Ideas 1

Page 1


ideas 1_2008 contributors Benjamin Anderson Christopher Chan Jodi Batay-Csorba Shawn Gehle Richard Hammond Hae-Sun Kim Li Wen Sung-Ze Yi


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Gensler Studio, March 19, 5:52pm


"We are about the ‘we’ ...


table of contents


projects

issues

ideas

introduction

01

william morris agency

stack and wrap

05

club nokia

soft surface

15

relevance 2008

27

camp emerald bay

nomadic sustainability

29

warner center

aggregate logics

37

10880 wilshire repositioning

neutrality to specificity

53

a retroactive chart of design strategies

63

5900 & 5901 center drive

the fold

65

quiksilver

work as play

75

“Ask not what it looks like and if you like it; Ask what it’s Doing and Why.” _Li Wen


“Bigness instigates the regime of complexity that mobilizes the full intelligence of architecture and its related fields” Rem Koolhaas, SMLXL pg.497 CONTEXT Today, the architect’s work confronts ever larger and more complex forces of resistance from the various and numerous stakeholders involved. This is especially true for big projects that big firms like Gensler are in a position to win. Such projects do not birth easily; resistance rises from a range of the usual places: from budgeting and legal constraints, to city agency bureaucracy and community opposition, to the various and often conflicting interests of the myriad constituents comprising today’s “client.” It is no wonder that many of the biggest projects being executed today are being done in those areas of the world where the economic and socio-political forces are more exclusively aligned. Regardless of a project’s geographical location, there is still the globalization of building resources and capital investment that overlays any such situation to the point where architecture is discernibly threatened to digress to mere building. In this ever-shifting landscape, how does Gensler argue for the legitimacy of architecture? RESPONSE The position presented here resides within the Los Angeles office. This position is rooted in the belief that: · The design process at Gensler must be commensurate with the Bigness of its practice. · Subjectivity exists in any design process, but that the scale and pace of working methods necessary to produce one’s personal esthetic is not compatible with Bigness. · Design is driven by ideas that establish an operative logic for reference during all phases of architectural production; and this logic provides an operational framework for all team members to meaningfully contribute to the process, thereby affording the opportunity to optimize Bigness. When enlisting the services of an architect to “design” a building, an interior, or a master plan, the client is asking for the creation of a system that is capable of mobilizing and engaging people in the emergent conditions associated with that particular intervention; and such a system is generated from a rational set of project specific ideas, not simply a vocabulary of esthetics. Though design has been commonly relegated to discussions about personal esthetics, with an idea-driven design process, design is viewed fundamentally as the means to execute that system for mobilization – the resultant esthetics merely a part of its presentation.

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THE PROCESS This process is driven by an operative logic, which forms an objective set of criteria to establish a legitimate basis to argue for architecture; it is the product of filtering project-specific information through one’s conceptual framework – inherently subjective – into a method of work that can be imprinted by all applicable parties. It is the conversion of a singular position into a working culture of multiplicity. This process is implemented through three phases of work: Research: The process of establishing the source of an idea through the examination of project criteria, influences, parameters, and constraints. Analysis/Interpretation: The re-forming of that research information to identify relevant issues and opportunities that can establish an approach toward the problems identified in the research phase: birth of the “big idea” as manifested through the determination of the project’s critical position. Translation: The conception of organizational constructs that will promote and support the “big idea” through their formal and/or spatial properties and characteristics; it is the implementation of project-specific ideas. Effectiveness of any translation is governed by an examination of the alignment between project-specific ideas and the “big idea”.


-Of Site -Of Form -Of Program -Of Typology -Of Business Intent -Etc.

IDEAS

ANALYSIS / CRITERIA -Reforming Information -Charts -Diagrams -Models

Introduction

DESIGN RESEARCH

PROJECT CRITERIA

-Form -Circulation -Site -Structure -Elevation -Section -Program -Etc.

CONCEPTUAL FRAMEWORK

INTERPRETATION

TRANSLATION

INTERPRETATION

TRANSLATION

TRANSLATION

OPERATIVE LOGIC

THE TEAM STRUCTURE The effective implementation of an idea-driven design process relies on the team’s ability to implement the operative logic through a broad platform for impassioned daily debate and critique. When such a culture is established at the team level, where the operative logic acts as a filter mechanism for decisions, design authorship is challenged. This provides the opportunity for the team to interact at a more abstract level, where there is more creative “space” to optimize the vast resources of a large global firm, and encourage all team members to engage in a process governed by an operative logic and its respective ideas. It is perhaps an inherent quality of Bigness that ideas trump esthetics, for ideas can be owned by all; esthetics can only be adopted. Thus the traditional role of the individual design leader as one who authors the design through a personal esthetic facilitated by a team now becomes that of leading a team that stewards the idea through the various project forces. This new role manifests in a team structure that operates at a scale commensurate with the Bigness of a big practice.

IDEA-DRIVEN DESIGN PROCESS

ESTHETIC-DRIVEN DESIGN PROCESS

TEAM MEMBER

TEAM MEMBER

OPERATIVE LOGIC

CLIENT & THIRD PARTY FORCES

DESIGN LEADER

TEAM MEMBERS

PROJECT

CLIENT & THIRD PARTY FORCES

IDEA

DESIGN LEADER

PROJECT

TEAM MEMBER

PERSONAL ESTHETIC

William Morris Agency

In all three phases, work to “design” the information where the transition to “the design” itself is legible – this is the process. In reality, this process is not linear, but spatial in that each phase can inform the other in a continuous series of loops. Performed properly, the ensuing operative logic will be felt palpably in the built work – through experiences and emotion - those powerful reactions that are produced by architecture, but from which architecture is seldom produced, and critique and evaluation are rarely possible

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‌..a Note on IDEAS Ideas not only need to drive the design process, they need to be relevant to contemporary discourse. It is only by being relevant to the present, that ideas have the opportunity to provoke the possible and thus be equipped to engage the emergent conditions of the future. THIS BOOK The seven projects to follow are samplings of an idea-driven design process in practice at Gensler, all presented only through documentation produced during the design process. Empowered by ideas and their resultant operative logics, these projects operate at various scales and across typological boundaries, from interiors to buildings, from the re-positioning of an existing structure to a master plan. It is the intent of this inaugural installment to be the first step in benchmarking this process as it is conceived within a larger conceptual framework at this time, and to act as a resource of ideas, logics, and design methods to be shared by all who have committed themselves to this “place.â€? _by Li Wen with Shawn Gehle


Introduction

LOS ANGELES

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Gensler Barbara Dunn Dana Glover Kevin Heinly Tim Jacobson Rob Jernigan Scott Kaufman Joanna Laajisto Sang Lee Chris Ramsey Colette Smith Konstanze Valdez Li Wen James Young Program: 215,000 sf office and retail building with 200,000 sf of below-grade parking Location: 231-265 Beverly Dr., Beverly Hills, CA Client: George Comfort & Sons and the William Morris Agency Site Characteristics: Flat one acre corner site in a dense urban retail and office neighborhood. Schedule: Completion - January 2010

william morris agency This office building designed for the William Morris Agency is located in the heart of the “Golden Triangle” of Beverly Hills, at the threshold between the large-scale commercial buildings on Wilshire Boulevard and the smaller two-level retail buildings that comprise most of the city’s main shopping district. Project programs include an outdoor event garden and executive terrace, a screening room, and atrium lobbies. 5

garden on the second level, which can be axially related to the future City Garden across the street.

