. Fortunately the steel manufacturer tasked with the construction and

I N T E R V I E W W I T H C H R I S T O P H E R G I M B E , E N G I N E E R AT A R N O L D A G I U N D E R S TA N D T H AT 3 D T O O L S W E R E E S S E N T I A L I N D E V E L O P I N G T H E S TA I R . H O W D I D YO U T R A N S L AT E T H E D E S I G N T E A M ’ S R H I N O M O D E L O F T H E S TA I R I N T O A W O R K I N G M O D E L U S E D F O R F A B R I C AT I O N ?

For such a complex shape, it was absolutely essential that we work with 3D models for the form of the spiral stair. The design team’s 3D model was given to us and was helpful in determining the scale and shape of the stair. But in order for us incorporate our engineering requirements, creating our own model was necessary. We entirely rebuilt a 3D model in order to develop the detailed construction documentation for the variety of elements that form the stair. These elements are well above and beyond what designers document, as the model and its components are unique to our methods of fabrication. Furthermore, the model’s components were modified to accommodate for existing field conditions. This entire process was used to develop a fabrication and erection strategy for the stair. W H AT W A S T H E M O S T C H A L L E N G I N G P A R T I N T H E P R O C E S S O F F A B R I C AT I N G T H E S TA I R ?

From a design aspect, one challenge that we immediately recognized was the spiral shape of the inner tube. The steepness of the spiral that continuously follows the treads and landings was the element we had the most internal discussion on. Our engineer let us know from the beginning that structurally the required web thickness of the inner tube would need to be 20 mm (3⁄4 inch), and the outer web at the guardrail would be 10 mm (3⁄8 inch) thick. Our initial thought was to start with a steel tube and have a robot cut the required shape out of the tube. Thinking this through, we ran into some limitations. Our train of thought went like this: A typical steel tube is fabricated out of a flat piece of steel. The steel is then passed through a series of grooved rollers. As it passes by, the rollers cause the edges of the steel to curl together. Next, the steel passes by welding electrodes. These devices seal the two ends of the pipe together. Due to this process, there are huge tensions in a tube, which means that cutting into a steel tube and removing so much of the tube’s surface, as required in this design, would have unleashed huge tensions in the tube causing it to fail. After a trail, we realized that a different approach was needed. We decided to fabricate the inner tube out of four layers of 5 mm (3⁄16 inch) steel plates, which would be cut and rolled into segments. The individual layers were then spot welded together to form the inner and outer tubes of the stair. The precision in the metal manufacturing required a range of industry-leading techniques, some of which are proprietary. We were able to offer these services to the design, which may not have been possible without it. H O W D I D W O R K I N G W I T H I N A N E X I S T I N G B U I L D I N G A F F E C T T H E I N S TA L L AT I O N P R O C E S S ?

The constructability and installation of the stair on site was another big challenge we faced. Installing in a high-rise tower, where the tightest opening that we needed to pass through was 1,140 mm (55 inches) wide was no small challenge! Obviously, this meant we had to segment the stair and build it in place piece by piece. All segments were hoisted up through the floor by a temporary crane, which was mounted to the underside of the upper concrete slab. The installation of each segment took about 45 man hours to complete. We ended up with 16 stair segments, each weighing about 300 kg (660 lbs) and six landing pieces weighing about 100 kg (220 lbs) each. Our shop in Frankfurt, Germany was not tall enough to mock-up the entire stair. Instead, we could only pre-check that one segment fit the adjacent segment and so forth. You can imagine my relief when all pieces fell into place, aligning to the existing floor levels!

â&#x20AC;&#x153;We realized that the steel plate at the underside of the stair would have required more distortion than steel as a material can accommodate.â&#x20AC;?

W E R E T H E R E E L E M E N T S O F T H E S TA I R T H AT D E V I AT E D F R O M T H E O R I G I N A L D E S I G N ?

Originally the underside of the stair was designed in steel to provide the desired design uniformity. Upon closer review, we realized that a steel plate could not provide the curve and angles of the spiral shape. The underside would have required more distortion and bending than steel as a material can accommodate. We were talking to a finishing company, Heinrich, who we have worked with on other projects, and they immediately suggested a plaster on wire lath for the underside. At first I was skeptical, since the design called for an automotive grade lacquered finish and I was doubtful that this could be achieved in a plaster base given also that the finishing would have to be completed on site. We were in the process of building a mock-up segment, so we decided to include the plaster finish for the review. We needed a backing that could follow the shape of the stair, and that we could mount the wire lath to. What better material than broomstick handles! We had just received a shipment in the shop, so we raided our storage closet, and cut the handles to fit the width of the stair creating a lattice that followed the spiral along the underside. Ultimately we ended up using rebar, to the relief of our clean-up crew!

CHRISTOPHER GIMBE , E N G I N E E R AT A R N O L D A G

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  

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 

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    

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 

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  

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   

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  

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 

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   

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   

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 

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  

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 

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 

 

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 

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 

 

 



 















  

  

 

 



  

   





 

    

  

 

 

 

  

  





 

   





 

 



 







   

  





  





 



 

  

 

  



 



 

 







 

 

 



  



 

  





 

 







 





 





 

 



    







  



 







 

 



  





 

 





 



  



 



  

  

 



 

 

  

 

 

 

 







 

  



 

 



 

 

  









 

 





   

 

     





 

 

  



  





 

  





    

  

 

 

  

  





9  

     

 











C A N YO U D E S C R I B E T H E F I N I S H I N G P R O C E S S O F T H E S TA I R E N C L O S U R E ?

As mentioned earlier, the design goal for the stair was to create a uniform and harmonious shape in a white lacquered finish. The challenge we faced was having two different material bases, steel and plaster, and having to prep and finish the stair on site while other trades worked around us. To my surprise, the plaster and painting company was proposing a rolled paint finish, not a spray application, as I would have expected. They promised that we would not see a difference, so we trusted them to perform to the original design intent. They tented the entire area containing the stair and began with spackling and filling all of the weld joints â&#x20AC;&#x201C; 4,000 in total â&#x20AC;&#x201C; and other miscellaneous imperfections along the surface of the stair. The underside of the stair had been prepared with a rebar lattice structure, to which a wire mesh lath was applied. Then began the process of plastering, spackling and sanding the entirety of the steel and lath surfaces. In total they spackled and sanded the entire area seven times ultimately using sand paper up to 2,000 grit to achieve the paper smooth surface. The steel and plaster surfaces were indistinguishable in the end, and I had never seen a rolled paint application achieve such a consistent and smooth finish.







 

   







 





  

 

 



 

  

 

 

 

   





   

 



 





  

 





 



  

 



 

 













 

 

  H O W W E R E T H E S TA I R T R E A D S A N D RISERS FINISHED?      

 



 The stair treadsand risers where specified  as white Thassos marble, which is a pure white marble with a brilliant  crystalline color. Early in the construction phase we had found and reserved pure white and almost flawless slabs in a stone yard in Italy. The design detail called out for a sound deadening underlayment to be installed underneath the marble. Our stone installer had three different products that he recommended, which ranged in    price. 

 





We decided to perform sound tests on site to determine which product would perform the best. The underlayments   were placed beneath the stone treads, and we literally walked up and down the stairs and measured the sound  levels and impact noise from the treads to the steel structure. Surprisingly the most expensive product performed  the worst, and we ended up using the mid-priced product as the sound deadening underlayment.

   

11  

 



  

BEHIND THE CURTAIN

DISNEY STORE SHANGHAI S I M P LE DE TA I LI NG FOR A WH I M S I CA L R A I NSCR EEN LOCATION CLIENT SUBCONTR AC TOR CONSULTANT

SHANGHAI, CHINA DISNE Y WAH HENG GL ASS & ALUM INUM AURECON ENGINEERING

includes a 160 mm by 80 mm (6 inches by 3 inches) tube steel sub-frame as the main support grid. A series of secondary 50 mm (2 inches) square steel tubes is supported by the primary grid and covered with a 2 mm (1⁄16 inch) anodized aluminum panel. This continuous sheathing provides a surface for the waterproofing membrane to create the weather barrier for the rainscreen system. Custom aluminum brackets are located near the top and bottom of the aluminum extrusions and receive screws through the extruded profile to attach it to the support system. This custom designed steel and aluminum structure allowed for the thinnest walls possible to maximize the interior retail area.

The Shanghai Disney flagship store is the company’s first entry into China and also the largest Disney store in the world at 54,000 square feet. The store was built from the ground up, without having to account for existing structures, giving the design team full freedom of the building’s expression. The prominent facade of this building is a PVDF (polyvinylidene fluoride) coated aluminum rainscreen system designed to take the appearance of a stage curtain. Each of the six types of profile shapes run an impressive 8 m (24 ft) high. Despite this double story height and limitations in aluminum extrusion lengths and diameters, the construction team managed to find a fabricator who was able to create these extrusions as a single piece. However, they did not have a finishing setup large enough to apply the PVDF coating. As a result, they had to outsource the finish work to another factory.

An important detail of the rainscreen is where it stops short over the main entry doors to the store. At this point, the curtain becomes an overhead soffit. Unlike most of the other locations where the bottom of the extrusions stop a few inches off the ground, here the bottom caps are overhead and you have full view of them. It was important to have them appear as full circles instead of the typical half-circle profile, which was used at all locations where the extrusions run full-height. A similar detail of the full-circle cap was also used at the parapet level along the roof.

It took about one month to fabricate and finish the hundreds of extrusions needed for the project. From the fabricator’s factory, the profiles were easily transported on a flatbed truck to the job site. Early coordination that was done through a series of fullscale mock-ups made it possible for the installation of the rainscreen to be completed in only two weeks. Because the jobsite is located in a very popular and prestigious area, materials could only be transported in and out of the site between the hours of 6:00 pm and midnight.

The facade also has a series of twinkling LED lights used to create ‘pixie dust’ that travels from the interior to the exterior. This light fixture including its custom housing, was built in four sizes to create a randomized look. Its clear acrylic glass cover became a structural component to accommodate additional loads in locations where the fixtures where installed in-ground and would bear the weight of foot traffic.

A sophisticated rainscreen and structural clip system support the aluminum extrusions. Details were developed over nearly three full months during the shop drawing and mock-up process. The final design

I N T E R V I E W W I T H M I N C H U , P R O J E C T A R C H I T E C T AT G E N S L E R S H A N G H A I A N D S T E V E N H E R G E R T , P R O J E C T A R C H I T E C T AT G E N S L E R L O S A N G E L E S T H E R E A R E S O M E R E A L LY TA L L E X T R U S I O N S O N T H E F A C A D E . W H AT W A S T H E B I G G E S T C H A L L E N G E YO U F A C E D W I T H T H E S E C U R TA I N W A L L C O M P O N E N T S ?

Steven Hergert (SH): When we came up with the original design and I started drawing all the various profiles, we started exploring what the capabilities were in aluminum extrusions. What we found is that only as of recent could larger shapes be extruded. It used to be, basically, if it fit within an 18 inch sphere it would work. Creating an extrusion is akin to an old playdough machine — did you ever have one of those as a kid? Where you put the dough in and squeeze it out. Well, the capacity for creating aluminum extrusions had increased dramatically. Some of the shapes that we wanted were much bigger than the old 18 inch rule-of-thumb. So we took a risk in showing these as extrusions and we were thrilled when we saw the documentation back on how they were actually going to fabricate them. Min Chu (MC): The original design was very thoughtful and there were not many surprises that we faced during construction. We knew going into it that constructing the 8 m (24 ft) tall facade was going to be tricky. The double story height meant that we needed a very long extrusion. We had to find a factory in China who was capable of building this or else we would have to determine the locations of mid-panel seams at each extrusion. In the end everything laid out closely according to our plan with full, continuous extrusions and no seams. O K AY, S O I T ’ S C L E A R T H AT W E H A D P R E T T Y S O L I D C O N S T R U C T I O N D O C U M E N T D E TA I L S T O W O R K F R O M , B U T H O W W E R E T H E S E D E TA I L S R E V I S E D D U R I N G T H E C O N S T R U C T O I N P R O C E S S ?

MC: Our curtainwall consultant and curtainwall subcontractor were helpful in fine-tuning the details. For example, our original detail showed the half-circle extrusion open to the backside of the wall, but when we went to make the extrusions we had to add a continuous aluminum back to reinforce the aluminum tube to achieve the overall height we were looking for. SH: You can see from our design sketches (shown, right) the half-circle profiles are smashed up right next to each other. The concern was that these joints would fill up with dirt and grime, and you’d never be able to get anything in there to clean it because it basically tapers to nothing. So they added a small flange on each side of the extrusion that would overlap with the adjacent one. This 20 mm (3⁄4 inch) joint between the extrusions was where the profiles were attached to the wall with screws. This made the installation much faster and easier in addition to being more cleanable. They also added a small cap to cover the joint. It’s a really clean system and most of the time you’re viewing this wall from an angle, so you just get that ‘curtain’ feel. I ’ M I N T E R E S T E D T O K N O W H O W T H E M O C K - U P H E L P E D T O P R E - E M P T I V E LY F I X I S S U E S .

SH: The first time we saw the ‘pixie dust’ lights was when we went to China to view the mock-up. We noticed that the lights were not installed using the method we anticipated. We were hoping that they would be able to drill holes straight down into the extrusions in the shop for a really clean cut. But they actually cut these holes in the field to coordinate with the light fixture locations that needed to be installed before the panels were set in place. We went back to visit twice to see the re-worked mock-up, having them make small adjustments along the way to get a tighter fit with the field cut. During our last visit, we could see that the lights maintained the level of quality we were originally looking for.

W H AT O T H E R ‘ O N T H E F LY ’ A D J U S T M E N T S D I D T H E M O C K - U P I N F O R M ?

MC: We needed to develop the detail for the connection at the parapet coping and at the ground. The parapet was a unique drainage condition because the top of the extrusions had to stay flat in order to maintain a consistent datum, yet we knew that water would collect there and needed a way to get out. We ended up adding a series of holes so the water that collects on top of the half-circle would run inside the tube and weep out the bottom. We also had a challenge in locating the roof drains. We ended up using the hollow space of the largest extrusion to run the roof drain line down inside of it to create an internal gutter. SH: One part of the mock-up that was important for us to get right was the parapet. You might look at it from the ground level and think ‘well of all things to be worried about - it’s just a parapet, nobody is going to see it.’ The issue is that the Pearl Tower, a popular tourist view point, is right next door and everybody is going to be looking down at this roof. Our design team transofrmed the roof to become a piece of art and advertisement with its huge Mickey head and the ribbon-like outline of the rainscreen. And even though it is seen from so far away, the execution of the parapet caps, attachments and even the sealants became very important. We dialed in the execution of these various details multiple times throughout the mock-up process.

Parapet head detail from the shop drawings. This shows the complete rainscreen system with small perforations added to the top of the sloped cap to allow water to seep past the backside of the aluminum extrusion.

Top: Shop drawing detail of the intersection with the ground plane. Bottom: Views from the nearby Pearl Tower, a popular tourist viewing point, added a unique requirement for the the parapet head detail and roof to be fully-integrated into the overall design.

PUNCHED PANELS

MENTOR GRAPHICS PR ECAST C ONCR E TE PANELS CR E ATE A BAS K E T-WE AVED ENC LOSUR E LOCATION CLIENT SUBCONTR AC TOR CONSULTANT

WILSONVILLE , OREGON MENTOR GR APHICS CORPOR ATION MAT T NORMAN ADAM JACKSON

based on the truck required for economic delivery from the precast plant to the job site, which could only carry 40,000 lbs and had dimensional limitations. To fit within the truck bed, the panels could be as large as 36 ft high by 10 ft wide. This size allows the panels to extend from the ground and up past the roof level to screen the large rooftop mechanical systems. It also allowed the panels to be assembled without the use of additional joints.