The design intent of the project is to reconfigure investment grade architecture criteria to challenge its formal manifestation. As such, a rational design process is established through a conceptual framework that implements various formal strategies to exploit site and programmatic opportunities, and investment objectives and constraints for architectural effect.

Massing Strategy: With as much building area below grade as above, this project is conceived of as an iceberg, floating within a sea of asphalt and concrete. To establish a clear identity for the William Morris Agency, a layered stratification within this homogeneous mass is initiated to produce a stacking strategy for organizing the iceberg, resulting in seven programmatic layers. The project’s architectural identity is produced by shifting the top two floors to respond to zoning requirements that favor the retail scale to the northwest. This one move also produces the space for the executive terrace, and added spatial definition for the event garden.

Site Strategy: The street level retail of this project continues the scale of the adjacent retail buildings. Above the retail, the office building mass reflects the compactness of the investment grade developer box. It is pushed to the northwest edge of the site to maximize the amount of square feet for the project while providing for the code-required 40-foot separation from the adjacent building to the southeast. This allows office glazing on four sides, satisfying the client’s high perimeter office demand, and providing space for an outdoor event

Exterior Surface Idea: The exterior skin idea is derived through the contradiction produced by cost parameters – the stacked expression cannot be read from the alley side. This paradox is embraced through conceiving of the exterior skin as an unwrapped surface continuum. By gradating the tone of the skin from one end to the other and re-wrapping it on the building mass, a stacked volumetric reading is achieved on the Beverly Drive side, while the continuity of the skin is understood when viewed from the alley side: simultaneous differentiation and continuity.

Investment Grade ‘Developer Box’


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william morris agency

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Lit

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Wilshire Boulevard

Site Plan

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project site

Site

Site Strategy


Gensler residual garden

typical investment-grade “iceberg” = investment-grade “box” on top of retail and parking executive terrace

parking moored in water table establish landscape zone

new compact investment grade “box”

-

selected parking moved offsite

expand to curb face parking above water table

establish event garden “room” setback parameters re-establish executive terrace

7

establish parking entry and retail zones

Studies:


william morris agency

Stacking Strategy:

Continuous Elevation

mechanical layer executive layer screening room office layer landscape layer retail layer

parking

beverly elevation under cantilever: clear glazing

=

y

al e

+

be

west/northwest side: vertical shading

l ver yd

da yto n

wa y

e riv

alley elevation

8

y

al e

Final Version:

Paper Study Model

be ly d ver

da yto

nw ay

e riv


Gensler

19

Northeast View

View Up Beverly Drive

View East on Dayton

View from Across the Street


10

Southeast View

william morris agency

William Morris Agency


Gensler

11

- Interior Constraints: The interiors of William Morris’ public spaces are constrained by the base building client’s need to maximize retail space on the ground level; thus forcing William Morris to locate their screening room, break-out halls and reception lobby on the alley side of the ground floor – all accessible through a narrow passage from Beverly Drive. - Spatial Idea: These challenges are addressed through conceiving of the event garden as the reception ‘lobby’ – a ‘green’ surface that accommodates an indoor and outdoor lounge for the talent on the second floor, and terraces down through an amphitheater and mezzanine to the first floor - linking the screening room and a variety of width-challenged ‘halls’ that vertically puncture the stacked layers to spatially tie them together. The tallest hall of all, the sky lit stair hall, penetrates through the entire height of the project – its last two floors shifted towards the event garden so that the shift of the office building massing can be experienced from within.


screening room e gv a en r d t e n

staststaitaitaiir halhal Interior Spatial Diagram

12

entry hal

event hal william morris agency


Gensler

entry hall

stair hall

level 03 typical office floor

event garden

event hall

screening room

level 02 event garden lobby

interior strategy

13

staststaitaitaiir halhal

entry hal screening

room

e gv a en r d t e n

event hal

level 01 maximize retail sf


14

william morris agency


Gensler

Marty Borko Edgardo Caceres Jodi Batay-Csorba Jason Jones Christy Kim Clara Kim Winnie Law Danny Lim Duncan Paterson Marcello Pozzi Carolina Tombolesi Mimi Vo Program: 46,945 GSF Music Hall Dance Floor, Fixed Seating, V.I.P. Lounge, Stage, Dressing Rms, Artist Lounge, and BOH areas. Location: 800 West Olympic Blvd., Los Angeles, CA Client: Anschutz Entertainment Group, Sports + Entertainment Presenter/Venue Operator Site Characteristics: Located on upper 3 floors of a new 5 story building, constructed as a part of the L.A. Live! development in downtown Los Angeles, adjacent to the Staples Center. Schedule: Completion – November. 2008

club nokia Club Nokia at L.A. Live! is a 2,200-seat music hall in downtown Los Angeles, within the “L.A. Live!” development. The music hall will occupy the three upper floors of a five-story mixed-use building. In addition to a dance floor designed to accommodate 1,400 people and fixed mezzanine seating for 600, the venue includes a V.I.P area that will enable patrons to move freely between an exclusive lounge and booth seating overlooking the performance stage. 415

As a four million-square-foot entertainment destination, “L.A. Live!” is characterized by a visuality defined by the ephemerality of images. As such, Club Nokia attempts to question and redefine signage, visibility, and the billboard, by mobilizing the inherent quality of the theater as a place of performance through its conceptualization as a medium to transmit information volumetrically and materially. This is done through the analysis and transformation of the typology of a theater in three key areas: The Erasure of a Stratified Sectional Condition: The traditionally stratified sectional relationship between programs is challenged by cloaking the 2nd floor in a surface form that compresses and expands the volume of space within which it “floats”; this perceptual erasure of the 2nd level produces three inherent by-products: a. Emphasized Hierarchical Ordering - this perceptual disappearance of the second floor and thus its V.I.P. space both formally and circulatory to all other visitors further emphasizes

the hierarchical ordering of the theater. b. Spatial Differentiation – the use of a continuous surface to exaggerate large expansive zones, very tight compressed zones and fully immersive volumes. c. Pragmatic Continuities - by eliminating traditionally determined boundaries between lobby and music hall areas, one continuous event space surrounding the V.I.P. area is created. Extending the Theatrical Experience: Use of the proscenium was extended beyond the traditional in two ways. First, conceptualizing the lobby as a proscenium activates it as a secondary stage. Second, expanding the proscenium perimeter boundaries beyond the traditional decorative opening makes it one with the entire stage wall, and thus allows the architecture to become part of the show, through changes in lighting, color, texture and transparency. Shifts of Scale to produce a Materially-Driven Atmosphere: Shifting the scale of traditional materials found within the theatrical environment transforms the atmosphere into a heavy, immersive and tactile environment. As it did for Alice in Wonderland, with her shift in scale creating an unfamiliar environment that was immersive and intensified, red velvet upholstered cushions are shifted beyond human scale to carpet the undulating ceiling while also offering acoustical performance. Drapery pleats also undulate in scale, encasing viewers as they pass by.


club nokia

1

5 2

4

3

164

1. 110 Harbor Freeway, 2. Club Nokia @ L.A. Live Development, 3. Staples Center, 4. Los Angeles Convention Center, 5. Intersection of Figueroa St. & Olympic Blvd.


Gensler MORPHOLOGY PROCESS

(LOBBY)

EXPANSION

SECTIONAL CONDITION OF TRADITIONAL THEATER TYPOLOGY

COMPRESSION (MUSIC HALL)

TRANSVERSE SECTION

2

C

C

3

E

1 2

2

4

3

ENCAPSULATION

COMPRESSION_EXPANSION

EXPANSION

3

E

(MUSIC HALL)

2

E

EXPANSION

4

4

1

CONTINUOUS EVENT SPACE

(MUSIC HALL)

C

1

TRANSVERSE SECTION

LONGITUDINAL SECTION

17

FASHION + MATERIALITY

PATTERN + REPETITION

SCALE + ATMOSPHERE

MASSING


18

club nokia


Gensler

ILLUSTRATING THE IMPORTANCE OF THE CEILING CONDITION FOR A TENANT SPACE AT 36’ ABOVE GRADE _VISIBILITY, BRANDING, ICONIC REPRESENTATION 19

CLUB NOKIA ENTRANCE PLATFORM ESCALATOR TO CLUB NOKIA ENTRANCE PLATFORM L.A. LIVE PUBLIC PLAZA RENDERING CAMERA LENS TAKEN FROM TOP OF ESCALATOR FROM PARKING GARAGE


club nokia

MACRO SCALE: EXTENSION OF PUBLIC SPACE INTO THEATER

(LOBBY)

GLASS FACADE

PUBLIC SPACE

+36’

MIXED USE/ ENTERTAINMENT

OUTDOOR PUBLIC PLAZA

204

SPATIAL TAXONOMY_1

2

3

4

5

6


Gensler

21


club nokia 48”

4”

SCALAR SHIFT

22

LEFT TO RIGHT: ALICE IN WONDERLAND EXPERIENCE IN SCALE RED VELVET UPHOLSTERED SEATING ICONOGRAPHIC REPRESENTATIONS OF A THEATER HEAVY DRAPERY CLEARLY DEFINED PROSCENIUM


Gensler

423

RE-DEFINING THE IDEA OF A PROSCENIUM TOP RIGHT: MUSIC HALL UPON ARRIVAL MUSIC HALL PRE-SHOW MUSIC HALL SHOWTIME LEFT: ENTRY LOBBY


club nokia Y X

DUPLICATE THEATRICAL EXPERIENCE TO LOBBY

244


Gensler

25


26

club nokia


Gensler

“In a time where we can do anything, how do we decide what to do?” _Winy Maas

27

“Make concepts buildable. Make buildings conceptual” _SHoP Architects


28

relevance 2008


Gensler

Peter Barsuk Andrew Bouquiren Loree Goffigon Kimberly Gordon Richard Hammond Rob Jernigan Lucy Peng Nellie Reid Program: Master Plan and design for a camp that includes camper cabins, houses, communal facilities, and a maintenance building. Integrate sustainable strategies for renewable energy, water treatment and storm water management. Location: Catalina Island, CA Client: West LA Boy Scouts Association Site Characteristics: Sloping and flat sites, flood & coastal zone, archaeological significance, east-west running canyon. Schedule: 10 year master plan projected to commence in 2008.

camp emerald bay Camp Emerald Bay is sited on the northeast edge of Catalina Island, an idyllic setting far removed from the urban congestion of Los Angeles from which the island is accessed. Used seasonally by the West Los Angeles Boy Scouts since 1925, the camp has seen increased demand for year-round use, by both Scouting organizations and other groups. Any expansion of the camp, however, would require consideration for the island’s sensitive ecosystem, and adherence to stringent land conservation guidelines. 29

The key question this project poses is how to design cabins for the phased expansion of the camp in a manner that leaves the site as it had been before, should the facility ever evacuate. Critical also is that the building materials be found within the immediate region, so as to minimize their embodied energy. The design solution then stems from an exercise in identifying locally available recycled materials and components that can be translated into a system of tectonics to produce a nomadic architecture. Breaking down a single cabin into three fundamental tectonic zones – base, middle and top – this project explores the following materials and components: Base, or how to meet the ground: Recycled tires can be filled with gravel to

serve as the base upon which the cabin structure sits. Tires can be stacked to level the cabin floor relative to the terrain, and are available in abundance in the auto-centric Los Angeles area.

User Timeline

Youth Adults

Middle, or how space will be enclosed: Recycled shipping containers are structurally pre-engineered and relatively inexpensive, and can be transported easily to the island camp from either of the nearby ports in Long Beach or San Pedro. Top, or how to meet the sky: Second-hand sails readily available from the local sailing culture will be stretched over lightweight frames. These structures will be situated above the shipping containers, atop clerestory zones composed of mosquito netting designed to protect the interior from pests while allowing for cross ventilation and breezes. All of these components can be combined to form larger communal structures, as in the early studies for the Dining Pavilion. Later versions of the cabin design are adjusted for cost reasons and to integrate the potential for photovoltaic roof panels. The layout of the cabins responds to local environmental factors, while also navigating the site’s topography, existing structures, trail lines and access routes. The color for the paving pattern of the communal area organically changes in a pixilated framework to communicate the smooth transitions between nature’s various terrains.

10880 wilshire


30

camp emerald bay


Gensler

31


camp emerald bay 32

Site Plan Showing Solar & User Movement


Gensler

1

2

3

4

5

8 33

7

6


camp emerald bay Camper Cabins Version 1

34

Dining Cabin Version 1


Gensler

Dining Cabin Version 2

35

Camper Cabin Version 2

Polycarbonate Sheeting

OSB or Plywood Wall Paneling

3’6” Overhang

Polycarbonate Window Panel

Polycarbonate Sheeting or Class 1 Fabric

Possible Solar Panel Location 3’6” Overhang


camp emerald bay

10880 wilshire repositioning Paving Plan

36

Paving Pattern Conceptual Diagram


Gensler

Rob Jernigan Hae-Sun Kim Myung-Jong Lee Duncan Paterson Chuck Seeger Li Wen Program: 2.5 million s.f. mixed used complex to include, housing, office, retail, hotel, parking and recreational uses. Location: Woodland Hills, CA Client: Carr America/Blackstone Site Characteristics: Flat site; 26 acres bounded by office, single-family residential and institutional neighborhoods. Schedule: No completion date established yet.

warner center This competition-winning master plan transforms an existing suburban post-war office park of 300,000 square feet in the San Fernando Valley into a 2.5 – 3 million square-foot mixed-use development. The site is surrounded by lower scale flex-tech buildings, a hospital complex, a fire station, a mid-rise office development, and single-family residences, which will form the largest political opposition to this project. 37

The project addresses a growing dilemma in the suburban residential landscape of the ever-densifying American city: How to inject the necessary density into these regions to transform them into an extension of the metropolitan lifestyle while maintaining their mythology of open space? The response here is derived from a macro- and micro-analysis of the various forces acting upon this specific site, and understanding the inherent logic of each. Identifying commonalities and differences between these logics produces a system of joining – a landscape of aggregate logics - as a means for creating the master plan. This analysis involves examining the following forces: Programmatic Adjacencies at the urban scale: Examined at increasing rings of distance. Perimeter forces: Sound, speed, traffic, etc. Time: Program differences as they relate to time of use.