As part of a multi-year effort to consolidate the software engineering company Mentor Graphics’ worldwide data centers, a new regional center was added to its Wilsonville Campus in Oregon. Data centers as a building type are typically not demanding of architectural features, since they preliminary house server racks and cooling equipment. For Mentor Graphics, over 80% of the project area is dedicated to server rooms, which allowed the design team to focus on the building enclosure’s architectural expression. The enclosure for the servers was transformed from a simple volume into a play of light and shadow. The server wing, which makes up the largest volume, is clad with precast concrete panels formed with a basket-weaved pattern, playing off the brick patterns found elsewhere on the campus.

There were two panel types, each with a unique concrete basket-weaved surface pattern. One essentially mirrored the other, and throughout the rest of the facade slight shifts were made to accommodate doors, windows and the perforated screens. Every panel used in the building was eventually catalogued in shop drawings. The concrete panels were cast face down. When cured, they were lifted-up and set on their side for sandblasting by hand to achieve the final finish. Since these panels aren’t structural, they had to be supported by a steel frame once they were erected. Embeds picked up the steel at support points along the top and bottom. To screen the mechanical systems, the precast panels cantilevered past the roofline to form the building enclosure and mechanical screen in a single piece. Perforated metal panels allowed for additional airflow to the mechanical units. The shop drawings provided an assembly guide of how these perforated metal sheets could be folded together to create a single patterned unit.

The asymmetrical weaving pattern is intended to create a variety of shadows throughout the day, establishing a quiet visual experience that breaks down the scale of these expansive walls. At the top of the panels, metal screens that continue the weaving pattern are inserted to provide air circulation to the air handlers, keeping the server equipment cool. With the complex pattern on the facade and the desire to maintain cost efficiency, rules were established for how these panels were designed, fabricated and delivered to the site. The panels were designed to maximize repetition and minimize the quantity of molds required to cast unique panels. Additional parameters for the design team were eastablished

5 A12.04

4 A12.04

6 A12.04

7 A12.04 10 A12.05

3' - 0"

HIGH BAY T.O. PARAPET 258' - 0" 12 A12.05

PERFORATED MTL SCREEN MOUNTED W/ MECHANICAL ATTACHMENTS. TYP. 9

A12.05 SLOPED SILL W/ MTL FLASHING

2 A12.05

4' - 0"

PRECAST CONCRETE WALL PANEL

1 A12.05 CONTINUOUS FLASHING & COUNTER FLASHING

6 A12.08

SBS MODIFIED BITUMEN ROOF O/ RIGID INSULATION

HIGH BAY T.O.S. 245' - 8"

SLOPE

34' - 0" T.O. CURT. WALL 240' - 0"

ABOVE GRADE

CONC FILL O/ SLOPED MTL DECK

SLOPED STRUCTURAL STEEL FRAMING

WALL MOUNTED LIGHT FIXTURE

2 A12.04 1 A12.04 R-7 MIN RIGID INSULATION

5 A12.08

GROUND FLOOR 224' - 0"

EXTERIOR GRADE WALL BASE. SEE FINISH SCHEDULE CONC SEALED SLAB ON GRADE O/ VAPOR RETARDER

CONC SLAB & STRIP FOOTING SEE STR DWGS

DRAIN. SEE CIVIL DWGS.

WALL SECTION - WEST WALL

I N T E R V I E W W I T H L I W E N , D E S I G N D I R E C T O R AT G E N S L E R L O S A N G E L E S T H I S A V E R Y F I N E LY T E X T U R E D C O N C R E T E W I T H A U N I Q U E C O L O R . H O W D I D YO U A R R I V E AT T H AT P A R T I C U L A R M I X?

This was governed by two main criteria; first, we were trying to find a warmer color that would go better with the brick on the rest of the campus. Second, it was our desire to reduce embodied energy, which meant that local sands and coloration would be limited to the northwest region where the project is located and the panels were manufactured. We were provided with over a dozen finish samples from the manufacturer that adhered to these criteria. From the initial samples, we selected a smaller number to be viewed at the manufacturer’s plant. It was through this process that we arrived at the final color and mix. We also utilized a series of 12 inches by 12 inches samples received from the precast manufacturer in various colors that were cast with a ledge in the center to help us evaluate the play of light and shadow on the panel. T H E P A N E L S H AV E A V E R Y S C U L P T E D C H A R A C T E R . H O W W A S T H I S I N F O R M E D A N D D E V E L O P E D THROUGH THE MOCK-UP PROCE SS?

The concrete panel pattern is an interpretation of the running bond brick pattern pervasive on the campus. Since the concrete box housed the machines of the data center and the brick box housed the people, the two boxes became an expressive dialog between digital and analog. The brick box implements a stack joint pattern to allude to the serial nature of how we store analog information, while the concrete pattern erodes that grid into a striated texture as an expression of how digital information is broken into bits to flow to its most efficient storage. Gradating the scale of the striation top to bottom creates the sense of this information’s compressive weight. The concrete panel forms were constructed of marine grade plywood and bondo was used at sensitive inflection points where it was critical to avoid seams that, if present, would insinuate facets. The forms used allowed for a smooth, uninterrupted flow of the striated texture. As we only had 1 1⁄ 2 inches maximum displacement in the texture, this had to be done with much care. To reduce the complexity, and thus cost, this pattern is created using two base panel types. Several test panels were produced full-size at the plant, hung vertically by a crane and reviewed in natural sunlight for final approval. W H AT W A S YO U R B E S T ‘ C R A F T ’ M O M E N T O N T H E P R O J E C T ?

How the metal screens at the top integrate themselves with the overall texture of the concrete box. Originally, we were planning to avoid using louvers or screens because the cooling units on the roof would be far enough away from the tall perimeter parapet to allow the cool pacific northwest air to access the fresh air intakes. But as technology advanced during the course of the project, the density of the machines grew which required larger units, necessitating penetrations in the concrete panels for more air flow. As they shimmer and change with the moving sunlight, these intermittent screens become the added touch of detail that enhance the overall appearance of the project—they are especially effective visually at the corners where we were able to have them project out beyond the concrete texture by an additional 1 1⁄ 2 inches.

10' - 0"

0° .0 94

4' - 0" VIF ROUGH OPENING HEIGHT

2" 5 1/8"

7 1/4"

0° .0 86

94 .0 0°

86 .0 0°

7 1/4"

5 1/8" 2"

0° .0 86

0° .0 4 9

86 .0 0°

FOLD LINE, TYP.

94 .0 0°

LOWER PERFORATED METAL PANEL UNFOLDED

94 .0 0°

86 .0 0°

10' - 0"

7 1/4"

0° .0 86

7 1/8" 4 1/8"

7 1/4"

0° .0 4 9

86 .0 0°

0° .0 94

0° .0 86

4 1/8" 7 1/8"

3' - 0" VIF ROUGH OPENING HEIGHT

FOLD LINE, TYP.

UPPER PERFORATED METAL PANEL UNFOLDED

94 .0 0°

SILHOUETTED STAIR

OUE SKYSPACE MONUMENTAL STAIR PR EC I SE M ATER I A L SELECT I ON DEF I NES A M E T I CU LO I S LY CR AF TED F LOAT I NG STA I R LOCATION CLIENT SUBCONTR AC TOR CONSULTANT

LOS ANGELES, CALIFORNIA OUE HATHAWAY DINWIDDIE WASHINGTON IRON

painted carbon steel. The stone treads are made of an Italian quartzite, hand-selected for this project for its characteristic veining.

The US Bank Tower stair is part of a larger improvement project called OUE Skyspace, a visitor’s center connecting an interactive technology level with an open-air observation deck rising nearly 1,000 ft above downtown Los Angeles. It is centered around a glass slide affixed the exterior of the building, connecting the 70th floor with the 69th floor. From the observation terrace, visitors are presented with 360 degree views of LA all the way to the Pacific Ocean.

No detail was too small for this stair. Even the small top caps of the stainless steel glass point fittings were blackened to match the treads. Tolerances were very tight at less than 1⁄8 inch. The design and construction teams actively collaborated on the smallest of details, including the selection and arrangement of the stone treads. The design team studied images of the quarry slabs and specified the exact sequence that they should be installed in order to create a harmonious pattern.

On the interior, a monumental steel and stone stair connects the two floors into seemingly one space. The US Bank Tower is one of the tallest buildings on the west coast and getting components for construction up to the top floors was not a small feat as it sometimes even required helicopter lifts.

The stair structure was originally intended to be fabricated of blackened steel. This requires the steel to undergo a black oxide process in the shop. Because the stair had to be field welded, the finish was changed to a black epoxy paint in order to maintain a uniform finish over the various steel components. Of the multiple shades of black that were reviewed, the design team narrowed it down to five which they compared side-by-side as drawdowns with varying levels of sheen before finalizing their specification. In order to get a consistent appearance in the various elements made of brass, many factors were considered. Not only was the brass composition selected for its color and overall appearance, but the fact that it was available in the various shape sections required was key. It was also chosen for its overall flexural strength and machinability.

The design concept for the monumental stair centers on the California golden hour. Also known as the ‘magic hour’, it is where the reduced light ratio is filtered through multiple layers of atmosphere and produces a softer, redder light. It occurs shortly after sunrise and before sunset and is accompanied by context appearing in silhouette and deep shadows. As such, the material palette for the stair is composed of a variety of brasses, bronzes, black paints and blackened steel. These same materials and tones are also found throughout the surrounding Skyspace areas. In application, the stair’s handrails are made of brass. The stringers and tread pans are made of black

The built-up custom carbon steel stringer is hoisted into position.

A field worker welds the stringer. Note the temporary support structure holding the cantilevering treads in place on either side.

Rear view of stringer with treads fully welded in place.

With the installation of the stone treads, brass handrail and glass guardrail, these materials are protected in place while the jobsite remains an active construction zone.

I N T E R V I E W W I T H A U D R E Y W U , P R O J E C T A R C H I T E C T AT G E N S L E R L O S A N G E L E S T H E S T E E L S U P P O R T E D S T O N E T R E A D S A P P E A R Q U I T E S U B S TA N T I A L . H O W M U C H D O T H E T R E A D S WE IG H?

The steel portion that supports the treads weighs in at a hefty 350 lbs. Add the stone to that and each tread weighs upwards of 500 lbs! This substantial weight made it so that the stair could not be fully welded in the shop and delivered in one piece – so the treads needed to be welded on site. Each tread was delivered to the site as a single piece and the custom stringer was delivered in three sections. Then there was substantial welding and grinding that did affect the type of finish that we were able to apply to the steel stringer and treads. It was very fabrication intensive with a lot of on-site finish work that had to be done by hand. T H AT ’ S A N I N T E N S E A M O U N T O F F I E L D W E L D I N G F O R S U C H T H I C K M E M B E R S . W E R E T H E R E A N Y Q U A L I T Y I S S U E S T H AT A R O S E ?

Absolutely. When there is so much welding that is done on-site, there is always some form of weld distortion. And because of all the welding on the stringer, it caused the stringer to contract on the side that the welds were placed. This happens because the weld material was laid down hot and then contracted when cool, which pulled the stringer into a ‘smiley’ profile. So, in essence, it had a tendency to curve the stringer. H O W D I D T H E T E A M R E S P O N D T O T H E D E F O R M AT I O N O F T H E S T R I N G E R ?

As the steel fabricators were welding the stringer sections, they started to notice the deformation and had to modify their approach. At this point, solving the unintended curvature was a means and methods discussion. The construction team decided to chain up the stringer from the center point, tie down the sides and reheat it to straighten it out and prevent further deformation. We were extremely satisfied with the results. What we found was that the steel subcontractor fell in love with the stair just about as much as we did. For them, it really was a labor of love.

WERE THERE ANY OTHER UNFORE SEEN CHALLENGE S?

Originally the intent was for the stairâ&#x20AC;&#x2122;s carbon steel to be blackened with something similar to the black oxide. However, because the welding had to be done on-site, the components of the stringer and treads could not be blackened in a shop. Instead, we had to find another approach. Blackening the steel on-site would have been problematic in terms of achieving a uniform finish, especially over the welds, which are made up of a different metal composition as compared to the steel plates. Ultimately for the carbon steel portion of the stair, stringer and treads, we went with a black epoxy paint instead of going through the blackening process. It would have been too time and labor intensive, and achieving a uniform finish would have been highly unlikely. HOW WA S THE S TONE SE LEC TE D FOR THE TR E ADS?

The team selected a particular Italian quartzite, which was being used for other parts of the observation deck as well. It was also chosen for its hardness and abrasion resistance. The stone supplier assisted us in procuring the quartzite blocks by sending photographs for our review. By reviewing the front and back of the large stone slabs before they were cut down, we were able to gauge what the pattern would look like in between. The block we selected was then drawn and quartered, and we were sent another round of photographs. It was from these photos that we identified the sequence of the treads in terms of how they were to be installed in the field. W A S T H E R E A N Y A D D I T I O N A L S T R U C T U R E A D D E D T O S U P P O R T T H E W E I G H T O F T H E S TA I R ?

Oh, absolutely. There are existing floor beams, but the base of the stair stringer needed to touch down and distribute the load. So a pair of wide flanges that spanned across the base of the stair stringer were added to distribute the loads to the existing floor beams. These beams are buried within the concrete plinth, which is then clad in the final stone finish. W H AT O T H E R F I N I S H E S W E R E U S E D F O R T H I S S TA I R ?

Carbon steel was used for the custom stringer and the treads. For the fittings we had to use high strength stainless steel because of its structural properties. For the top cap, we selected stainless steel so that it could be finished similar to the fittings. W E O F T E N S P E N D A LOT O F E F F O R T P I C K I N G O U T A S P E C I F I C S H A D E O F W H I T E F O R A P R OJ E C T. W A S I T T H E S A M E F O R C H O O S I N G J U S T T H E R I G H T S H A D E O F B L A C K F O R T H E S TA I R F I N I S H ?

Yes, we went through more than 100 different blacks and narrowed it down to 20. We then requested drawdowns for five of them in different sheens. These were reviewed alongside the other stair materials, specifically the quartz stone and also the copper alloy. Because we originally intended the stair to be blackened steel, the black paint was the latecomer to the party and had to match the other materials, which could not be changed. Our final selections narrowed it down to two paint options which were mocked up on full size treads before we made our final selection.

T H E C O P P E R A L L OY H A N D R A I L S W E R E A U N I Q U E C H O I C E . W H AT D R O V E T H E S E L E C T I O N O F T H I S M AT E R I A L?

The overall color scheme for the observation deck was driven by this concept of the California golden hour. So the colorations that run throughout the observation deck materials are either black, brass or bronze in color. We specified a very specific brass-looking copper alloy. In addition to its appearance, we also evaluated it for flexural strength, machinability and availability in both bar and tube sections. F R O M T H E D E TA I L S I T S E E M S A S T H O U G H YO U O R I G I N A L LY W A N T E D O P E N R I S E R S .

Yes, that is how we initially designed the risers because the concept was that the treads would appear as if they were floating. The building code is not entirely clear on this issue. Per the codeâ&#x20AC;&#x2122;s chapter on egress, open risers are allowed when it is not an egress stair. However if you go to the chapter on accessibility, it specifically does not allow open risers. We determined that we could not have an open riser as initially envisioned. So we studied a few schemes that looked at various ways to close off the riser. We explored various materials for the risers such as perforated metal, but in the end we went with glass because it gave us the most transparency. P R I O R T O C O N S T R U C T I O N , W E R E T H E R E A N Y M O C K - U P S D O N E F O R T H E S TA I R I T S E L F ?