Zoning codes: The relationship of building height to required open space; landscape requirements, building separation requirements, etc. Formal characteristics of the site: Section, opportunities for visibility, site access, etc. Phasing forces: How the existing complex will be exited. Project Programmatic capacities: Comparing the different programmatic demands to each other both in terms of quantity and their building dimensions. Typological conditions: Building types, building adjacency types and urban types. Through this process, it is determined that for the residences east of the site, the closest park is beyond a reasonable walking distance. This establishes a central question driving the design for the project: can density of landscape override density of building to transform this project into a park? From this question, three design strategies are formed: one establishes a classic "central park"; one forms a series of urban neighborhood parks; and one uses the parking component to form a topographic hill, interweaving buildings and a series of sloped parks into a threedimensional landscape tapestry. The last option is the recommended scheme, both for capital investment reasons and for the progressive parkscape it promises. All three strategies are presented as equations to demonstrate the components of their aggregation, and are planned in a phased sequence for maximum future development and optimal phenomenological effect.

MIXED-USE TIMELINE

RESIDENTIAL

OFFICE

RETAIL PARKING


WESTFIELD MALL

WESTFIELD MALL

warner center

PIERCE COLLEGE

PARK

10,000 FT.

5,000 FT.

2,000 FT.

SITE KAISER PROMENANTE

101 FREEWAY 38 82

SCHOOL BANK MARKET LODGING

VICINITY PROGRAMS


Gensler

PUBLIC TRANSIT

TRAFFICE FLOW

(BUS ROUTES & STOPS)

(12:00~13:00 Oct 08,2006) DASH Bus Stop

Speed Limits

Metro / CE Bus Stop

- De Soto Ave - Burbank Blvd

DASH / Metro / CE Bus Stop DASH Warner Center South Route Commuter Express Route 422

- De Soto Ave - Burbank Blvd

Commuter Express Route 575

Signal Interval

Metro Route 150

- De Soto Ave - Burbank Blvd

Metro Route 161

40mph 35mph

Lanes 3 lanes each direction 2 lanes each direction

red 12" / green 1' 10" red 1' 10" / green 12"

/ hr

/ hr

cars

cars

864

990

Metro Route 244

SPEED LIMIT

40

114 cars / hr 144 cars / hr

SPEED LIMIT

35

39


warner center

SITE ANALYSIS

PARK SITE RESIDENTIAL AREA

The closest park is too far away!

40


DE SOTO AVE.

WARNER RANCH RD.

SITE 120’ (MAX. HT.) 60’ SINGLE FAMILY RESIDENCES

4-STORY PARKING

5-STORY OFFICE

5-STORY OFFICE

5-STORY OFFICE

E.

CANOGA AVE.

15-STORY OFFICE

15-STORY OFFICE

41 AV OTO DE S

VIEW TO NORTH OWENSMOUTH AVE.

15-STORY OFFICE

Gensler LAND AVAILABILITY 2006

2010

11,514 SQ.FT. @2013 7,118 SQ.FT. @2014 4,695 SQ.FT. @2013

2012

LEASED

EXPIRED

N

BURBANK BLVD.


SCALE COMPARISON

PLAYA VISTA SQUARE

GROVE

warner center

WARNER CENTER

SANTANA ROW

THIRD PROMENADE

PASADENA

PARK LABREA

N

2-STORY OFFICE

2-STORY OFFICE

OXNARD ST.

120’ (MAX. HT.) 60’

CALIFA ST.

BURBANK BLVD

101 FREEWAY

VENTURA BLVD

SITE

2-STORY OFFICE

1-STORY OFFICE

E.

KAISER PROMENANTE

AV OTO DE S BURBANK BLVD.

KAISER PARKING

42

BEACONS AS ATTRACTORS


Gensler

PROGRAM

B. COMMERCIAL PARKING

A. COMMERCIAL

C. HOUSING

D. HOUSING PARKING

2,126,488 SQ.FT 1,275,892 SQ.FT

1,063,244 SQ.FT

1,063,244 SQ.FT

2,392200 SQ.FT

830 UNITS @ 1,000 SQ.FT 1000 UNITS @ 800 SQ.FT 828 UNITS @ 600 SQ.FT

1,063,244 SQ.FT

(2.25 CARS / UNIT 400 SQ.FT / 1 CAR)

1,063,244 SQ.FT

1,063,244 SQ.FT

E. OPEN SPACE

45’

211,825 SQ.FT

BUILDING HT.

BUILDING HT.

SEC 10 - (4) : MIXED-USE ADDITIONAL HEIGHT OF 15 FEET ABOVE THE MAX. PERMITTED HEIGHT FOR MIXED-USE PROJECT

Open space can increase as the buildings grow taller.

43

90’

60’

211,825 SQ.FT

317,737 SQ.FT

BUILDING HT.

120’

489,092 SQ.FT

BUILDING HT.

SEC 10 - (2) : MIXED-USE

SEC 10 - (3) : MIXED-USE

50% OVER THE MAX. HEIGHT PERMITTED PROVIDED THAT THE PERCENTAGE OF OPEN SPACE IS INCREASED BY THE SAME PERCENTAGE

IF THE OPEN SPACE PROVIDED IS EQUAL TO OR GREATER THAN 46 PERCENT, AND THE LOT COVERAGE IS NO GREATER THAN 54 PERCENT, THEN AN INREMENT OF 30 FEET OF ADDITIONAL HEIGHT SHALL BE PERMITTED


MIXED USE PROGRAMMATIC ELEMENTS SECTIONS

OUTDOOR ACTIVITIES

10’-0”

120’-0”

PARKING

9’-0”

PROGRAM

DIAGRAMS

12’-0”

24’-0” 18’-0” 60’-0”

PLAN

200’-0”

P

TYPICAL PARKING LOT

TYPICAL PARKING SECTION

5’-6” 35’-0”

35,441 LF @ 60’ WIDE

SOCCER

36’-0”

OFFICE 2

HOUSING PARKING

60’-0”

120’-0”

120’-10”

TENNIS

30’-0”

39,870 LF @ 60’ WIDE

84’-0”

SMALL ANCHOR STORE 60’-0”

RETAIL

R1

2,392200 SQ.FT

90’-0”

R2

50’-0”

TYPICAL STORE 900-2,700 SF

warner center

TYPICAL OFFICE SECTION

78’-0”

9’-0”

14’-0”

80’-10”

80’-0”

20’-0” 30’-0” 30’-0” 45’-0”

OFFICE

O2

HOUSING

2,126,488 SQ.FT

225’-0”

120’-0”

OFFICE 1

360’-0”

66’-6”

O1

TYPICAL HOTEL SECTION

1,063,244 SQ.FT

76’-6”

LUXURY HOTEL

15’-10”

120’-10”

H2

10’~12’

REGULAR HOTEL

8’~9’

H1

120’-0”

HOTEL

5’-6” 30’-0”

15’-5”

40’-0”

TYPICAL APPARTMENT SECTION

70’-7”

30’-0”

20’-0” 30’-0” L1A L1B LIVE / WORK - 1,100 - 1,300 SQ.FT

123’-10”

10’~12’ 8’~9’

40’-0”

60’-0”

BASKETBALL

28’-0”

20’-0”

COMMERCIAL

RACQUETBALL

1,063,244 SQ.FT

40’-0”

2 BEDROOM - 1,200 SQ.FT

L3A

LUXURY CONDO 2 BEDROOM - 1,500 SQ.FT

L3B

LUXURY CONDO 2 LEVEL - 2,400 SQ.FT

76’-10”

36’-0”

L2B

8,860 LF @ 120’ WIDE

65’-10”

30’-0”

L2A 1 BEDROOM - 840 SQ.FT

LIVING

12’-0”

85’-0”

12’-0”

42’-0”

COMMERCIAL PARKING

85’-0”

LUXURY 2 LEVEL CONDO SECTION

1,275,892 SQ.FT

21,264 LF @ 60’ WIDE

44 PARKING

OFFICE

SMALL ANCHOR STORE

From an analysis of the different Program demands, it is determined that Housing, Hospitality, Office, Retail and Parking can all work off a nominal 60 foot grid. This becomes the macro-planning grid for the master plan.