Mock-ups were critical for our review and development of the design. We actually mocked up a full size tread including a portion of the glass guardrail and the point fittings used to secure it. It was through the mock-up review process that we also engaged the building inspector to review the design of the closed riser. We realized that there was a limit to how far back the glass riser could be positioned on the toe-side of the tread. It was set into a location that was limited by the upturn of the steel tread, the stone tread itself and the steel stiffener on the back. It was critical for us to get sign-off from the building inspector with the mock-up on this issue. We also took the opportunity to review the mock-up for what the point fittings would look like against the opening of the holes in the glass guardrail. W E R E T H E R E A N Y S U R P R I S E S YO U D I S C O V E R E D B Y R E V I E W I N G T H E M O C K - U P ?

We were surprised to find that the structural grout used at the point fittings for the glass guardrail caused the edge of the glass to be highlighted in a blue tint. Because of this we tested out painting the holes with a black coating, which worked well in the end. H O W H E L P F U L W A S H AV I N G T H E M O C K - U P D O N E F O R F I N A L I Z I N G T H E D E TA I L S ?

It was extremely helpful. We definitely needed to test out and make sure that the glazing pocket at the riser would work. We also tested out the paint finish. The paint finish ended up being very laborious because the original strategy was for the steel to come out primed, but then they had to grind off the primer in order to weld. There was an unevenness of the finish, so the paint subcontractor ended up having to grind off all the primer prior to applying the final paint finish.

A NEW CHAPTER IN HISTORY

CBRE MASONIC TEMPLE A DE TER I OR AT I NG H I STOR I C BU I LD I NG’S R EP OS I T I ON R EQU I R ES BA L ANC I NG THE O LD AND LOCATION CLIENT DEVELOPER CONTR AC TOR

GLENDALE , CALIFORNIA CBRE CARUSO W.E . O’NEIL

deteriorating—and what was even more surprising was what was discovered above the existing decorative ceiling.

The Masonic Temple of Glendale dates back to the 1920’s Art Deco era. Designed by Arthur Lindley, the building sat empty for nearly three decades before The Americana at Brand owner Rick Caruso embarked on the restoration and adaptive reuse of the historic building. Once Caruso secured CBRE as a tenant, the 24,000 square-foot space was completely re-designed. Construction was completed a mere 10 months following the start of the rehabilitation.

Upon investigating the building structure above the vaulted ceiling, a vast, intricate system of suspension cables and connections was found. Not only was there concern about restoring the ceiling itself, but its seismic stability and necessary upgrades became much more complex. Thus seismic upgrades were set as top priority followed by general upgrades to the entire building. To accommodate this, the project was divided into two phases: the building shell and the interior buildout.

The property was listed on the local Glendale Historic Registry in 1997, and was originally a space dedicated to Freemasons. For the city of Glendale, it represents a highlight of its history. For the client, it also symbolizes a new realm of adaptive re-use real-estate possibilities. The building was transformed into a creative office space for more than 100 CBRE employees. While the structure was restored, the interior was completely rebuilt, pairing the historic beauty of the building with the modern image of the progressive real estate firm.

Time was of the essence for the renovation. For the building itself, time represented the continuation of its slow deterioration from a lively Freemason center to the toll of years of abandonment. Preservation, rehabilitation and restoration were all addressed in the adaptive re-use approach. However, the new modern interior design had to recognize and balance the old versus new.

A complete seismic analysis and a subsequent upgrade of the existing concrete and steel structure were required to meet the code requirements for seismic resistance. At the same time, large areas of space were required within the building to accommodate CBRE’s desire for open workspace. As such, an entire new floor, the eighth floor mezzanine, was suspended in the existing double-height space.

During construction, upmost attention was placed on the alignment of scaffolding and equipment to avoid possible damage to historic elements. The existing trusses were removed and went through an intensive restoration process, where some had to be completely rebuilt. When set back in place, the trusses were wrapped, protected and left untouched as the mezzanine began to take shape. Due to its extensive deterioration, the existing wood ceiling was entirely removed and replaced with a new ceiling. Seismic upgrades were implemented above it. The old was slowly merged with the new and the construction of the mezzanine exemplifies this.

With the addition of the mezzanine and to create an entirely new interior, steel framing and supports had to be delicately integrated into the existing historic conditions. Site visits occurred weekly during the design phase because many of the existing conditions were unknown and in most cases unseen. In addition, the iconic wood ceiling and trusses were

clevis and outer gusset plate can be seen at the lower connection, and while the same assembly occurs at the upper connection to the steel beam, it is hidden from sight above the new ceiling. Due to building code requirements, the rods and corresponding connections had to be fire protected with intumescent paint.

Sequencing of the construction phases between the building shell upgrades and the new interior was critical. Seismic upgrades were conducted first, while aesthetic upgrades to the interior and exterior closely followed. The restoration of the existing structure and the new interiors occurred simultaneously. This allowed for a seamless integration of the new without damaging the old. It also allowed for parts of the existing to be opened up to add new connections and structural framing.

While the project sought to retain as much of the existing character as possible, it was not always possible to save the particularly degraded elements. The existing trusses were a high priority, as they were the main architectural character piece. Great care was taken in the process of hanging the rods as to not disturb the historic trusses. At first glance the rods seem to connect to the wood trusses, but they are in fact offset and connected to the existing and seismically upgraded structure nearby.

The existing decorative ceiling could not be salvaged. Its removal presented an advantage to the placement and construction of the new hanger rod connections that supported the mezzanine. The rod hangers were designed to penetrate the new ceiling, which would have been unlikely if the original ceiling was kept. Above the ceiling plane the rod connected to a new steel beam placed adjacent to the wood trusses. These steel beams were part of the seismic upgrade and support the load of the mezzanine floor.

A unique challenge for the design team was communicating the scope of the existing preservation versus new construction. While the construction phases were occurring simultaneously between building shell and interior, the construction documents were completely separated. Steel beams were a part of the existing building construction documents, yet the steel framing for the new mezzanine was included in the new interior scope. While this made sense from a client and landlord standpoint, it proved to be difficult to coordinate with the overall construction timeline. Thus, site visits often occurred on a bi-weekly basis to keep current with the construction progress.

While the building shell and interior were documented as two separate projects, the general contractor integrated them closely for construction sequencing. As structural upgrades in the roof progressed, the construction of the mezzanine followed. The overall construction period took roughly six months for both retrofitting the existing structure and construction of the new interior scope. There are a total of 10 new steel rod connections that support the mezzanine to the framing above. The

Top Left: The existing wood ceiling was not only deteriorated, but was supported by a series of seismically questionable supports, including the wire hangers seen here. Top Right: Temporary shoring was used while the new mezannine was being framed out. Bottom: The restored trusses were seismically braced to the existing structure.

“We wanted to preserve the bones of the structure while creating a timeless balance between the modern and historic.”

I N T E R V I E W W I T H L I N D S AY M A L I S O N , D E S I G N D I R E C T O R AT G E N S L E R L O S A N G E L E S HOW WA S THE M E Z Z ANINE CONCE P TUALI Z E D B O T H A E S T H E T I C A L LY A N D S T R U C T U R A L LY ?

The main objective was to eliminate the intrusion of conventional steel columns that would obstruct views and interfere with the open plan concept. The newly inserted eighth floor mezzanine is one of the most notable features of the project. It was designed to create a “space within a space” and to float within the context of the historic architecture. To achieve this the mezzanine level is suspended from new steel supports at the roof via a clevis, outrigger and rod, adding valuable rentable square footage to an antique concrete building with a limited volume. Structurally, the additional floor had to be supported by an entirely new system within the historic building shell. W H AT W A S T H E B I G G E S T C H A L L E N G E F A C E D DURING CONS TRUC TION?

The main challenge in construction was to delicately protect the existing elements. We wanted to preserve the bones of the eight-story Art Deco structure while creating a timeless balance between the modern and historic. The existing roof trusses were originally designed to carry only the load of the roof, so structural upgrades were required to carry the new load of the mezzanine. Great care had to be taken not to damage the existing wood trusses. The location of the rod and the layout of the mezzanine was also carefully considered to allow for circulation around the wood trusses, to minimize the floor depth of the mezzanine and maximize head room. By carrying the load of the floor, the new rods are considered primary structure. To maintain a low profile, they were fireproofed with intumescent paint. In addition, the plenum above the wood ceiling had to be free of any combustible material and protected by fire sprinklers.

L I N D S AY M A L I S O N , D E S I G N D I R E C T O R AT G E N S L E R L O S A N G E L E S

NEW STEEL BEAM AT TRUSS (SEE STRUCTURAL)

NEW STEEL PLATE AND CLEVIS (SEE STRUCTURAL)

CEMENTITIOUS FIRE PROOFING ON ROD AND TURN BUCKLE ONLY ABOVE CEILING PLANE PER 07/09 OAC DISCUSSION

TURN BUCKLE

CEILING PLANE ABOVE TRUSS

NO FIREPROOFING ABOVE CEILING PLANE ACCOMODATION VIA PROVISION OF A FULLY SPRINKLERED SPACE BETWEEN THE NEW CEILING AND CONCRETE ROOF ABOVE.

CEILING PLANE BELOW TRUSS

E LAN GP ILIN E C

APPLY INTUMECENT FIREPROOFING ON THE HANGER ROD STARTING AT THE CEILING PLANE TO THE CLEVIS AND OUTRIGGER PLATE APPLY 2HR CEMENTATIONS FIREPROOFING AT THE FLOOR BEAMS AS ILLUSTRATED

CLEVIS AND OUTRIGGER PLATE (SEE STRUCTURAL 3/S07.02) PROVIDE 2 HR RATED INTUMESCENT PAINT FIREPROOFING PT-3 W/ FINISH COAT TO MATCH PT-4 CONCRETE DECK

R1 /2"

2" R1/

R1/2

5 1/4" 9 3/4"

HANGER ROD (SEE STRUCTURAL 3/S07.02) PROVIDE 2 HR RATED INTUMESCENT PAINT FIREPROOFING PT-3 W/ FINISH COAT TO MATCH PT-4 STOP ROD FIREPROOFING AT THE UNDERSIDE OF THE NEW CEILING PLANE DASHED OUTLINE OF COLD ROLLED STEEL GUARDRIAL POST AND SS. CABLE RAIL (BY TENANT)

DASHED OUTLINE OF FINISH (BY TENANT) NEW WF BEAMS (SEE STRUCTURAL) W/ 2 HR SPRAY APPLIED CEMENTATIOUS FIREPROOFING

SEGMENTED SCULPTURES

MUSEUM OF PHOTOGRAPHIC ARTS DESK A SUBSTANT I A L AN D M OB I LE SCU LP TUR A L DES K LOCATION CLIENT CONTR AC TOR SUBCONTR AC TOR

SAN DIEGO, CALIFORNIA MUSEUM OF PHOTOGR APHIC ARTS WADMAN R JP

The total weight of the materials being used was also considered. Solid surface, a relatively heavy material, was used for the outer shell. At the joints where the mobile millwork segments connect, the solid surface has slightly eased edges to avoid damage when reconnecting. The solid surface turns the corner to maintain this durability. The remaining infrastructure of the desk is a lighter-weight white plastic laminate. This was essential to keep the weight of the desk down and allow for as much plug-andplay mobility as possible.

The Museum of Photographic Arts (MOPA) in San Diego was renovated to create a new guest experience and fresh aesthetic that supports the museum’s new curatorial vision: to provide guests with an engaging space to serve as a backdrop for exhibitions and events. As visitors enter the museum’s daylit atrium space, a sculptural guest desk floating atop the new white terrazzo flooring is there to greet them. The desk becomes a focal point with its solid mass and gentle folds that subtly manipulate light and shadow. At the front counter, a greeter engages with visitors and conducts transactions. The rear counter is completely separate and houses additional storage for staff members, in addition to displaying printed literature for guests. It was important that the desk— an object in space—was precisely detailed, much like an object showcased in one of the museum’s exhibits. It was also equally important for the desk to be easily disassembled and stored away in the event of a large gathering in the entry atrium space.

An illuminated MOPA logo routed into the mass synthesizes the museum’s brand identity with its architecture. A lighting designer was brought on board to work through the logo’s backlighting details with the architect and millworkers. They explored using color changing lights and various material transparencies. After several mock-ups, the team decided to move forward by forming the letters out of a cost-effective, translucent colored matte acrylic, which was backlit with white LEDs. The acrylic material was routed into the solid surface and set flush with the desk’s exterior shell surface.

Considering that museum staff and volunteers would be the ones to move the desk away into storage, ease of mobility was a high priority. A number of design considerations were implemented to accomplish this. First and foremost, the desk needed to be broken down in scale. Although it is nearly 18 ft long, the desk divides into five independent millwork segments, each of which is held together by concealed magnets. At the base, each segment also has four to five silent operational, heavy bearing swivel casters for multidirectional movement. The compatibility of the caster wheels with the white terrazzo flooring was carefully studied—it was critical for them to be nonmarking.

“A 3D printed model was used to explain the shape and folds to the client and construction team.”

H O W D I D YO U C O O R D I N AT E T H E F A C E T E D SHAPE OF THE DESK WITH THE CONSTRUCTION TE AM?

Amanda Behnke (AB): One of the tools that really helped us convey the overall shape of the desk was a scaled, 3D printed model that we made of the desk. We used it not only to explain the shape and folds to the client, but also the construction team. The folds of the desk were also well-represented in the axonometric views within our drawing set. During coordination, however, it wasn’t as simple as marking up shop drawings and sending them out. We worked very closely with the millworker during fabrication. Progress photos were reviewed during all phases of fabrication. We also had multiple in-person meetings to work out the lighting details. W H AT D R O V E T H E O V E R A L L F O R M A N D C O N F I G U R AT I O N O F T H E D E S K ?

AMANDA BEHNKE , PROJEC T ARCHITEC T

AB: There were several functions that drove the form of the desk. A recessed solid surface pocket at the rear counter was created specifically to hold a number of pamphlets. Binder storage was required and provided for in a mix of open shelves and drawers. Custom millwork was also designed to accommodate a sticky note messaging board as well as a concealed, builtin waste receptacle. Fortunately, the desk was not tethered down by technological demands, as much of it was wirelessly driven. This freed us up quite a bit. The requirement of the desk to be mobile was a function that we studied in detail. The segments were held together by magnets and had to be easily taken apart but durably set in place when connected. Even the casters were carefully selected as to not create markings on the terrazzo flooring.

AT G E N S L E R S A N D I E G O

INTE RVIEW WITH CL AUDIA SAL A Z AR , PROJEC T DIREC TOR AND AMANDA BEHNKE , PROJEC T A R C H I T E C T AT G E N S L E R S A N D I E G O H O W D I D YO U A C C O M M O D AT E F O R W E A R A N D TE AR OVE R TIME DUE TO THE D E SK BE ING DISASSEMBLED AND RECONFIGURED?

Claudia Salazar (CS): This was considered early on in the design of the project. We discussed that the majority of the desk would be made out of a solid surface material that wraps into the interior of the desk making sure that even the edges where the desk comes together would be incredibly durable. We wanted to make sure the desk would not be subjected easily to chipping so it would have longevity. This material is also easily cleaned and maintained over the long-term.

SEE ITEM #102 FOR BACK COUNTER

SS-1

23 1/2"Ø EXISTING COLUMN

7 13/1 6"

73 9/16"

10"

RLC 10-30-14

RLC/FD/RFP 11-5-14

CONST. CHANGES 11-7-14

77 3/16"

9/ 29

93 1/2"

10" 77 3/16" SMOOTH TRANSITION AT SOLID SURFACE TOP JOINT

SMOOTH TRANSITION 53 1/16" AT SOLID SURFACE TOP JOINT

73 9/16"

24 1/ 8"

+42"

23 1/2"Ø EXISTING COLUMN

7 13/1 6"

93 1/2"

+42"

46 7/8"

10"

11"

+30"

10 1/2 "

12"

11"

10"

SS-1

+42"

46 7/8"

SEE ITEM #102 FOR BACK COUNTER +30"

10 1/2 "

12"

24 1/ 8"

53 1/16"

1/2

1/A08.01

SMOOTH TRANSITION AT SOLID SURFACE TOP JOINT

250 15/16" ANGLED

+42"

12"

ANGLED

RED/ORANGE PMS 152 OR SUBTLE TRANSITIONAL COLOR SHIFT / VINYL BACKING / PROVIDED BY OWNER SS-1

EXISTING COLUMN

63 1/2"

SS-1

1/2

1/A08.01

17"

SS-1 EXISTING COLUMN

FROSTED WHITE BACK-LIT ACRYLIC LETTERS - (L.E.D. LIGHTING N.I.C.)

1/2

5/A08.01

OUT

IN OUT

ACR-1 BACKLIT MOPA LOGO

SS-1

FROSTED WHITE BACK-LIT ACRYLIC LETTERS - (L.E.D. LIGHTING N.I.C.)

PL-1

ARCHITECTS NOTE:

1/2

5/A08.01

1. ALL ELECTRICAL HOOK UPS TO BE COORDINATED WITH ELECT. CONTRACTOR

SS-1



63 1/2"

19"

10"

39"

42"

39" 3"

ANGLED

RED/ORANGE PMS 152 OR SUBTLE TRANSITIONAL COLOR SHIFT / VINYL BACKING / PROVIDED BY OWNER

OUT

OPEN FOR PRINTER

OUT



SS-1

12"

   

SS-1

OUT

30"

39"

17"

ACR-1 BACKLIT MOPA LOGO

PL-1

OUT

OPEN FOR PRINTER

OUT 250 15/16" OUT ANGLED

30"

ANGLED

10"

42"

39"

42"

OUT 19"

  1 OF 4

ARCHITECTS NOTE: 1. ALL ELECTRICAL HOOK UPS TO BE COORDINATED WITH ELECT. CONTRACTOR

  1 OF 4

SS-1

NON-MARKING, SILENT OPERATION SWIVEL CASTERS

VARIE

PL-1

18"

5 5/8"

LINE OF TOE KICK BELOW

14"

3/4"

6" 14"

NO OP CA

3/4"

2" 2"

21 1/8" 10"

PL-1 INTERIOR

12"

2" 2"

WH.MEL. INTERIOR

1/4"

RIE

PL-1 INTERIOR 14"

23"

1/8"

RIE S

1 3/4 "

18"

LED LIGHTING (N.I.C.) PAINT INTERIOR WHITE (TYP)

ACR-1 BACKLIT MOPA LOGO 1/2" DOWELS AS BONDED TO SS-1 REQ'D TO SUPPORT 'SPEARS' AT LETTER 'M

SS-1 USE BLOCKING TO SECURE WHERE LETTERS COME TO SMALL TRIANGLES

An existing 23 1â &#x201E; 2 inch diameter structural column was used as a the main working and anchor point. It helped determine the overall dimensions, location and means of disassembling the desk. More importantly, this column acts as the main power source for the desk. It is where the electrical conduit is run to provide the entire front counter with power and data, with cords running through a concealed millwork chase. The designers worked with MOPA to understand how the latest technological trends could be integrated into the desk for two main reasons. First, to understand how the design could be forward compatible considering the direction of the future of technology. And second, to reduce the overall size of the desk by not having to accommodate for hardwired connections.

USE BLOC WHERE LE SMALL TR

MATCH LINE

COORDINATE ACCESSIBLE POWER/DATA CONNECTION AT DESK INTERIOR TO COLUMN POWER/DATA LOCATION

CONCEALED MAGNETS TO ATTACH AND HOLD CABINETS TOGETHER

EXISTING 23 1/2"Ø COLUMN

LINE OF COUNTER TOP ABOVE

66 5/8" KNEE SPACE

PL-1

7 GAL. TRASH CAN (N.I.C.) CONCEALED STEEL SUPPORT BRACKET

12"

29 1/4"

8 3/4"

10 1/2"

14"

38 9/16"

CKING TO SECURE ETTERS COME TO RIANGLES

PL-1

15"

29 3/4"

28 15/16"

ON-MARKING, SILENT PERATION SWIVEL ASTERS

LINE OF COUNTER TOP ABOVE LINE WHERE PANEL MEETS FLOOR

SS-1 TO HAVE SLIGHT EASED EDGES AT LOOSE JOINT TO AVOID DAMAGE WHEN RE-CONNECTING

SUGATSUNE #BS BARREL BOLTS TO SECURE LOOSE JOINTS

MATCH LINE

It was important to consider the flexibility of the systems that would be plugged into the desk so that the entire piece wouldn’t become obsolete over only a short period of time. The team focused on utilizing technology that could be powered elsewhere but used at the desk, items such as tablets and other wireless devices. This was key to keeping the desk lightweight, mobile and relevant. However, to prevent users from feeling limited, the designers still provided desktop power using the column where the segments of the desk converge. Everything connected to this column still had to be easily dismantled and tucked away in order for the desk to be taken apart and stored elsewhere in the museum. Tolerances were very small for the millworker to make sure everything was completely level and flush.

CONCEALED TO ATTACH CABINETS T

CONTEMPORIZED CLASSICS

THE PARISIAN MACAU SCU LP TUR A L FOR M S CR E ATED US I NG ANC I ENT TOO LS AN D M ODER N M E THODS LOCATION MACAU, CHINA CLIENT VENE TIAN ORIENT LTD E XECUTIVE ARCHITEC T AEDAS LTD CONSTRUC TION MANAGEMENT HSIN CHONG GROUP HOLDINGS

The design team fully intended to use 3D modeling in the production of the sculptural elements. During the initial bidding, the design team provided STL files with 3D models of each of the various elements to the trade contractors with the intention of the files being programmed into CNC machines for production. The machines would automatically cut the shapes, which would then be used to create molds. In the end, however, the trade contractors didn’t feel comfortable with this methodology, so they reverted back to what they know best: sculpting clay by hand.

The creation of a Parisian inspired 4.6 million squarefoot hotel and casino on China’s Cotai Strip presented the challenge of creating a massive, period correct building using modern-day construction techniques. The Parisian Macau is China’s answer to Las Vegas. It includes a half-size replica of the Eiffel Tower, column lined facades and antique street lamps illuminating a series of formal gardens. The illusion of Paris is clearly apparent throughout. Incredibly intricate ornamentation, large scale statues and classical columns abound throughout the project and are essential to creating the Parisian experience. This chapter focuses on the process of creating a sculpted column capital. Looking at the overall process of designing, fabricating and installing the column capital will provide a detailed look into a small portion of this complicated five-year construction project.

Roughly half of the sculptural work on the project is at least partially a replica of some existing Parisian element. To recreate these, sculptors were given a series of detailed photographs to work from. The design team documented the scale and size required for these various elements and turned the drawings into construction documents with the local design institute, Aedas.

There are very few components of the building that are built like they would have been historically— yet they needed to convey the historic look. As an example, even though an exterior column is fabricated of fiber-reinforced polymers (FRP) and not the historic material of stone, it needed to convey the historic look of stacking and layering. As such, the design and construction teams quickly established and prioritized how the elements appeared tectonically. In fact, the majority of the exterior elements were assembled using modern day tilt-up construction techniques. A major driver of this requirement is the strict code requirement for resisting potential hurricane conditions, which was a primary consideration for engineering the facade.

Another technique used to translate the intricate existing elements into new sculptures is known as ‘sight sizing.’ First, reference photographs were used to create a hand-held sized model filled a ‘maquette’. The design team would then visually compare the maquette in the foreground to the progress sculptures at a distance in the background. Sight sizing helped the designers to make decisions on the overall proportions and appearance of the sculptures.

I N T E R V I E W W I T H K A I W E S T E R M A R K , D E S I G N E R AT G E N S L E R L O S A N G E L E S T H E R E A R E A L A R G E N U M B E R O F I N C R E D I B LY O R N AT E E L E M E N T S O N T H I S B U I L D I N G . H O W D I D YO U C O M M U N I C AT E T H E I N T E N T O F S U C H A C O M P L E X D E S I G N T O T H E F A B R I C AT O R S ?

The initial intent for all the sculptures was to create and provide the construction team with a digital model for fabrication. We would also need a sculptor to come in and add fine-grain, intricate details that were not present in the 3D model. We did a number of studies with 3D digital models of elements such as the columns, statues and other various ornament. The general contractor was open to using a digital fabrication process to create the sculpted pieces. However, it was not a requirement for the bidders to use the digital files. Most of the subcontractors in China were not working in this manner. So if digital fabrication was required, the pieces would likely have to be milled in Europe and shipped to China to be replicated. Southern China, where the project is located, has many skilled sculptors available in the area so it made sense economically to stay local. W H AT T Y P E O F P R O G R A M S D I D YO U U S E F O R T H E 3 D M O D E L I N G O F T H E S E C O M P L E X O B J E C T S ?

In our attempt at digital fabrication, we were interested in using photo capture, especially to create custom figural sculptures. In anticipation for this process, we photographed models holding props and ornament that would be used throughout the building. For these human figures, we art directed a photography shoot where a series of photos were taken from cameras at different angles, all rigged up at once. We then loaded the images into a computer program which generated a 3D object from it. The idea was that the contractor would use this to mill the building element, which, as we discussed earlier, didn’t pencil out financially. W H E R E D I D YO U D R A W I N S P I R AT I O N F R O M F O R T H E D E S I G N O F T H E O R N A M E N T ?

We posed a question to the client: do you want replicated sculpture of specific Parisian monuments and buildings, or unique sculpture that fit within the Parisian concept? It was unclear at the beginning. But as the process evolved, it went more towards specific monuments like the Eiffel Tower replica. In the end, I would say about 50% of the sculpted pieces reference specific buildings and 50% were simply in the style of and designed separately. H OW D I D T H E S C U LP T I N G P R O C E S S WO R K?

The client hired an in-house art director. We would check in with him and go with him to meet the sculptors. At the apex of all the production work we would visit Macau for one week every month. On the first day we would meet with the construction management team. The next day we would go out to the factories and look at what they had done. We looked to make sure that it worked with the overall size and verify how it would affix to the building. We would also study the forms of the flowers, figures, and other shapes, which were very different from what we originally provided in the 3D models. There was a lot of work after the fact. Most of the time it would fit into the overall context but it didn’t have the right feel. We worked closely with the sculptors through a translator who worked for the construction company. The local art director was fantastic and worked with us in talking through the design changes. W H AT W A S I T L I K E W O R K I N G W I T H T H E S C U L P T O R S ?

Sometimes we would see something and it wasn’t what we expected. Because a lot of the modeling was done in clay, it was easy to give comments and have them make adjustments quickly. For some items it was easier to achieve the desired end result, like the column capital. For other items, like figues in particular, it was more difficult. Facial features are interpreted differently by every sculptor. We ended up working with a separate shop of artisans that were contracted to create additional maquettes. We set them up in the shop that was doing the final sculptures to scale, placing them at varying points in the shop to view them at different distances to make sure they looked exactly the same. This technique of looking at objects 1:1 to verify consistency is a very classical technique used from back in the renaissance.

I N T E R V I E W W I T H T I M W I N E S , T H E V E N E T I A N ’ S O W N E R ’ S R E P R E S E N TAT I V E A S A N E X A M P L E , C A N YO U TA K E U S T H R O U G H T H E P R O C E S S O F C R E AT I N G A C O L U M N C A P I TA L?

Our art director would work with the trade contractor to sculpt the column capital. We also had architects from the design team fly in to visit the factories and inspect the various models and molds. They eyed everything in and made corrections on the fly. One thing we noticed was on the capital leaves we needed to get a laser level to make sure that all the tips of the leaves were aligned to the same datum. We also showed them how we wanted the leaves to bend. This is a good example of the type of direction we gave the trade contractors. W I T H O V E R 10 0 T R A D E C O N T R A C T O R S A C R O S S T H E P R O J E C T , H O W D I D YO U A C H I E V E C O N S I S T E N C Y

On the exterior facade of the building alone we were dealing with three different trade contractors. Luckily each of the facade trade contractors went to the same manufacturer in the end, which was an architectural precast company. They ended up doing all of the GFRC and GFRP facade work, including sculpting the clay, creating the molds and all the castings. They would employ their own sculptors and artists. They also had their own art director that helped them work through the process. Once their shop drawings were approved and they knew the size and modulation of everything, they went right into model and mold making. That’s when our team got really involved with the factories by going for inspections. We were going out with the design team on a monthly basis. For the final approval, the architect would come out, provide comments for corrections and tick the box. W H AT W O U L D YO U S AY W A S T H E M O S T C H A L L E N G I N G P I E C E O F O R N A M E N T ?

On the facade, the angels in particular were very challenging because of their size. The process of how the architectural precast company was going to sculpt them was quite complex. They actually took the scaled maquettes, dissected them and templated the profiles, which they created out of plywood at full-scale. This was based on the cross sections through the maquette and became the formwork for then adding structure and putting final clay work on. That helped them speed up the production of the sculptures. The whole process took about six months to sculpt the two angels. I think this was the most challenging piece, but there are other sculptural pieces that are just as large, detailed and impressive. C A N YO U TA L K M O R E A B O U T H O W YO U A C H I E V E D C O N S I S T E N C Y W I T H T H E E X T E R I O R F I N I S H E S ?

The contractor put a primer and basecoat finish on the GFRC in the factory, but due to transportation damage, they knew that it would need to be repainted once assembled on-site. We also wanted the overall seamed joints between each module, both the precast and the GFRC panels, fully painted over so you don’t read them as much. They are there, but are quite subtle. The approach was to theme everything, age it and try to lose sight of all of the big expansion joints. H O W D I D YO U C R E AT E T H E ‘A G E D ’ E F F E C T ?

We used one paint system with two different products. One was trowel applied with a thickness of about 2 mm. With that you could skim a very light coat over the precast panels and any large, flat areas to conceal any of the minor step joints between them. With the ornament where there is a lot of detail, you can’t actually trowel so we went with a spray-applied product. That was very useful for the column capitals where every intricate part of the visible surface received a spray-applied paint. For the final step, the artists would use various washes over the entire facade to accent and highligh it.

Because the modeling was done in clay, it was easy to make comments and have the sculptors make adjustments quickly. Typically there were two visits a day: in the morning, you could make a suggestion and in the afternoon they may have already made the change.

Some of the larger sculptures used up to eight tons of clay. Pictured above is the reinforced negative fiberglass mold lined with a polymer jacket. The liner was all hand-applied. After it dried, the jacket was pulled out in pieces, coated with a gel-coat and the positive pieces were cast from it.

Thousands of cast elements were stored in the shopâ&#x20AC;&#x2122;s warehouse until they were packed in timber crates, loaded onto a flatbed truck and shipped to the job site for assembly.