LIVE / WORK HOUSING


Gensler

DENSITY COMPARISON 60’ GRID

This is the critical diagram for the project for it illustrates the absurdity of the scale for the proposed development. Submerging all the parking below grade is economically not feasible, and relying on above grade structured parking leaves little space for the other programmatic components. The design challenge from here is to negotiate this “absurdity” into a “park”.

COMMERCIAL (1 MILLION SQ.FT.) RESIDENTIAL (2 MILLION SQ.FT.) OPEN SPACE (489,092 REQUIRED)

120’ 14’ HT.

60’ 10’ HT.

250’ 30,000 SQ.FT. T

250’ 15,0 SQ.F 15,000 SQ.FT.

BASIC MODULE

LOT AREA : 1,063,244 SQ.FT. LOT COVERAGE : 285,000 SQ.FT. (26.8 %) OPEN SPACE : 489,092 SQ.FT. (REQUIRED) GROUND PARKING : 289,152 SQ.FT. (INCLUDING ROAD))

40’ SETBACK

7-STORY PARKING REQUIRED PARKING AREA : 3,668,092 SQ.FT SITE) FLOOR AREA : 531,622 SQ.FT. (HALF OF SITE

?

1,185’

1,028’

WHERE TO PUT BUILDINGS

4 LEVEL PARKING 40’ SETBACK

45

HOUSING TYPES

“URBAN” STREET TYPES

PARKING / BUILDING INTERFACE STRATEGIES l ADJACENCIES

retail BUILDING AS GARAGE SKIN

ROW HOUSE / DUPLEX

TOWER HOUSING

GRID CREATES BLOCKS

TARTAN GRID CREATES VARIOUS LEVELS OF DENSITY

office or housing atop retail BUILDING AS GARAGE WALL

SLAB HOUSING

LIVE / WORK

BOULEVARDS CREATES PROMENADES

RADIAL ENCOURAGES IRREGULAR BUILDING SHAPES

anything possible BUILDING ON TOP OF GARAGE


warner center PARKING / BUILDING INTERFACE STRATEGIES l STRUCTURAL

PARKING STRATEGIES

LONG SPAN

$

$ $

SEE DENSITY COMPARISON DIAGRAM

LINEAR BUILDING

SHORT SPAN

BUILDING HEIGHT ISSUE l COST

LONG SPAN

$$$

$ 5 FL

PREDOMINANTLY UNDERGROUND

$

$

$

LONG SPAN

TERRACE ABOVE GROUND

SHORT SPAN

LONG SPAN

16 + FL

$

PRIMARILY ABOVE GROUND

TOWER BUILDING

$ MOUND OVER ABOVE GROUND

$$ 6 ~ 12 FL

46


Gensler

SCHEME 1

CENTRAL PARK

Park as figure; Site porosity mono-axial; Majority of parking below-grade

47

. AVE OTO DE S

PARK

PRIVATE SITE RESIDENTIAL AREA

+

PUBLIC

RESIDENTIAL AREA (HILL SIDE)

+

+

BURBANK BLVD ROW HOUSE / DUPLEX

LIVE / WORK


OFFICE OFFICE OFFICE OFFICE

SITE PLAN - SCHEME 1 HOUSING OFFICE RETAIL

+0’

PARKING

WATER FEATURE

+0’

LANDSCAPE FLOWER BED EXISTING OFFICE TO REMAIN BY 2010 BUS STOP

GRAND PARK K

E..

+10’

+10’ + +10 10’ 1 0

RESIDENTIAL AREA +0’’ +0

OFFICE (UNDER DEVELOPMENT) +0 +0’ 0’

warner center

OFFICE AREA

PARKING ENTRY / SITE ACCESS

AV OTO DE S

+0’

+0’’ + PEDESTRIAN P EDE RIAN M MALL A L

OFFICE (UNDER DEVELOPMENT)

DAYCARE CENTER (UNDER DEVELOPMENT)

+ ’ +0’

BURBANK BLVD.

KAISER PARKING

FIRE STATION (UNDER CONSTRUCTION)

48

+ BOULEVARDS CREATES PROMENADES

$

$ $ PREDOMINANTLY UNDERGROUND

=

+ BUILDING ON TOP OF GARAGE

CENTRAL PARK


Gensler

SCHEME 2

NEIGHBORHOOD

Park as a series of figures; Site porosity is bi-axial; Half of parking terraced above grade

49

. AVE OTO DE S

PARK PARK

PRIVATE SITE SITE

RESIDENTIAL AREA

+

PUBLIC

RESIDENTIAL AREA (HILL SIDE)

+

+

BURBANK BLVD SLAB HOUSING

LIVE / WORK


OFFICE OFFICE OFFICE

SITE PLAN - SCHEME 2 +0’ +20’

HOUSING

+0’ +0

+0’

OFFICE RETAIL

PARKING

VEGE GARDEN WATER FEATURE MEDITATION GARDEN

LANDSCAPE PLAY GARDEN

+20’

+0’

EXISTING OFFICE TO REMAIN BY 2010 BUS STOP

+20’

PARKING ENTRY / SITE ACCESS

+20’

+0’

+20’

+10’

+10’

+10’

OPEN GARDEN

+0’

RESIDENTIAL AREA

+20’

OFFICE (UNDER DEVELOPMENT)

+25’

+10’ +0’

+0’

+10’

+0’

warner center

+10’

+0’

.. AVE OTO DE S

OFFICE AREA

+0’

+20’

+10’

OFFICE (UNDER DEVELOPMENT) +0’

DAYCARE CENTER (UNDER DEVELOPMENT)

BURBANK BLVD.

KAISER PARKING

FIRE STATION (UNDER CONSTRUCTION)

50

BUILDING AS GARAGE WALL

+ GRID CREATES BLOCKS

$

$

+

= TERRACED NEIGHBORHOOD

TERRACE ABOVE GROUND

BUILDING ON TOP OF GARAGE


Gensler

SCHEME 3

NETWORK COMMUNITY

Park as surface; Site porosity is multi-axial; Majority of parking above grade

N

51

4- STORY PARKING

5- STORY OFFICE

5- STORY OFFICE

5- STORY OFFICE

5- STORY OFFICE

5- STORY OFFICE

DE SOTO AVE.

SITE

WARNER RANCH RD.

BURBANK BLVD

+

CANOGA AVE.