Many of the pieces were small enough that shipping them wasnâ&#x20AC;&#x2122;t an issue. A baluster, for example, was small and easy to transport. For some of the larger items, they were shipped in pieces. When they arrived on-site, they would attach to a sub-frame for in-place reassembly.

T H E R E A R E S O M E V E R Y L A R G E E L E M E N T S O N T H E F A C A D E . H O W D I D YO U D E A L W I T H S H I P P I N G A N D T R A N S P O R TAT I O N ?

Everything on the exterior of the podium came in modular units. Each of these components were packaged in timber crates and came to the site by flat-bed truck. In a lot of cases, the elements were delivered to Macau in the form of natural, grey GFRC. They could easily be lifted and bolted into position. The connection details varied based on its location. The cornice, for example, may have a removable lid so you can get to the brackets and bolt everything on from inside. The last thing you would do is put the lid on; that would be face-fixed from the top. Those face fixing locations would be patched with a circular disc of GFRC which were epoxied in. Finally, the aging in the patched area was done so that none of the connections or patches could be seen. I think that is one of the reasons why the building looks so sharp, because you see one consistent appearance. W H AT W A S I T L I K E T O U S E M O D E R N C O N S T R U C T I O N T E C H N I Q U E S T O C R E AT E A B U I L D I N G T H AT L O O K S L I K E I T W A S H I S T O R I C A L LY A S S E M B L E D ?

Part of the trade contractorâ&#x20AC;&#x2122;s responsibility was to do all the calculations necessary to determine the weight of the components, what kind of brackets and bolts you need, and what kind of tolerance is required. We were able to work all of that out during the shop drawings before going into manufacturing. So on the one hand you have all this sculptural work that is happening in the background because the sculptors know the final size and they can sculpt early on because working with clay is a very time consuming process. But in parallel with that, shop drawings are being created for the structure to understand the constraints they have to work with and design to. Thatâ&#x20AC;&#x2122;s why they were able to advance the model making while still going through the shop drawing process.

AT W H AT P O I N T I N T H E P R O J E C T D I D YO U C R E AT E A M O C K - U P, A N D W H AT I S S U E S D I D I T H E L P YO U S O LV E ?

When we got the DD set from design team, the first thing we did was identify the sections that we needed the local design institute to develop construction documents for, so we could procure that portion to mock-up very early on. It was useful to get every party involved to provide comments, capture design changes and modify finishes when the team was unhappy with the results. And there were changes. We changed the stone type at the podium base, the profiles used, the paint system, the arrangement of the window transoms and mullions, the colors on the window frames, even the awnings changed. Another part of the project is that itâ&#x20AC;&#x2122;s hard to grasp just how massive it is. We were often going to meetings and dealing with prints on A3-sized paper and you just cannot truly appreciate scale from such small details. So when we built the mock-up, people were blown away by the actual size of the building. We realized just how big it was going to be. The mock-up was one bay of the building and it was about 10 meters wide by 10 meters high. H O W D I D YO U D E C I D E W H I C H T Y P E O F M AT E R I A L S T O U S E T H R O U G H O U T ?

For the mock-up, we tested fiberglass and GFRC to see if there was a difference in the final texture and finish. In terms of appearance and cost, there was very little difference. But the reason we went with GFRC was that by code there is a limited amount of fiberglass you can put on the facade due to flammability. For the hotel tower, they used fiberglass for the ornament because they needed to be lifted into place with monorails and the fiberglass is lightweight. The overall height was a concern as well as safety during installation, hence the need to keep the weight down. The podium base of the building was wrapped in scaffolding, so we had very good access along every square meter of the elevation. It lent itself to bolting on heavier GFRC parts.

ACOUSTICAL TRANSPARENCY

HYUNDAI CAPITAL OPEN STUDIO A CURV I LI NE AR , TR ANSPAR ENT ACRY LI C PANELED F I LM STUD I O ON D I SP L AY LOCATION CLIENT CONTR AC TOR

SEOUL , SOUTH KORE A HYUNDAI CAPITAL KESSON

pre-formed panels would be fused together on site by creating a heat box that would bake the panels together to act as a single unit. Unfortunately, this option proved to be impractical to achieve within the constraints of the existing lobby.

An expanse of lobby space and the need for a corporate recording studio afforded Hyundai Capital’s Seoul headquarters a synergistic and unique design solution. Hyundai Open Studio is a 610 square foot transparent filming studio that is far from most black box recording studios. Although it was primarily designed to function as a video recording space for employee productions, transparency and high visibility were just as important to the overall design.

The enclosure took its final form as 50 mm (2 in) thick acrylic panels. This method was the most cost effective and efficient to assemble. A total of sixteen curved, eleven foot tall by six foot wide panels create the transparent shell. Each panel was custom manufactured and curved according to the radius of the form, with silicon used at the butt joints to create a continuous visual and acoustic enclosure.

The transparent pod is located in the middle of an existing street-level lobby facing the courtyard of the three-building complex, which can be seen by thousands of people passing by. This high visibility was desired by Hyundai to use as a hiring and retention tool and was a way to take advantage of typically underused space. The desire to maintain spatial and visual continuity from the exterior into the lobby resulted in the structure’s materiality and placement.

At the floor, the base of the acrylic panel is captured by a recessed metal channel and set in a clear silicone sealant. This channel gracefully follows the curve of the wall. Above, the panels disappear inside a custom curved aluminum track. A metal reveal outlines the outer edge of the curvilinear form and emphasizes the appearance of a free-standing object by separating the wall from the ceiling plane.

Originally intended to be built out of glass, for logistical reasons the decicion was made to construct the transparent shell out of lightweight acrylic panels. It was determined that breaking the form into multiple panels that could be manufactured off-site was the most suitable approach.

Recessed LED lighting follows the form of the exterior shell until it breaks from the wall and spirals out into the Studio Space. Where the wall terminates at the entry, the LED lighting extends further into the lobby, expanding the vessel’s presence into the larger room in which it is located.

In an effort to minimize the number of joints in the form, the design team looked to aquarium construction techniques. Using this technique, the

I N T E R V I E W W I T H J O S H U A G E I S I N G E R , J O B C A P TA I N AT G E N S L E R L O S A N G E L E S H O W D I D T H E E X I S T I N G C O N D I T I O N S P L AY I N T O T H E O V E R A L L C O N S T R U C T I O N ?

Within the footprint of the new Open Studio, the existing ceiling and tile floor finishes had to be completely removed. For the rest of the lobby, the existing finishes remained and were protected in place during construction. We installed an acoustic tile ceiling within the studio, along with a series of unistrut supported tracks that were secured to the existing deck above. The entire grid is electrified and is engineered to support equipment associated with filming, such as lighting and rigging assemblies. When the studio is not being used for recording, it can be converted into a temporary exhibit space. In this situation, the grid can be used to hang display paneling for the exhibits. W H AT D I D T H E D E S I G N T E A M D O T O S E P A R AT E T H E S T U D I O A C O U S T I C A L LY F R O M T H E S U R RO U N D I N G LO B BY?

We had a strict background noise design criteria that was established early on by our acoustical engineer that was essential to acoustically isolate the studio. These acoustical considerations heavily informed the material selection. For example, the new flooring was an acoustic carpeting made of glossy fibers that added to the visual depth by reflecting the lights above. We also used acoustic plaster ceiling panels, which were hung like a gypsum board ceiling. Each plaster panel was finished by hand on-site.

TO NT

Door Detail: The entry of the studio originally called for a single glass door but was redesigned as two glass doors to reduce the amount of support structure needed. The door hardware was selected to be as discreet as possible so it would disappear within the transparent enclosure. As such, concealed overhead closers, floor recessed pivots and minimally sized pivot patches were selected.

Acrylic Wall and Curtain Detail: Along the interior of the studio, a retractable sheer acoustic fabric curtain lines the acrylic panels. It is supported from a recessed, custom-curved track. The curtains allow the studio to be closed off from the lobby while maintaining a silhouetted visual connection. A bendable, recessed linear light fixture is located directly adjacent to the curtain track.

TRANSFORMING OUR TURF

BMO FIELD CANOPIES R ENOVAT I NG AN E XI ST I NG STAD I U M W I TH CANT I LE VER ED STEEL SU PERSTRUCTUR ES LOCATION CLIENT CONTR AC TOR

TORONTO, ONTARIO, CANADA MAPLE LE AF SPORTS & ENTERTAINMENT PCL CONSTRUCTION

League. These canopies cover the majority of seats in the stadium and accommodate new, state-of-the-art sound and lighting systems.

Sports fans become unified in many ways: by the colors they wear, by the history they collectively remember and by their home field – the place where fans come together to demonstrate their support and pride. Bank of Montreal (BMO) Field in Toronto, Ontario, Canada is not only Canada’s first soccerspecific stadium and the Major League Soccer (MLS) home of Toronto Football Club (FC), it is a symbol of their fans’ unity. On game days, crowds gather in the surrounding parking lots and converge towards the stadium, stimulated by the anticipation that surrounds them. As they find their seat under the new, soaring canopies and look out towards the manicured green playing field, they now feel at home and united.

To enhance the overall fan experience, the new roof canopies not only provide cover from the elements, but they are specifically designed to amplify the sound of the event, angled to focus the sounds of the cheering crowd back down towards the seating areas. The three-piece canopy structure rivals that of the most famous European stadiums. The canopies cover 175,000 square feet of the east, west and south grandstands. They are hung from three large bow string trusses that span between super-columns located at the four open corners of the stadium, offering an unimpeded view from all seats in the house. The trusses, which span nearly 450 ft in the north-south direction and over 375 ft in the east-west direction, are light and efficient. At the same time, they provide a new iconic presence to BMO Field and the Toronto skyline.

BMO Field was initially completed in 2007 to host the FIFA U-20 World Cup - the world championship of football for male players under the age of 20. Shortly after stadium construction was completed, it was clear that the venue did not have the seating capacity to accommodate the growing fan base of the Toronto Football Club, Canada’s first national team.

Since its completion, BMO Field was added to the list of the “Top 10 Places to Visit in Toronto.” Season tickets have completely sold out. And, perhaps most important of all, Toronto FC recorded their first ever playoff win in franchise history at home at BMO Field.

As a response, BMO Field began substantial renovations in 2014. The permanent seat capacity was increased from 21,000 to 30,000 and the clubhouse level and locker rooms underwent extensive improvements. The most impressive renovation component was the addition of new premier league-style roof canopies to accommodate the needs of the Canadian Football

“We planned for harsh weather, but no one could have predicted the record-setting winter we experienced.”

The project schedule was broken out into two phases that aligned with the MLS off-season schedule during 2014 and 2015. Phase one included the construction of a second tier of grandstand seating that added 8,400 seats, as well as the addition of critical foundations and structural elements for the super-columns that support the canopies. Construction of the roof canopies themselves took place during the second phase.

NE IL BAR ROWS , SE N IOR PROJ EC T MANAG E R

A semi-permanent tarping system was developed to provide for indoor-like conditions where the various types of work could proceed. By no stretch of the imagination were workers kept warm in these spaces, but it was more bearable. The tarped spaces were regulated by natural gas heaters pumping from the ground up. Although this approach worked well on the upper and lower levels, the conditions for workers at the foundations was much harsher. In fact, a few times it was so cold that concrete actually froze inside the mixing truck.

Immediately following the last game of the season, the construction team mobilized on site. Winter was drawing near and preparations were made to move forward with all construction activities during the cold weather. However, no one anticipated just how harsh that winter would be. That winter is known in meteorological terms as the “2014 North American cold wave,” which unusually affected the upper eastern United States and parts of Canada. The cold wave, caused by a southward shift in the North Polar Vortex, resulted in record low temperatures in Toronto. It was the second coldest winter in 75 years.

AT P C L C O N S T R U C T I O N

Due to the frigid winds coming from Lake Ontario, temperatures on site hovered around -30° C (-7.5° F). This caused massive swings in the size of the structural steel members due to contraction. The strong winds also created unacceptable lifting conditions for 37 days, or one-third of the project’s timeline.

I N T E R V I E W W I T H N E I L B A R R O W S , S E N I O R P R O J E C T M A N A G E R AT P C L C O N S T R U C T I O N C A N A D A W H AT D I D YO U D O D U R I N G P H A S E O N E T O S E T T H E G R O U N D W O R K F O R P H A S E T W O ?

The biggest preparation we made was installing the foundations for the super columns, which would be installed between matches as part of phase two. We did this during phase one, and even continued working below grade during the summer months. We never really demobilized from the site throughout the two years of construction. We were constantly doing work and were very cognizant about the amount of work and preparation that needed to be done in order to make phase two go smoothly. When Toronto FC made the playoffs, there was a lot of discussion about how to proceed. The start date of phase two ended up being pushed back by three weeks, which put even more pressure on the team to perform. We had been preparing the structural steel all through the summer, so we could work quickly once phase two began. Thankfully, we had much better winter conditions than the previous year during the first phase. In fact, it was probably one of the best winters in a long while. About half way through phase two, we found that due to the delayed start it would be hard to meet the construction completion date. So we tasked the design team to help us get there. H O W D I D T H E D E S I G N T E A M M A K E C H A N G E S T O A C C O M M O D AT E F O R T H E R E D U C E D CONSTRUC TION SCHE DULE?

It turns out the longest lead time for the canopies was the fabrication of the rainwater leaders for the canopy roofs. In an effort to reduce the quantity of roof drains needed and subsequently lessen the amount of fabrication time required, the design team reanalyzed the slopes of the roof surface. They ended up increasing the amount of tapered insulation on the top side of the roofs to push the water further down, which eliminated about half of the piping required. This had such a big time savings that it took this scope of work off the critical path. It was probably the smartest scheduling decision we made and it was a minor cost to the client. We pulled a month out of the schedule and delivered the project on time for opening day. I T ’ S C L E A R T H AT S TAY I N G O N S C H E D U L E W A S C R I T I C A L T O K E E P T H E F I E L D O P E N D U R I N G T H E S O C C E R S E A S O N . H O W W E R E T H E C A N O P I E S D E S I G N E D A N D I N S TA L L E D I N L I G H T O F T H I S C R I T I C A L CONSTRUC TION TIME LINE?

The canopies were designed as clear spans held up by super columns at each end. Typical columns for a structure of this size would be over 5 ft in diameter. But we had existing conditions to work within, and this size was not an option. Instead, the design team engineered super columns, which refers to a grouping of three large circular columns joined by structural braces in a triangular configuration. Below grade the massive super columns are supported on unique foundations. Instead of traditional drilled caissons or a concrete spread footing, a series of micropiles are used. For each of the three columns in a single super column, 26 piles are used to transfer the load into Toronto’s bedrock below. Each pile is 21 ft deep and are drilled at varying angles to work around the various existing utilities below grade. The team called this process “threading the needle.” To meet the construction schedule, the foundation and micropiles were built in phase one to allocate more time for the canopy construction in phase two. Due to constructability and the harsh winter conditions, the canopies were designed entirely using bolted connections. In all 130,000 bolts were used.

One of the 12 preassembled roof section segments. Each one was fabricated in Montreal, shipped to the site in pieces and assembled on the ground into 100 foot by 40 foot sections of steel. Each panel consists of the two large girders and a number of support members in between.

Each steel section was hoisted into place by a 600-ton crane to form the east and west canopies. The crane required to do this was so large that it had to be shipped in from Holland, Netherlands. The back of the roof panel was placed on what would be a permanent structural support and the leading edge was supported by temporary shoring.

Due to the sheer size of the east and west canopies, lifting in place as one unit was not an option. To join the roof section segments together, a super truss was constructed from north to south across the top of the roof canopy. It was lifted into place piece by piece and bolted together. The super truss is supported by two super columns, one at each end.

Once the panels were bolted to the super truss and locked in place, the truss distributed the weight of the panels to the super columns, allowing the shoring to then be removed and for views to be unobstructed to the field. Finally, the decking and roofing membrane were installed across the panels.

place. The two craneâ&#x20AC;&#x2122;s lifting capacity was enough that it could lift the entire south roof canopy as a single unit. The canopy was designed so that it did not require any columns at the front or back side, but would span the entire length of the end zone with only two connections at the super columns. So, it was plucked from the ground and rested on these two points.

One of the biggest constraints was having to erect the canopies from outside of the existing stadium walls. Unlike a typical erection process where the trucks can drive on to the field, BMO Field had limitations. Because the stadium is outdoors, a drainage system composed of perforated pipes is located underneath the turf. In addition, a piped hydronic heating system using glycol as an anti-freeze agent keeps the ground from freezing in the winter, creating spring and summer-like conditions on the field year-round. The presence of these piped systems meant that the large cranes required to build the canopies would easily crush them. As such, access was limited to the exterior of the stadium.

Another major improvement installed during phase two were the enhanced lighting and sound systems. Ever since the stadium first opened, it was lit by four towers in the corners of the stadium. This created hot spots on the field that were notoriously bothersome to the players. The existing light towers were taken down but the light fixtures themselves were salvaged. With new lamps installed in them, they were arranged along the undersides of the new canopies to provide for even illumination on the field. A series of catwalks were also installed for maintenance access to the new lights and sound system.

The bolting and fabrication of the south canopy was happening simultaneously on the ground as the other two roof canopies were being lifted into place piece by piece. As the cranes progressed on hoisting the east and west canopy sections, they met at the south on either end of the smaller south canopy to lift it into

Above: Super truss to super column connection detail for the east and west canopies. Right: Super truss top chord section details.

The entire south roof canopy was built in a single, massive section. In all it weighs 450 tons. It was constructed on the ground in its entirety, instead of being assembled in the air like the east and west canopies. A 450-ton and 600-ton crane were used at either end to lift the roof truss into place. Any time there is a multiple crane lift, the process has to be reviewed by many parties for safety precautions and weather conditions. Coordinating and planning for this lift took place over two years.

In even slightly windy conditions, the canopy would act as a massive sail. And once the cranes had hooked in and started lifting, there was no turning back. The team was on high alert for a low wind day and when it came the lift started immediately. The construction team made the call on a Saturday that the lift was starting the next day at 6:00 am. By noon that day and after only six hours in the air, the canopy was resting in place. Once the canopy was set into place, four iron workers welded the seat and plate together in the air to finalize the connection.

LIMITLESS

HYUNDAI CAPITAL CONVENTION HALL A M U LT I -PUR P OSE HA LL THAT E XP LOR ES THE C ONCEP T OF I NF I N I T Y LOCATION CLIENT CONTR AC TOR LIGHTING CONSULTANT

SEOUL , SOUTH KORE A HYUNDAI CAPITAL DAWON ID&C CO.,LTD. KGM LIGHTING

Felt panels create the outer shell or ‘container’ of the room and provide superb acoustical absorption. They also serve as a visual counterpoint to the more delicate and precious white shell. The plywood-backed, 25 mm thick gray felt is affixed to the wall with brass grommets. It wraps along three sides of the room. The panels are also designed to be removable in order to gain maintenance access to mechanical equipment hidden behind them.

Hyundai Capital’s highly customized 6,250 square foot convention hall is an assembly space atop the south tower of their global headquarters in Seoul, Korea. In addition to a refined, compelling design, the client wanted to craft a visual experience that communicates the essence of Hyundai Capital’s minimalist yet forward-thinking brand. Completed in the summer of 2016, the Convention Hall aims to blur the lines between art and architecture by changing the perception of materials.

At the front of the room the presentation screen is marked by a large recessed wall outlined by cove-light LEDs. In lieu of a traditional drop-down projection screen, the wall itself is the projection surface. An acrylic paint designed specifically for the video projection industry was used to accurately reflect and disperse the complex colored light patterns produced by video projectors. Unlike standard wall paint which is applied with a single product, this paint consists of a highly reflective basecoat to which a diffusive, color correct topcoat is applied. To provide further definition of this presentation wall, a continuous strip light recessed in the floor delineates the wall and floor planes.

The Convention Hall was built within an existing double-height space that originally had the feel of a tired high school auditorium. Material selection was key not only in creating a fresh modern space but one that is flexible enough to host a variety of activities ranging from large company-wide meetings to guest lectures. Each side of the auditorium is bracketed by white walls with rounded corners, paired with a highly reflective floor finish and cove lighting to create the illusion of a space without boundaries. The room’s inner-shell is made of a molded white acoustical plaster. A rigid substrate over metal stud framing acts as the backing for a series of acoustical panels cut to size on site. For the rounded corners, panels were pre-kerfed in one direction. Each panel is composed of a factory coated and sanded face over a mineral wool core. Installed like tiles, the panels are so lightweight that only a plaster-based adhesive is required to attach them. Gaps between panels were filled, troweled and sanded for a seamless transition. A series of plaster coats were trowel-applied in the field, including a base and fine finish coat. Depending on its frequency, sound waves either pass through the acoustical plaster’s micro pores and into the mineral wool backing or bounce off of it. The 35 mm thick panels achieve a significant Noise Reduction Coefficient (NRC) of 0.8.

The floor finish material palette is quite economical. The majority of the room is covered with a charcoalgray needle-punched nylon carpet. This type of flooring is typically used for industrial-grade areas like tradeshows and airports; however, it takes on a surprising richness in this setting. Near the front, the flooring switches to a glossy white epoxy paint to signify the stage.

â&#x20AC;&#x153;The spacing had to be just as refined as the material palette was.â&#x20AC;?

INTERVIEW WITH TINA ROTHERMUND, PROJECT A R C H I T E C T AT G E N S L E R L O S A N G E L E S C A N YO U D E S C R I B E S O M E O F T H E C H A L L E N G E S YO U F A C E D D U R I N G CONS TRUC TION?

We went into this project knowing that we would face challenges because we were dealing with an existing space. One thing you have to be aware of with an existing space is that you never really know what is there until you begin demolition. That is where you find surprises. Let me give you an example. We knew of an existing steel beam at the rear of the space that we concealed by arranging our back of house elements around it. During demolition, however, we dimensioned the beam and found that it did not match the as-builts we had originally worked from. We also discovered that this beam tied into the adjacent room, which we could not alter. Because there was no way of moving the beam, we had to design around it. This impacted several elements, causing us to re-organize the control room and stairway at the rear of the space. With these changes underway, we realized the new configuration affected the end point of our precisely calculated module used to establish the rigorous layout of our major interior elements. We had to redimension it on the fly.

TINA ROTHERMUND, PROJECT ARCHITECT AT G E N S L E R L O S A N G E L E S

D I D TH E D R AW I NG S N E E D TO B E R E - IS SU E D BASED ON THE UNE XPEC TED SITE CONDITIONS?

Not at all. Because this was not a traditional designbid-build project, we knew that the contractor in Seoul had the same high-expectations for the project as we did. They were more than willing to be flexible with field changes based on the existing site conditions to get the job done right. Most of the redesign conversations, including the reconfigured module, were held over video conference calls. The contractor would then layout the new design in the field without us having to redraft the details. This workflow allowed us to coordinate very effectively from the Los Angeles office.

Installers of the acoustic plaster walked in long, continuous paths one next to the other to ensure a consistent, smooth finish. Above you can see the light cove being finished with a sharp, clean edge.

Here you can see the gaps between the acoustic plaster panels being sanded for a seamless transition. Once this step was complete, base and finish coats were applied and sanded for a smooth finish.

Material storage, staging and project management occured directly beneath the 4 m (13 ft) high scaffoled platform built to ease access to the ceiling elements.

Mid-level landings in the scaffolding allowed workers to finish the plaster at varying heights along the walls. Beyond where the plaster wall lifts off the ground, you can see the mechanical equipment that will be hidden behind the removable felt panels.

T H E S P A C E I S V E R Y C L E A R LY O R G A N I Z E D . C A N

the light fixtures. Acoustic plaster was absolutely the best option for this design. It contrasts the hard steel surface of the machine in the background and the soft felt panels of the container. An alternate, more affordable option we considered was powder-coated metal. However, the metal panels would never have the continuous flow that plaster does due to visible seam lines. Even though the machine is wrapped in steel panels, a large portion of them are perforated for acoustics. The perforation pattern is relatively dense, with 1/16 inch staggered holes and 10% openness. Installed over 1 inch thick black cotton batt backing, the metal panels still achieve a high NRC rating of 0.9. Felt panels flown in from England were fabricated to strictly follow the module established by the light bands. These are also removable to hide and access HVAC equipment within the wall cavity.

YO U E X P L A I N T O U S M O R E A B O U T T H E M O D U L E YO U U S E D A N D I T S I M P O R TA N C E ?

The 1,200 mm (48 inch) module is a unit expressed by the rhythm of the scalloped inner shell. We wanted the room to feel infinite, to keep going on forever, so we had to get this spacing perfect. When you are in the room, you focus on the rounded white surfaces highlighted with ribbons of light. Together with the reflective floor surface, the illusion of a never-ending room is created. The Convention Hall also required a control room, pre-function space and retractable bleachers. These were all strategically grouped into one element we called ‘the machine.’ The machine is a double-height box at the rear of the room, finished in a chemical blackened and sealed steel. It was perfectly aligned to the end of the last module as the backdrop for the white ribbons. The module was further coordinated with the locations of the mechanical fan coil units, existing structural columns and door openings.

H O W D I D YO U E S TA B L I S H A N D M A I N TA I N T H E HIGH - QUALIT Y

HOW

DID

THEY

CONTRIBUTE

FOR

THE

ACOUS TIC

The contractor knew that the ceiling design and treatment was the major design element of the space. They constructed a temporary floor with scaffolding so the workers would have easy access to the highest parts of the ceiling. To get a consistent plaster finish, the workers would walk in long continuous paths, one next to the other, ensuring consistency. After the initial installation of the acoustic panel tiles, there was a small gap between them, which was filled with a compound and sanded flat. The workers then applied the base coat and final coat, each followed by sanding for a very smooth final finish.

H O W D I D YO U C H O O S E T H E F I N I S H M AT E R I A L S AND

FINISH

PLASTER?

THE

OVE R ALL D E SIG N?

First and foremost, this is a presentation space and lecture hall – acoustics are a huge part of it. So we focused on choosing materials that had inherent acoustical properties for the walls and ceilings. The acoustical plaster covered approximately 70% of these surfaces. It allowed us to create the organic shape while maintaining crisp edge lines, where we concealed

100

WHITE, TYP.

150 m

115 mm

IGHT COVE - ACOUSTIC SHELL CEILING ALIGN

DRYWALL LIP WITH EDGE TRIM, PAINTED AND FINISHED. TYPICAL

SCALE: 1 : 5

130 mm

RADIUSED ACOUSTIC SHELL

LIGHT COVE - ACOUSTIC SHELL PLAN SECTION KGM CONTINUOUS LIGHT 3 SCALE: 1 : 5

FIXTURE PER SCHEDULE

CONTINUOS LIGHT FIXTURE PER SCHEDULE

Lighting Consultant 270 Coral Circle El Segundo, CA 90245 USA

325 mm

LIGHT FIXTURE WITHIN LINE OF VERTICAL VERTICAL COVE BEYOND LIGHT COVE BEYOND

150 mm

Venekl

30.0°

ACOUSTIC PLASTER, AP-1

E - ACOUSTIC SHELL CEILING

LIGHT COVE - ACOUSTIC SHELL PLAN SECTION

200 mm

DRYWALL, FINISHED AND PAINTED 325 mm

FELT PANEL, FP-1

ALIGN

DRYWALL, FINISHED AND PAINTED

140 mm

CONTINUOUS LIGHT STRIP

IGHT COVE AT FELT WALL PLASTER TRIM, TYPICAL

SCALE: 1 : 5

150 mm

200 mm

SCALE: 1 : 5

METAL SUPPORT FRAMING

EXISTING STRUCTURE

METAL FRAMING. SEE FLOOR PLANS FOR PARTITION TYPE

PARTITION WALL. SEE ELEVATIONS AND FINISH SCHEDULE.FINISH TO CONTIUE IN TO LIGHT COVE

LIGHT COVE AT PRESENTATION WALL

CONTINUOUS SCALE: LIGHT 1:5 STRIP, SEE SCHEDULE FOR MORE INFO

BASE REVEAL TRIM, PAINTED TYP.

GWB TRIM, TYPICAL

TYPICAL LIGHT COVE SCALE: 1 : 5

GHT COVE

12 mm

ALIGN

CONTINUOUS LIGHT STRIP, SEE SCHEDULE FOR MORE INFO

Des

SCALE: 1 : 5

Project Name

HYUNDAI CAP Sca ASSEMBLY HA 1 Project Number

05.9720.000

CONTINUOUS LIGHT STRIP RECESSED WITHIN FLOOR. SEE LIGHTING SCHEDULE

4 LIGHT - BASE DETAIL

HY AS

LINE OF FINISH FLOOR PER SCHEDULE METAL FRAMING. SEE FLOOR PLANS FOR PARTITION TYPE GWB WITH PLASTER FINISH TO MATCH AP-1. SEE PLAN AND ELEVATIONS FOR MORE (E) INFO., TYP.STRUCTURE FLOOR

Pro

CONTINUOUS LIGHT STRIP RECESSED WITHIN FLOOR. SEE LIGHTING SCHEDULE

SUSPENDED CEILING. SEE AIR SUPPLY DIFFUSER. PLANS FOR MORE INFO COORDINATE WITH MECHANICAL ENGINEER

SUSPENDED CEILING. SEE PLANS FOR MORE INFO

GWB WITH PLASTER FINISH TO MATCH AP-1. SEE PLAN ANDSeal/Signature ELEVATIONS FOR MORE INFO., TYP. BASE REVEAL TRIM, PAINTED TYP.

PARTITION WALL. SEE ELEVATIONS AND FINISH SCHEDULE.FINISH TO CONTIUE IN TO LIGHT COVE

ALIGN

Sea

GWB FINISH WITH PLASTER FINISH TO MATCH AP-1

GWB TRIM, TYPICAL 200 mm

R LIGHT COVE AT PRESENTATION WALL ALIGN

AIR SUPPLY DIFFUSER. COORDINATE WITH MECHANICAL ENGINEER

ALIGN

150 mm

Descripti

CONTINUOUS LIGHT FIXTURE PER SCHEDULE

m 0m 15

DRYWALL, FINISHED AND PAINTED

E AT FELT WALL

METAL SUPPORT FRAMING Date METAL KNIFE EDGE TRIM, SPACKELD AND PLASTERED TO MATCH GWB FINISH WITH PLASTER FINISH TO MATCH AP-1

400 mm

FELT PANEL, FP-1

140 mm

Santa Monica, CA 90404 USA

EXISTING STRUCTURE

DRYWALL, FINISHED AND PAINTED

100 mm

CONTINUOUS LIGHT FIXTURE PER SCHEDULE

m 0m 30R.015°

PLASTER TRIM, TYPICAL ACOUSTIC PLASTER, AP-1 100 mm

METAL KNIFE EDGE TRIM, SPACKELD AND PLASTERED Acoustices Consultant TO MATCH 1711 16th Street

400 mm

SCALE: CONTINUOUS LIGHT STRIP 1 : 5

LINE OF VERTICAL LIGHT COVE BEYOND

Acous 1711 1 Santa USA

PROVIDE SPACKLE FLANGE EDGE TRIM AT LIGHT BOX

Description

CEILING AND WAL

LINE OF FINISH FLOOR PER SCHEDULE

12 mm

ALIGN

(E) FLOOR STRUCTURE

1:5

101

LIGHT - BASE DETAIL

A12.20

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STEPS TOWARDS PROGRESS

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CBRE DOWNTOWN LOS ANGELES A DYNA M I C STA I R BU I LT FOR A WOR K FORCE ON THE M OVE LOCATION CLIENT CONTR AC TOR SUBCONTR AC TOR

LOS ANGELES, CALIFORNIA CBRE TASLIM I EUROCR AF T / WASHINGTON IRON WORKS

The overall design of the space reflects the dynamic nature of the CBRE office. The stair stands out from the surrounding elements and is showcased as a sculptural piece. It is a grand gesture within the lobby, which translates both architecturally and structurally into a stair that required no supporting posts. The first step at the ground level, mid-level landing and the top step at the second floor all conceal a structural connection.