PUBLIC

5- STORY OFFICE

+

RESIDENTIAL AREA (HILL SIDE)

OWENSMOUTH AVE.

RESIDENTIAL AREA

SINGLE FAMILY RESIDENCES

AVE. OTO DE S

SITE

. AVE OTO DE S

PRIVATE

PARK

SITE SECTIONS

BURBANK BLVD.

+


OFFICE OFFICE OFFICE

+20’

SITE PLAN - SCHEME 3 HOUSING OFFICE RETAIL

PARKING

+1 10’

VEGE GARDEN WATER FEATURE LANDSCAPE +30 0’

EXISTING OFFICE TO REMAIN BY 2010 BUS STOP PARKING ENTRY / SITE ACCESS

+20 0’

+0’

E.

+0’’

warner center

+20 0’

AV OTO DE S

OFFICE AREA

RESIDENTIAL AREA

+20’

OFFICE (UNDER DEVELOPMENT) +40’

OFFICE (UNDER DEVELOPMENT)

+30’

DAYCARE CENTER (UNDER DEVELOPMENT)

BURBANK BLVD.

KAISER PARKING

FIRE STATION (UNDER CONSTRUCTION)

52

BUILDING AS GARAGE SKIN

ROW HOUSE / DUPLEX

TOWER HOUSING

+

TARTAN CREATES VARIOUS LEVELS OF DENSITY

+

BUILDING AS GARAGE WALL

= NETWORK COMMUNITY

$ SLAB HOUSING

LIVE / WORK

MOUND OVER ABOVE GROUND

BUILDING ON TOP OF GARAGE


Gensler

Yeva Arutyunyan Edward Boatman Matt Gammel Farshid Gazor Richard Hammond Philippe Pare Betty Yiu Program: 4,000 sf of new restaurant and retail space; renovation of the exterior and interior public spaces; rebrand the building skin. Location: 10880 Wilshire Boulevard, Los Angeles, CA Client: Blackstone Site Characteristics: Sloping site; part of the 'Wilshire Corridor', adjacent to the Hammer Museum and the UCLA Campus Schedule: No completion date established yet.

10880 wilshire repositioning As the oldest post-war American city, Los Angeles has increasing numbers of classic modern commercial buildings in need of repositioning in order to maintain and/or increase their value. The strategy for repositioning 10880 Wilshire Boulevard, at a busy intersection in Westwood, begins by refurbishing the public interface of the property, and uncovering strategies for connecting with the surrounding urban environment. 53

In the automobile culture of post-war Los Angeles, pedestrian traffic was rare, and thus a building’s relationship to the sidewalk was given little consideration. Access and visitor amenities were emphasized below grade, at the main parking levels. The site and architectural language of classic modern buildings – somber objects placed within a neutral field – played into this urban morphology. As the urban fabric of Los Angeles has densified, so has its pedestrian traffic to the point where buildings such as 10880 Wilshire have become urban obstructions, disassociated from their surroundings. Thus is the condition of old modern buildings. 10880 Wilshire Boulevard transforms this condition by employing a strategy of converting neutrality to specificity, which identifies four main objectives: Establish the Front Door and Clarify Circulation: Acknowledge Wilshire Boulevard as the building’s main frontage through the insertion of a large-scale portal. Eliminate

one of the building’s two lobbies, on the podium level, and centralize all entries at the street level lobby for ease of orientation and security. Engage the Public by Co-opting Adjacent Uses: Partner with the Armand Hammer Museum, directly across the street, by providing display opportunities at the building’s podium level, thus expanding the museum’s interface in the Westwood community. Further activate the podium level to capture increased urban activity by expanding square footage for retail and restaurants. Leverage Street Activity by Increasing Spatial Porosity at the Edges: The podium was used in classic modern architecture to separate the building from its surroundings, establishing an idealized state for architecture. Reverse this objective by providing increased access to both the podium level and the newly established street level main lobby through clarified circulation and a new corner stair, which together with the programs above, allow for the urban environment to infiltrate the base of the building. Give the Building a New Identity: Balance the building’s somber, exterior skin with an asymmetrical exterior lighting system that works off of the structural articulation of the building. Vertical light strips of differing lengths located at different heights now animate the static box of classic modernism.

10880 wilshire


54

10880 wilshire repositioning


Gensler VICINITY PLAN

SITE PLAN

SANTA MONICA MOUNTAINS

DOWNTOWN 10

PACIFIC OCEAN

hire Wils

405

d oo stw We

55

oddly proportioned lobby unused double-height space obsolete entry space

EXISTING PLAN


10880 wilshire repositioning UNDERUTILIZED PLAZA

CONGESTED, UNINVITING CORNER

INEFFECTIVE ENTRY ELEMENT

INEFFECTIVE ENTRY ELEMENT

56


Gensler CO-OPT NEIGHBORING INSTITUTIONS. ENLARGE THE PUBLIC REALM.

Hammer Museum

Co-opting!

57

CREATE CLEAR CIRCULATION AND WAY FINDING. SINGLE LOBBY AND SECURITY.

EXISTING

NEW

2 lobbies

1 lobby

2 security desks

1 security desk


10880 wilshire repositioning

GIVE BUILDING FRIENDLY, INVITING PRESENCE ON THE STREET. CREATE ATTRACTIVE, ACTIVATED RETAIL SPACE ON PLAZA LEVEL. LEVERAGE STREET ACTIVITY.

coffee shops pharmacy shopping bookstore restaurant theater

GIVE THE BUILDING A NEW AND ICONIC STREET PRESENTCE ...

58

DAY AND NIGHT

The building is a blank canvas waiting for a simple yet effective application to give the building a memorable street presence.

north

west

Elevations of building showing LED stripes

south

east


Gensler

sculpture garden ADA access new entry stair new stair

59

EXISTING SECTION new restaurant

new restaurant / health club NEW SECTION

NEW PLAZA PLAN

open to below


10880 wilshire repositioning NEW ENTRY STAIR

60

NEW RESTAURANT / COFFEE SHOP

NEW CORNER STAIR


Gensler

61 new entry stair off westwood

EXISTING SECTION

new entry stair off wilshire view

security NEW SECTION

NEW LOWER LEVEL PLAN


62

10880 wilshire repositioning


Gensler

INVESTMENT GRADE ARCHITECTURE:

A RETROACTIVE CHART OF DESIGN STRATEGIES

INVESTMENT GRADE BOX

“Short and fat is where it’s at.” - Rob Jernigan

63

WARNING THIS IS NOT A RECIPE LIST; THIS IS SIMPLY DOCUMENTATION OF OPERATIONS PERFORMED TO DATE WHAT’S NEXT?

IDEAS

FORMAL DRIVERS

AXIALITY

VOID

FOLDING

SKIN

MAPPING

MASS


2004

PUSHING

2007

2006 Beverly Hills, CA 05.5137.100

April 26, 2007

View from SE Corner

VIE

W

S

Prime Property Fund | George Comfort & Sons, Inc.