The CBRE headquarters project in Downtown Los Angeles is a progressive design overhaul of an atrium space that sat vacant for years. Due in part to the unique configuration of the existing building envelope, the atrium space was never utilized to its full capacity. All of that changed when CBRE envisioned the site as workplace of the future for its more than 200 Downtown Los Angeles employees. Functioning as a welcome space, the atrium was fully transformed into the focal point for the office. Glass encompasses the lobby, where natural light pours into glazed conference rooms and the second floor. The light and open interior conference rooms starkly contrast the sculptural character of the central staircase. This stair connects what once was a closed off second floor with the reception lobby.

Consequently, the stair structure is a composite of unconventional welded steel plate stringers, landings framed with tube steel supports and aluminum plate guardrail cladding. Throughout the design process, close collaboration with the structural engineering team was critical in order to maintain a proper balance between the design and structural considerations. Loading and material capacities were major decision making and design drivers. The shape of the stair takes a sharp turn, but was still conceived as a whole structural component rather than two individual structural components. The stair is supported by a continuous structure that was welded together in the field from three pieces. The aluminum clad guardrail was added after completion of the structural system.

As the main vertical circulation in the office, the stair not only serves as a design element but is also a symbol of dynamicity and movement that is central to CBRE’s workplace style. The office utilizes the concept of ‘open free address,’ which is characterized by employees having free access to all individual and collaborative areas as their work spaces. No one has an assigned desk. The space highlights this new corporate workplace model with the stair positioned as the central link between the variety of workspaces available.

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“Posts were ruled out from the beginning. We wanted to keep the structural supports down to the bare minimum.”

I N T E R V I E W W I T H L I N D S AY M A L I S O N , D E S I G N D I R E C T O R A N D M AT T H E W L U N N , P R O J E C T D E S I G N E R AT G E N S L E R L O S A N G E L E S CAN

YO U

DESCRIBE

HOW

THE

SCULPTURAL

L O O K O F T H E S TA I R I N F L U E N C E D T H E D E TA I L I N G OF IT?

Matthew Lunn (ML): The architectural interventions in this project were designed to be like follies in a garden, each object taking on a unique sculptural gesture. The design intent for the stair was for a simple, elegant and seamless design. Its formal expression takes inspiration from the prominent angles of the existing building’s envelope. W H AT W A S T H E B I G G E S T C H A L L E N G E T H AT T H E TE AM FACE D D U R I NG CON S TRUC TION?

Lindsay Malison (LM): Due to the weight restrictions and structural limitations of the existing building, the stair needed to be fairly lightweight. In order to accomplish this, the stair was constructed with conventional steel stringers. Tube shaped structural members clad with aluminum plates that make up the guardrails allowed for a lightweight and cost efficient solution, while giving the appearance of a solid, substantial stair. The joints between the plates were filled, ground smooth and painted to maintain the design intent of a seamless final appearance.

M AT T H E W L U N N , P R O J E C T D E S I G N E R AT G E N S L E R L O S A N G E L E S

HOW WA S THE CONS TRUC TION OF THE S TA I R P H A S E D ?

ML: It was known from the beginning that the stair needed to create a grand gesture within the lobby and be as dynamic as possible. This meant that supporting posts were ruled out from day one. The stair’s material assembly lent itself to a smooth and clear separation of construction phasing. The steel framing, aluminum guardrail cladding and finishing efforts were all split into separate phases. From the choice of materials to the detailing of the structural components, each design decision was critical to the final result.

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The process of design and collaboration continued well into the construction process. In the early phase of design, it was apparent that a unique detailing and structural system was required to create the look of the monumental stair. The challenge was deciding on an aesthetic that fit the design intent and also met the limitations of the existing building. Although the stair was conceptualized as being a continuously welded steel stair, the weight of such a stair would require too much mitigation of the existing floor structure below. To achieve the look, aluminum plates were chosen for the guardrail cladding due in part to its inherent lightweight properties. Although the alignment and position of the stair never changed, the detailing of the guardrail skin was developed through a collaborative process. In the end, the lightweight skin allowed the stair to be supported with minimal impact to steel structure below. This helped support the original idea of a seamless design. The construction process flowed smoothly since the stair was organized into two construction phases, the structural steel framing and the non-structural aluminum skin. Steel stair members were divided into three parts: the lower flight, the intermediate landing and the upper flight. In order to provide sufficient bracing for the stair, an additional structural connection was required. The team identified a connection point at the mid-level landing and connected back to the adjacent mezzanine. Temporary shoring was used while the mid-level landingâ&#x20AC;&#x2122;s structural connection was welded in place. The shoring was removed once the lower run was connected to the landing and the stair could fully support itself. The aluminum skin covering the load bearing stair skeleton was installed over steel sub-framing. Seams between the aluminum panels were filled with fiberglass and auto body filler, and sanded to a smooth, seamless finish prior to field painting. The finished stair shows no evidence of the joints and seams that were required to construct it. The smooth finish was accomplished through intensive filling, smoothing and painting. The cladding encompasses the entire guardrail and the angles reflect the angles of the buildingâ&#x20AC;&#x2122;s envelope and the glass atrium.

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The stair was fabricated in three separate pieces which were assembled on site. Temporary supports were used as shoring under the landing portion during the installation into its final position.

Aluminum panels being installed over the structural skeleton of the stair. Panel seams were filled and ground smooth prior to receiving the final paint finish.

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LUMBER ELEVATED

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TURELK DOWNTOWN LOS ANGELES OFFICE M AN I PU L AT I NG D I M ENS I ONA L LU M B ER I N A S I M P LE WAY TO CR E ATE AN UNE XPECTED SPACE LOCATION CLIENT CONTR AC TOR SUBCONTR AC TOR

LOS ANGELES, CALIFORNIA TURELK TURELK MADRID CEILINGS

way. The relatively limited floor area hosts a variety of program pieces: a large meeting room, an open pantry, three private offices and an open work area. The open pantry is front and center, with a bar top counter that allows for collaboration during working hours and hosting social events after hours.

In the heart of Downtown Los Angeles, a 2,700 square foot street level storage space was renovated into an eye-catching office space and showroom. Turelk, a general contractor with offices in Long Beach and Newport Beach, was looking to open an office in Los Angeles. They found a space within Bunker Hill’s notable Gas Company Tower that offered street access and direct client visibility.

The existing space was being used as storage for a large law firm for many years. Turelk had a vision for renovating the dark, enclosed area and convinced the building owner that there was a better use for it. Trusting their vision, the space was made available to them which was a win-win all around: the owner gained occupiable, rentable space and Turelk got amazing visibility.

Turelk served not only as the client, but also acted as the general contractor for the project. This unique arrangement allowed for involvement of the company at every phase, from concept to execution. As a company, Turelk prides themselves on their ability to do things with precision and finesse. They are all about great craftsmanship, so the challenge to the design team was to represent that rigor of craftsmanship. The way the ceiling was designed and assembled was with great attention to detail. In and of itself, the ceiling becomes an expression of what good craftsmanship is all about.

Given the client’s attention to craft in combination with the limited floor area, the team decided to create a strong focal point within the space while using simple, basic materials assembled in a unique and unexpected way. Considering its location on a steeply sloping sidewalk, the team designed the ceiling to draw the eyes of passersbys along the entire length of the office. The ceiling features a spine of 207 interlocking 2x4 maple wood slats that hang from a custom-bent steel pipe that undulates gradually across the space.

With a modest space, a prudent budget and a strategy to make the strongest impact, the project was designed with an undulating ceiling as a focal point to immediately communicate the company’s trade to pedestrians passing by and to celebrate the brand’s dedication to craftsmanship in a simple, direct

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To prepare the existing storage space for construction, it had to be cleared of all the existing utilities. The mechanical, electrical and plumbing elements were all strategically relocated to the perimeter, clearing the space above the new ceiling as much as possible. The team worked closely with Turelk to coordinate the relocation without disrupting the daily on-goings of adjacent tenants, while also maintaining the overall construction schedule. Soffits and ceilings were strategically adjusted to accommodate the influx of infrastructure serving neighboring spaces that traversed through the small space. By using flush access panels and accessible ceilings in the perimeter spaces, the team was able to route these various elements around the open space and still maintain the required access without impacting the layout of the ceiling. Simple in its design, the ceiling is composed of three basic elements. First, a curved steel pipe spine runs through the center of the exposed ceiling, framed on either side by drywall soffits. Second, a smaller threaded rod that follows the curve of the main spine is set directly below it. The third element, and most prominent, are the 2x4 maple wood slats that are threaded along the spine at varying angles.

precise dimensions and heights using a 3D model. Each wooden member was given an identification number and provided with the exact length of the slat and corresponding height to the lower rod, or pivot point. Each of the 207 wood members were cut to size on site. Every piece was measured in its proposed location before cutting it down to its final length, making the

“The length and pivot point of each wood slat was precisely calculated using a 3D model.”

The main spine is a custom bent two inch steel pipe that was fabricated as separate curved pieces and coupled together on site. It is connected to the existing structure above using a series of 1⁄ 2 inch threaded rod hangers with a 1⁄4 inch anchor plate bolted to the bottom. The rods occurred every five feet, which is the maximum span of the curved HSS spine. This anchor plate had two circular holes in it: one large enough to carry the main spine, and a smaller one to suspend the lower threaded rod.

sure the angle looked right and that the slat’s edge was perfectly flush against the soffit it attached to. A number of full-size mock-ups were built on site during the process, making sure the design intent was maintained. Along the soffit, the wood slats are held off the wall by one inch and secured in place using a bent 16 gauge metal angle. This method of attachment allows for easy access to the space above the ceiling when needed, as the slats can easily be moved up or down with the lower rod acting as a pivot point.

The wood slats were then threaded onto the lower rod and set the varying angles. To document the ceiling’s gradual curves, a plan and section were created with

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A1 A2 A3 A4 A5 A6 A7 A8 A9 A10 A11 A12 A13 A14 A15 A16 A17 A18 A19 A20 A21 A22 A23 A24 A25 A26 A27 A28 A29 A30 A31 A32 A33 A34 A35 A36 A37 A38 A39 A40 A41 A42 A43 A44 A45 A46 A47 A48 A49 A50 A51 A52 A53 A54 A55 A56 A57 A58 A59 A60 A61 A62 A63 A64 A65 A66 A67 A68 A69 A70 A71 A72 A73 A74 A75 A76 A77 A78 A79 A80 A81 A82 A83 A84 A85 A86 A87 A88 A89 A90 A91 A92 A93 A94 A95 A96 A97 A98 A99A100A101A102A103A104

5' - 0" A1 A2 A3 A4VIFA5 A6 A7 A8 A9 A10 A11 A12 A13 A14 A15 A16 A17 A18 A19 A20 A21 A22 A23 A24 A25 A26 A27 A28 A29 A30 A31 A32 A33 A34 A35 A36 A37 A38 A39 A40 A41 A42 A43 A44 A45 A46 A47 A48 A49 A50 A51 A52 A53 A54 A55 A56 A57 A58 A59 A60 A61 A62 A63 A64 A65 A66 A67 A68 A69 A70 A71 A72 A73 A74 A75 A76 A77 A78 A79 A80 A81 A82 A83 A84 A85 A86 A87 A88 A89 A90 A91 A92 A93 A94 A95 A96 A97 A98 A99A100A101A102A103A104

7' - 0 1/2"

6' - 3 1/2"

F10

7' - 10"

F10

5' - 7 1/2"

EQ EQ

F10

6' - 3 1/2"

F10

4' - 7"

4' - 2"

F10

5' - 7 1/2"

5' - 1"

F10

7' - 10"

F10

4' - 7"

4' - 2"

F10

5' - 1"

3' - 10 1/2"

F10

3' - 10 1/2"

3' - 6"

3' - 7 1/2"

EQ EQ

6' - 11" VIF 6' - 11" VIF

TYP

9 A12.20

16' - 3 1/2" VIF

9 A12.20

3' - 6"

VIF

3' - 7 1/2"

5' - 0" F9

B1 B2 B3 B4 B5 B6 B7 B8 B9 B10 B11 B12 B13 B14 B15 B16 B17 B18 B19 B20 B21 B22 B23 B24 B25 B26 B27 B28 B29 B30 B31 B32 B33 B34 B35 B36 B37 B38 B39 B40 B41 B42 B43 B44

16' - 3 1/2" VIF

1 ________ ________ A12.23 B1 B2 B3 B4 B5 B6 B7 B8 B9 B10 B11 B12 B13 B14 B15 B16 B17 B18 B19 B20 B21 B22 B23 B24 B25 B26 B27 B28 B29 B30 B31 B32 B33 B34 B35 B36 B37 B38 B39 B40 B41 B42 B43 B44