VIEWS

STACKING

2007

A MAX B MAX

C MAX

ZONING THRESHOLD [FAR MAX-(A,B+CMAX)] /4

VIEW C

EXCESS OVER PROPERTY LINE EXCESS OVER FIRE LANE & SERVICE ZONE ILLU

STR

ATIV E SITE PLA

CHOPPING

2007

N

EXCESS OVER VECHICULAR & FIRE LANE TRAFFIC ZONE

NEW PARKIN G GARAG E THE

CENTIN

12 PARKIN PAAR SURFA PAR KIN KIN KI CE NG CE NG STALLS

ENTRA DA

ELA E

AVENU

EXISTIN CONFE

G2 RENCE STORY AND HOTEL AMEN ITY

3 SURFA PARK PAR PA PARKIN AR ACE AC CEE G STALLS S FORMA FORMA O DRIVE DRIV DRIV VE L ENTR ENTRY NTR CO ENT COURT URT Y

View C EXISTIN RADISS G HOTEL ON

Illustrati ve

Site

Plan

EXIST - NO ING CHAN SITE PROP GE SITE OSED DEVE LOPM ENT June 15,

2007

Gensler

WATER’S EDGE 3

William Morris Agency Project

June 15, 2007

CARLYLE RADISSON

SHIFTING

BEVERLY WILSHIRE

FWY

a retroactive chart of design strategies

2000 AVE OF THE STARS

PUNCHING

HOWARD HUGHES

OPERATIONS

64


Gensler

Christopher Chan Richard Hammond Kevin Heinly Julie Huang Satu Jackson Rob Jernigan Ursula Kachler Hae-Sun Kim Pavlina Ryvola Nichole Torres Program: Two buildings, each with 250,000 s.f. of shell and core spec. office with 240,000 s.f. below-grade parking Location: 5900 and 5901 Center Drive, Los Angeles, CA Client: Equity Office Site Characteristics: Flat sites: adjacent to Howard Hughes Parkway and the 405 Freeway with great visibility to both; part of the Howard Hughes Center office and commercial complex. Projected Schedule: Phase 1: Completion – 2009 Phase 2: Completion - 2010

5900 & 5901 center drive 65

Freeways have a ubiquitous presence in the landscape of Los Angeles. The 405 Freeway between the Valley district and Orange County is the busiest in the area – 500,000 cars travel its lanes daily. As part of the Howard Hughes commercial office development, this project sits along the very edge of the 405 Freeway, and comprises two speculative office buildings. The ideas for the first phase of the project at 5901 Center Drive, which borders the freeway, informed the second phase, at 5900 Center Drive. The identification of various site characteristics combined with investment grade criteria uncovers opportunities for the form, structure, elevation, and material composition of this project, yielding an investigation of the fold as an instrument to mediate these various opportunities, which are identified through: Site Views: Take advantage of the good views offered both from within and from outside. Formal, Elevation and Material opportunity Site Movement: Analyze and respond to the traffic flow around the site. Formal and Elevation opportunity Site Orientation: Map and respond to the solar movement around the site. Elevation and Material opportunity Building Section: Understand the cost tipping point of extending beyond the typical investment grade free-

span lease space of 45 feet. Structural and Formal opportunity Campus Adjacencies: Identify and express the contrast between the adjacent environments of the 405 Freeway and the residential neighborhoods. Elevation and Material opportunity Starting with the investment grade box, the building mass is pushed and pulled within the guidelines of lease spans and structural criteria to address these various site characteristics. A folded building skin is selected as the optimal device to encase this deformation of the box due to its ability to formally adapt in a multitude of ways to make deformation more acute. This folded skin is made adaptable through its materiality. Glass curtain wall is used on one portion of the skin and a pre-cast ribbon window system on the other, providing the opportunity for the building to address its two different contextual sides as well as solar orientation. The addition of sun screens increases the skin’s solar performance, and variations in the height, modulation, and articulation of the skin aid in the expression of movement. This idea of the fold is extended into the spatial characteristic of the lobby, where a metal clad canopy transitions to a folded wood ceiling that touches down to form a screen wall that both anchors the security desk and directs entrants to the two elevator lobbies.


5900 & 5901 center drive 66

5900 5901

SITE AERIALVIEW FROM THE SOUTHEAST


Gensler VIEWS

MOVEMENT

DIFFERENTIATION

site = prow

ORIENTATION

SECTION STRATEGY

CAMPUS STRATEGY

north 8’ max cantilever

freeway frontage = ‘billboard’

+80’ height limit

North facades relate to Freeway

mech

+71’-6” roof height

freeway facade - curtain wall campus facade - ribbon windows /shading

entry

core

South facades relate to neighborhood greenery

+0’

10’ f to f

45’

67

13’-6” f to f

lobby

30’

45’

8’


THE FOLD

5900 & 5901 center drive

ADAPTABLE

FOLDED FACADE Folded facade exploration for curtain wall on North facade This option emphasizes

movement going South.

A North Facade - Curtain Wall

B South Facade - Modified Ribbon Window

Folded Facade

differing reflections creates interest.

Tilted Facade

B

ADAPTABLE

Modified Ribbon

68


Gensler

69


5900 & 5901 center drive 70

PROJECT AERIAL FROM THE SOUTHEAST


Gensler

71

EAST VIEW

5900 CENTER DRIVE

SOUTHWEST VIEW


72

NORTHEAST VIEW

5900 & 5901 center drive


Gensler

173

BRINGING OUTSIDE IN

LEADING TO ELEVATORS


5900 & 5901 center drive 74

CENTRAL FOCUS

SINGLE IDENTITY

CONTROLLED SCREEN


Gensler

Sangsook Bae Darla Farnell Farshid Ganzor Richard Hammond Rob Jernigan Pavlina Ryvola Aaron Sevier Li Wen Carl Williman Program: Convert existing facilities into a Headquarters Master Plan for 1 million s.f. of offices, communal, marketing and exhibition spaces. Also integrate a variety of outdoor activity and recreational spaces. Location: Huntington Beach, CA Client: Saris Regis and JP Morgan Site Characteristics: Flat site; 40 acre light industrial complex Schedule: Design Competition completed in February 2007 Master Plan full build-out projected to be complete in 2015

quiksilver This is a master plan and design for a popular recreational apparel company in Huntington Beach, California. As a designer and manufacturer of clothing and accessories for a variety of outdoor recreational activities, Quiksilver sought to create a work environment that embodies their lifestyle brand. 75

The physical challenge was to reconfigure an existing 40-acre light industrial complex into a one million-square-foot office headquarters facility while accommodating the resulting increase in parking counts. The experiential challenge was to provide a connected environment across the large site while instilling the company brand into the everyday experience of the place. Work as Play: Through the process of Re-forming Information, the various project forces are examined through the filter of this conceptual construct to establish a contextual set of decision-making criteria that will generate the design ideas for this project. Driven by a series of transformations from analysis to design, these ideas are: Charting Distance as Time: Determining how to reduce travel time across the vast site. Various recreational movement systems are examined and employed to yield a 1-minute travel time from building to building – each type selected specifically

for its ability to meet this 1-minute criteria. As each building can be walked in approximately 3 minutes, a system is created that yields a maximum 7 minute travel time from anywhere to anywhere on the campus, halving campus travel time from what it would be if walking were the sole mode of transport. Organize Departments for Architectural Specificity with Flexibility: Each of the company’s product lines is made up of administration, outdoor demonstration, and showroom zones. By drawing from an organizational analogy of how space is layered from mountains to ocean – the range of terrains occupied by the company’s products – a system of departmental layers is established. Overlaying the circulation system produces outdoor spatial hierarchy and departmental location, as each department requires a differently sized outdoor demonstration space. The last transformation accounts for dimensional specificity due to building codes, existing conditions, etc. Deformation of information produces the final master plan strategy form. The resultant master plan design is intended to act both as a micro-urban landscape and a macro-urban workplace – a framework for user experience that reduces time both physically and phenomenologically through a systemized density of all the activities that speak to the Quiksilver lifestyle – Work as Play in Action!