9' - 4 1/2" VIF

1. CBC SECTION 603.1, COMBUSTIBLE MATERIAL IN TYPE I AND II CONSTRUCTION, PERMITS COMBUSTIBLE CEILING FINISH PER EXCEPTION 7, PROVIDED THEY ARE INSTALLED IN ACCORDANCE WITH SECTIONS 801 AND 803 MEMBER NOTES: PROVIDES THAT SECTION 803 SHALL 2. FIRE CBCTREATED SECTIONCEILING 801, INTERIOR FINISHES, LIMIT THE ALLOWABLE FIRE PERFORMANCE AND SMOKE DEVELOPMENT OF 1. CBC SECTION 603.1, COMBUSTIBLE IN TYPE I AND II INTERIOR CEILING FINISH MATERIALS BASED MATERIAL ON OCCUPANCY CLASSIFICATION PERMITS COMBUSTIBLE CEILING CLASSIFIES FINISH PER EXCEPTION 7, 3. CONSTRUCTION, CBC SECTION 803, WALL AND CEILING FINISHES, CEILING FINISH PROVIDED THEY ARE INSTALLED IN ACCORDANCE WITH SECTIONS 801 AND 803 MATERIALS IN ACCORDANCE WITH ASTM E 84 OR UL 723 AS FOLLOWS: 2. CBC 801, INTERIOR FINISHES, PROVIDES THAT SECTION 4.1. CLASS A = SECTION FLAME SPREAD INDEX 0-25; SMOKE-DEVELOPED INDEX 0-450803 SHALL LIMIT THE FIREINDEX PERFORMANCE AND SMOKE DEVELOPMENT 4.2. CLASS B = ALLOWABLE FLAME SPREAD 26-75; SMOKE-DEVELOPED INDEX 0-450 OF INTERIOR FINISH MATERIALS BASED ON OCCUPANCY INDEX CLASSIFICATION 4.3 .CLASS C =CEILING FLAME SPREAD INDEX 76-200; SMOKE-DEVELOPED 0-4504.4. 3. CBC SECTION 803, WALLINAND CEILING FINISHES, CLASSIFIES CEILING FINISH EXCEPTION: MATERIALS TESTED ACCORDANCE WITH SECTION 803.1.2 MATERIALS ACCORDANCE WITH ASTM OR UL 723BY ASCBC FOLLOWS: NOTE THAT MAXIN FLAME SPREAD INDEX OF 25EIS84 REQUIRED APPENDIX D CLASS FLAMEINTERIOR SPREAD INDEX SMOKE-DEVELOPED INDEX 0-450 4. 4.1. CBC 803.9A&=T803.9, FINISH0-25; REQUIREMENTS BASED ON GROUP, 4.2. CLASS = CEILING FLAME SPREAD INDEX 26-75; SMOKE-DEVELOPED 0-450 PERMITS CLASSB C FINISH FOR SPRINKLERED ASSEMBLY, A2 INDEX ROOMS AND 4.3 .CLASS C = FLAME SPREAD INDEX 76-200; SMOKE-DEVELOPED INDEX 0-4504.4. ENCLOSED SPACES EXCEPTION: MATERIALS TESTED IN ACCORDANCE WITH SECTION 803.1.2 5. CBC SECTION 803.11.2, SET-OUT CONSTRUCTION, EXCEPTION 1, PERMITS NOTE THAT MAX FLAME SPREAD INDEX OF 25 IS REQUIRED BY CBC APPENDIX D INTERIOR FINISH MATERIALS WITH LESS THAN A CLASS A FINISH , PROVIDED 4. CBC 803.9 & T803.9, INTERIOR FINISH REQUIREMENTS BASED ON GROUP, SPRINKLER PROTECTION OCCURS ON BOTH SIDES. CLASS 1CREGULATIONS, CEILING FINISHPER FORCBC SPRINKLERED ASSEMBLY, ROOMS AND 6. PERMITS FIRE DISTRICT APPENDIX D, SECTION A2 D102.2.7 ENCLOSED SPACES PERMITS ARCHITECURAL TRIM TO BE CONSTRUCTED OF APPROVED 5. CBC SECTION 803.11.2, SET-OUT CONSTRUCTION, EXCEPTION NONCOMBUSTIBLE MATERIALS OR FIRE RETARDANT TREATED WOOD. 1, PERMITS INTERIOR FINISH MATERIALS WITH LESS THAN A CLASS A FINISH , PROVIDED SPRINKLER PROTECTION OCCURS ON BOTH SIDES. 6. FIRE DISTRICT 1 REGULATIONS, PER CBC APPENDIX D, SECTION D102.2.7 PERMITS ARCHITECURAL TRIM TO BE CONSTRUCTED OF APPROVED NONCOMBUSTIBLE MATERIALS OR FIRE RETARDANT TREATED WOOD.

LT GA SOFFIT/WALL FRAMING

9' - 4 1/2" VIF

1 ________ ________ A12.23

FIRE TREATED CEILING MEMBER NOTES:

18 GA BACKING C1 C2 C3 C4 C5 C6 C7 C8 C9 C10 C11 C12 C13 C14 C15 C16 C17 C18 C19 C20 C21 C22 C23 C24 C25 C26 C27 C28 C29 C30 C31 C32 C33 C34 C35 C36 C37 C38 C39 C40 C41 C42 C43 C44 C45 C46 C47 C48 C49 C50 C51 C52 C53 C54 C55 C56 C57 C58 C59 2 ________ ________ A12.23

#10 METAL SCREW

C1 C2 C3 C4 C5 C6 C7 C8 C9 C10 C11 C12 C13 C14 C15 C16 C17 C18 C19 C20 C21 C22 C23 C24 C25 C26 C27 C28 C29 C30 C31 C32 C33 C34 C35 C36 C37 C38 C39 C40 C41 C42 C43 C44 C45 C46 C47 C48 C49 C50 C51 C52 C53 C54 C55 C56 C57 C58 C59 2 ________ ________ A12.23

ENLARGED WOOD SLAT CEILING

#8 WOOD SCREW

SCALE: 1/2" = 1'-0"

ENLARGED WOOD SLAT CEILING SCALE: 1/2" = 1'-0"

1' - 6 1/2"

VIF

16 GA BENT PL EQ

VIF

TYP.

1' - 6 1/2"

VIF

LIGHT FIXTURE PER PLAN

6" MIN

EQ VIF TYP.

ALIGN

6" MIN

PIPE CURVE

ALIGN

NOTE: (CENTER OF 1.66"X0.14 HSS PIPE, REFER TO STRUCTURAL LIGHT FIXTURE PER PLAN DETAIL 4/ S01.01)

ALIGN

PIPE CURVE

NOTE: (CENTER OF 1.66"X0.14 HSS PIPE, REFER TO STRUCTURAL DETAIL 4/ S01.01)

PIPE CURVE SECTION DIAGRAM.

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123

125

123

117

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120

117

114

111

(GROUND LEVEL)

1' - 0" TYP.

(GROUND LEVEL)

1' - 0" TYP.

PIPE CURVE SECTION DIAGRAM. SCALE: 1/2" = 1'-0"

2-(N) 5/8" 0 X3" EXPANSION ANCHORS

1/2" 0 ROD HANGER @5'-0" OR 10'-0" O.C.

L4X4X1/4"X2'-6"

STEEL CLEVIS

\\gensler.ad\projects\RevitUserModels\24462\05.9506.000_Turelk DTLA_A14_Einat Marom-Reuvenny.rvt

1/4" PIN OR BOLT

4" 4"

1.66"X0.14 HSS PIPE (MAX SPAN 5'-0")

. X

SOFFIT

3" TYP.

Y. ________ ________ 3 A12.23

ALIGN

NOTE: REFER TO STRUCTURAL SHEET S01.01 FOR SUPPORT DETAIL

ALIGN

________ ________ 3 A12.23 SPRINKLER HEAD, PER FIRE SPRINKLER DRAWING

WOOD CEILING CONNECTION. SCALE: 1/2" = 1'-0"

TYP

(E) WALL

. X

________ ________ 3 A12.21

(E) CONC. DECK

1/4" PL, TOP & BOLT

2x4 F.R.T. WOOD CEILING, TYP ICC: ESR 1626.

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105 1/2

104

103 1/2

105

110

112

106 1/2

105 1/2

SCALE: 1 1/2" = 1'-0"

51' - 7 1/2"

SCALE: 1/2" = 1'-0"

NOTE: REFER TO STRUCTURAL CALCULATIONS FOR FASTENER LOAD CALCULATIONS

WOOD CEILING CONNECTION W/SOFFIT

51' - 7 1/2"

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108

104

105 1/2

ALIGN

103 1/2

105

110 117 1/2

125 1/2 132

125 1/2

133

127

119 1/2

132

133

127

119 1/2

ALIGN

117 1/2

ALIGN

112

106 1/2

105 1/2

109 115 1/2

109

115 1/2

123 1/2 130 1/2

3 123 1/2

133 1/2

130 1/2

128

ALIGN

1" TYP. 133 1/2

128

119

110 1/2

119 110 1/2

106

ALIGN

106

110 115 1/2

110

120 1/2

115 1/2 120 1/2

123 1/2

119 1/2

124

123 1/2

119 1/2

114 1/2

109 1/2

ALIGN

109 1/2

106 1/2

106 1/2 106

106

108 112

108

116 1/2 120 1/2

116 1/2

112

ALIGN

120 1/2 123

124

123 124

124 1/2

125

124 1/2 125

125

125 125

9' - 6" SOFFIT

125

9' - 6" SOFFIT

ALIGN

116

(E) GLASS

I N T E R V I E W W I T H F E R N A N D O F L O R E S , P R O J E C T A R C H I T E C T AT G E N S L E R L O S A N G E L E S C A N YO U T E L L U S H O W T H E W O O D S L AT D E TA I L W A S O R I G I N A L LY E N V I S I O N E D A N D H O W I T C H A N G E D T H R O U G H O U T T H E D O C U M E N TAT I O N A N D C O N S T R U C T I O N P R O C E S S E S ?

The concept of the wood slat detail was to take a basic element of construction and do something unique and interesting with it, while at the same achieving a level of high craft. Our goal as a design team was to accentuate the material for what it was and to creatively explore how it moved through the space. So the attachment detail really became key to create this expression of undulation. In working with our structural engineer, we eventually came up with a very simple connection detail using the curved steel pipe. We were trying to make the ceiling appear as if it was floating. To accomplish this, we didnâ&#x20AC;&#x2122;t want the fasteners to become an overpowering part of the architecture. In the end, this is why we hung it from above. In order to support the slat at the other end and stabilize the entire length of the 2x4, we used a simple metal tab that fastens it to the wall. In the end, the workers who manufactured the various elements and their attention to detail during installation and finishing really brought this whole effort into a well-crafted reality. W H AT W E R E S O M E O F T H E C H A L L E N G E S YO U R T E A M F A C E D D U R I N G C O N S T R U C T I O N ?

Our biggest challenge was making sure that all the players involved during construction, including the general and sub-contractors, were all on the same page in terms of how the finished installation would look. This was critical to establishing expectations early on about how it was going to be installed. The ceiling sub-contractor made an on-site mock-up with plain, unfinished lumber simply to test how long it would take to cut the wood slat and fit it into position. This process revealed that every single slat had to be cut a number of times in order to get it positioned perfectly in place. The slat was first cut slightly longer than what was documented to account for any construction tolerances. Then it was trimmed down and tested in position a few times until the final cut was made, allowing it to sit perfectly aligned with the overall composition. It really became a labor of love. Once they figured out exactly how the slat would be positioned, they secured it in place. They were literally stacking them one by one in a single direction from one end to the other. It was this patience in the process and attention to detail that gave the ceiling its final finished look. W H AT S E T S T H I S P R O J E C T A P A R T F R O M M O R E C O M M O N 2 X 4 W O O D D E S I G N S ?

It really came down to the craft of the connection details and the composition of the overall assembly. We were not trying to disguise anything â&#x20AC;&#x201C; all of the supports, the pipe and the bolts are visible. So for us, it was a matter of making sure it was clean and consistently executed. That attention to detail is what elevated this project it from standard wood construction to an artistic installation. I still remember the day when we finally took down the covering from the exterior windows. Everybody ran outside to take a look and see for themselves how the ceiling moved through the space, past the large bay windows. Each player involved in this project got on board with the overall vision of the design team. The construction crew in particular went above and beyond to make sure that the final outcome was held to a high level of craft.

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PROJECT TEAMS HY U N DAI CAPITAL E U ROPE S PI R AL S TAI R

Cassie Agbada, Danielle Gharst, Jenny Ogasawara, Joanne Chan, Lindsay Green, Mirko Wanders, Philippe ParÃ©, Shawn Shin, Tina Rothermund Photographs by HGEsch: Pages 4, 12-13 D IS N E Y S TOR E S HANG HAI

Bart Tucker, Guy Williams, Johnson Zhao, Joe Tarr, Joyce Leus, Kristina Lambros, Min Chu, Steven Hergert Photographs by Nacasa & Partners: Pages 14, 22-23 M E NTOR G R APH IC S

Ben McAlister, Bob Marcussen, Chris Kao, Dillion Pranger, Eric Barr, Eric James, Hae Sun Kim, Henry Chang, Jessica Parra, Jonathan Orr, Julian Cho, Mindy King, Li Wen, Lisa McCartney, Mike Stanley, Niccolo Boldrin, Tam Tran, Tommy Yuen OU E S K YS PACE MON U M E NTAL S TAI R

Nora Gordon, Jen Kolstad, Nick Richardson, Audrey Wu CB R E M A SON IC TE M PLE

Andre Bighorse, Carlos Posada, Elizabeth Hauser, Gary Downer, Gwen Corrie, Lindsay Malison, Megan Lubaszka Photograph by Benny Chan: Pages 48-49 M US E U M OF PHOTOG R APH IC AR TS D E S K

Amanda Behnke, Benjamin Regnier, Claudia Salazar, Jonathan Owens, Kris McCann, Michelle Harper, Stacy Cannon, Yuriana Stransky TH E PAR IS IAN MACAU

Allison Hughes, Andy Cohen, Asami Choe, Byron Cantu, Charles Lee, David Rodrigues, Don Henning, Ed Grun, Eudoro Benalcazar, Fong Liu, Hyun Ju Lee, Jinsa Yoon, Jonathan Breen, Kainoa Westermark, Karim Sijlamassi, Kelly Wong, Kevin Burke, Kevin Tay, Kruti Majmudar, Lipika Jensen, Lorenzo Marasso, Luke Scott, Lutzie Francisco, Mark McManus, Mark Talma, Mason Lee, Nathan Engel, Peter Doncaster, Philip Little, Philip Jaffarian, Prince Ambooken, Robert Garlipp, Rose DiSarno, Steven Hergert, Steven Knudsen, Stephen Ranck, Tara Wyman, Tet Takii, Tom Sze, Vernoica Avil Photograph by Venetian Visual Media Group: Pages 70-71

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HY U N DAI CAPITAL OPE N S TU D IO

Jenny Ogasawara, Joanne Chan, Joshua Geisinger, Neil McLean, Philippe Paré, Sabu Song, Shun Nagasaka Photographs by Nacasa & Partners: Pages 72, 78-79 B MO F I E LD CANOPI E S

Alex Phi, Angela Bachetti, Corey Schurr, Dan Suria, Danny Pressacco, Edith Ponciano, Eric Ginsburg, Eric Randolph, Henry Lau, Jen Miller, Joel Spearman, Jonalyn Abraham, Jonathan Emmett, Li Zhang, Lindsey Wilson, Misato Hamazaki, Pam Nava, Patrick Ifurung, Phillip Novak, Ron Turner, Ryan Gobuty, Ryan Whitacre, Stacy Nakano, Steve Chung, Valerie Cardozo, Yoonho Lee HY U N DAI CAPITAL CONVE NTION HALL

Amy Pokawatana, Joanne Chan, Julia Park, Marissa Tan-Gatue, Mirko Wanders, Philippe Paré, Shawn Shin, Shun Nagasaka, Tina Rothermund Photographs by Nacasa & Partners: Pages 94, 102-103 CB R E DOWNTOWN LOS ANG E LE S

Barbara Dunn, Carlos Posada, Lindsay Malison, Matt Lunn, Mirko Wanders TU R E LK DOWNTOWN LOS ANG E LE S OF F ICE

Alex Poon, Karla Grijalva, Kim Alford, Fernando Flores, Mirko Wanders, Philippe Paré, Shawn Shin Photographs by Nacasa & Partners: Pages 112, 118-119

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CRAFT EDITORIAL TEAM CONTR I BUTI NG WR ITE R S

Alex Diez Dema Hajmurad Edgar Lopez Einat Marom-Reuvenny Grant Gilliard Haley Coughlin Liz Hauser Richard Lee Tina Rothermund M ANAG I NG E D ITOR

Heidi Hampton S E N IOR E D ITOR

Robert Garlipp CONTR I BUTI NG E D ITOR

Kristi Sprinkel D E S IG N

Misato Hamazaki Steve Chang COVE R

HP Wang Artwork by Charles Lee I LLUS TR ATOR

Thea Gonzales

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