76

quiksilver


Gensler

INSIDE OF EXISTING CAMPUS

EXISTING SITE AERIAL

77

EXISTING SITE

S.F. TOTAL 1,119,950 S.F. GROUND FLOOR FOOTPRINT TOITAL 1,014,792 S.F.

1836’ SITE NORTH-SOUTH

1836’ SITE NORTH-SOUTH

1752’ BUILDING EXTREMES NORTH-SOUTH

1752’ BUILDING EXTREMES NORTH-SOUTH

1,604 EXISTING PARKING STALLS

1100’ SITE EAST-WEST

EXISTING WAREHOUSE

EXISTING OFFICE

EXISTING WAREHOUSE/OFFICE

940’-6” BUILDING EXTREMES EAST-WEST

EXISTING WAREHOUSE

940’-6” BUILDING EXTREMES EAST-WEST

1100’ SITE EAST-WEST

30,000 S.F. MEZZANINE

430,600 FOOTPRINT, 463,100 S.F. TOTAL

2,500

81,000 S.F. FOOTPRINT 120,000 S.F. TOTAL

EXISTING WAREHOUSE/OFFICE 30,000 S.F. MEZZANINE

264,230 S.F. TOTAL

152,630 S.F. TOTAL

120,000 S.F. TOTAL


WEST PERIMETER OF EXISTING CAMPUS

quiksilver

EXISTING ENTRY DRIVEWAY

REQUIRED AREA TOTAL

REQUIRED AREA DISTRIBUTED ON EXISTING SITE

(due to change of use, parking increases)

(garage location as required by client)

78

S.F. TOTAL 1,119,950 S.F. GROUND FLOOR FOOTPRINT TOITAL 1,014,792 S.F.

PARKING - 3,334 STALLS

1,166,900 S.F.

2.7 STOREY PARKING STRUCTURE ~ 3 STOREY 430,600 FOOTPRINT

264,230 S.F. TOTAL

343,150 S.F. ON 2ND STOREY

1,000,000 S.F. OFFICE

81,000 S.F. FOOTPRINT 120,000 S.F. TOTAL 39,000 S.F. MEZZANINE

152,630 S.F. TOTAL

120,000 S.F. TOTAL


Gensler

AVERAGE WALKING DISTANCE TO PARKING

AVERAGE WALKING DISTANCE BETWEEN BUILDINGS

(center of garage to center of building)

(garage location as required by client)

5 MIN TOTAL

4 MIN

4 MIN 6 MIN TOTAL

5 MIN TOTAL

4 MIN

9 MIN TOTAL

SEE RENDERING OPPOSITE PAGE

79


80

quiksilver


Gensler

MOVEMENT SYSTEMS / ACTIVITIES

81

PLANNING POD : 1 MINUTE WALKING MAX.

3 MINUTE BUILDINGS (1 pod + 250’ + 1pod = 3 minutes)

120’ X 120’

105’ X 120’

120’ X 115’

120’ X 115’

120’ X 105’


quiksilver 1 MINUTE CROSSING

7 MINUTE BUILDING

7 MINUTE CAMPUS - CIRCULATION SYSTEM

(movement system selection based on 1 minute maximum criteria)

(3 minute building X 2 + 1 minute crossing = 7 minutes)

(each movement system looped and charted at 1 minute intervals) PARKING STRUCTURE

1 MINUTE GOLF CART 1 MINUTE GOLF CART

1 MINUTE GONDOLA

1 MINUTE GONDOLA

1 MINUTE REC PATH

1 MINUTE REC PATH

1 MINUTE MOVING WALKWAY

1 MINUTE MOVING WALKWAY

1 MINUTE WALK

1 MINUTE WALK

POINTS OF VERTICAL CIRCULATION

82


Gensler

SPACES / ACTIVITIES

83

MEDIATED EDGE CONDITION FROM OCEAN TO MOUNTAINS :

MEDIATED EDGE CONDITION FROM OCEAN TO MOUNTAINS :

DEPARTMENTS ORGANIZED INTO LAYERS

ORGANIZED INLAYERS

“FLIPPED!”

(provides clear phasing lines)

THE FULL RANGE OF TERRAINS FOR THE quiksilver LIFESTYLE

PARKING STRUCTURE

MOUNTAINS FOREST CITY STREET PARKING BICYCLE / SKATE PATH PEDESTRIAN PATH LOW WALL DRY SAND - WALK / BUFFER LIFEGUARDS STANDS RECREATION / TOWELS WET SAND - WALK / RUN LOW OCEAN - PLAY MEDIUM OCEAN - SWIM DEEP OCEAN - SURF


quiksilver PROGRAM ZONES ORGANIZED WITHIN DEPARTMENTAL LAYERS

CIRCULATION SYSTEM OVERLAID

PROGRAM ZONES PARKING STRUCTURE

PARKING

SHOWROOM

OUTDOOR DEMONSTRATION

ADMINISTRATION

DEPARTMENTAL LAYERS ADJUSTED FOR CIRCULATION SYSTEM

84


Gensler

PROPOSED MASTER PLAN

85

DEPARTMENTAL LAYERS ADJUSTED FOR FUNCTIONAL SPECIFICITY

DEPARTMENTAL LAYERS ADJUSTED FOR DIMENSIONAL SPECIFICITY

(each department requires a different sized outdoor demonstration space)

(e.g. code requirements, existing structural bays, etc.)

THE DEFORMATION OF INFORMATION

PROPOSED MASTER PLAN STRATEGY


86

quiksilver


Gensler DIVE POOL

MICRO URBAN LANDSCAPE

87

DRIVE-IN MOVIE ENTRY


88

quiksilver


next???....


thoughts


" ...but in order to get there, we must first understand the ‘I’.” _by Rob Jernigan, January 18, 2008


“The reasonable man adapts himself to the world; the unreasonable one persists in trying to adapt the world to himself. Therefore, all progress depends on the unreasonable man.” George Bernard Shaw “Stop trying to reform people. Reform the environment and – if the environment is right – people will reform themselves.” Buckminster Fuller “You don’t start with the audience and then make a piece of music to fit that. That’s where a lot of people make a mistake. They get caught up in the race, and it can be dangerous to your creativity and, probably, your sanity. “What you have to do is start with a piece of music and then search out the audience for it…” Bruce Springsteen “Architecture is a dangerous profession because it is a poisonous mixture of impotence and omnipotence, in the sense that the architect almost invariably harbors megalomaniacal dreams that depend on others, and upon circumstances, to impose and to realize those fantasies and dreams. “In the end, we are destined to realize only fragments of that megalomania” Rem Koolhaas “I hope you understand that architecture has nothing to do with the invention of forms. It is not a playground for children young or old. Architecture is the real battleground of the spirit.” Mies van der Rohe “...but Short and Fat is where it’s AT!” Rob Jernigan



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