Ideas 2 by Gensler_LA

table of contents ideas 2 : the Leisure Issue

Suspended Animation Emaar International Centre-Dubai Dreaming as Leisure

Environmental Condenser Flip a Strip Agriculture as Leisure

Horizontal Gate

Symbiotic State

Free Exchange

Interstitial Incubator

Specificity with Flexibility

31-38

39-48

49-54

55-66

67-74

75-80

81-88

89-90

Afterwards

Creative Office Buildings Work as Leisure

Campbell Hall Community Arts Center Learning as Leisure

Hyundai Capital Collaboration as Leisure

Guasti Historic District Entertainment as Leisure

Spaceport Exploration as Leisure

Displaced Map Jianwang New Town Domesticity as Leisure

25-30

DMC landmark Shopping as Leisure

Connectivity Network

19-24

Location Map

Retail Study

Introduction

17-18

Issues Projects

Ideas

3-16

1-2

“We can learn far more about the conditions and values of a society by contemplating how it chooses to play, to use its free time, to take its leisure, than by examining how it goes about its work.”

Leisure: architecture and design Architecture and design result in some of the largest artifacts that a culture produces. So it stands to reason that examining buildings and settings will tell us much about how and why we as a culture spend leisure time. Given that we have just exited one of the largest periods of economic growth fueled by cheap money, much of it disposable, it is perhaps most appropriate to ask: How did we as a culture of the developed persuasion choose to spend our leisure when we were unfettered by economic burdens? How do we do so today? What do the differences imply for leisure architecture and design? These are our questions.

A. Bart Giamatti

Leisure: The projects of ideas_2 The projects featured here examine these questions through the lens of different conditions. For example, they consider leisure’s infiltration of territories that traditionally have been seen as its opposite, as with Creative Office Buildings and Hyundai Capital; and they address the transformation of traditional typologies into contemporary versions that promote the desire for leisure, like Shanghai Housing, Guasti Historic District, Flip-a-Strip, and Campbell Hall. Also included are examples of flat-out hyperleisure, such as DMC Landmark and EMAAR Sales Center, and hyperdrive leisure, like Spaceport.

Leisure: over it or into it? On the heels of the recent global economic collapse, we are surveying leisure conditions that we may not see again at this scale for some time. Everybody knows that in stressed economic times, we tighten our belts and necessities once again take precedence over desires. The assumption is that leisure gets moved to the sidelines. Or have we now migrated to a “place” where our desires for expansive forms of leisure have become “necessities”? Both are true, depending on where you are in life and on the planet. In some places, the projects included here are a poignant time capsule. Elsewhere, they speak directly to leisure’s probable evolution. Leisure: adaptability and application These projects also examine the issue of specificity and how it is produced. If one purpose of architecture is to establish a sense of place, then distinguishing “here” from “there” is crucial. But there is an inherent potential for a conflict of interest between “global” and “local,” with the former’s generality and abstraction constantly threatening to erode the specificity of the latter. That this conflict is inherent in modernism is shown by Allison and Peter Smithson’s retort to Corbusier at CIAM in the 1950s: “Shift to the specific.” Without that shift, place all too easily becomes placeless, and leisure in particular moves from the personal and demotic to the “popular” and generic—mass-produced or mass-customized. While some of these projects are “specific” in that they are one of a kind, as with Spaceport, others provide the means in their design response to navigate around such conflicts. The strategies include addressing site-environmental issues (EMAAR Sales Center); site-physical context (Campbell Hall, Hyundai Capital, and DMC Landmark); historical context (Guasti Historic District); and community and urban morphological context (Flip-a-Strip, Shanghai Housing, and Creative Office Buildings). Each strategy identifies a contextual attribute

from which to develop a place-specific design response. Even Spaceport, with its one-off program, makes a visual analogy between the human scale of built form, “settlement,” and the inhuman scale of surrounding nature, be it the desert or outer space. Leisure: global and local It is true that we are networked as a global society more than ever before, but the network is only articulated by the differences among its nodes. Paradoxically, as our connectivity draws us closer together, it also heightens our awareness of these differences. While spiking energy prices and other factors call into question the exporting of manufacturing that has occurred in the last two decades, global media continues to shape our anticipatory sense of what’s produced. Yet the local pushes back. To the extent that design is a reflection of culture, it will reflect these tensions; the warp and woof of paradox plays across the global network. The projects featured in ideas_2 exemplify this everchanging landscape of articulations. They reflect our human desire for a leisure specific and different enough to experience as our own.

INTRODUCTION

The retail study that prefaces this work clearly charts the intertwined relationship between capital and leisure. It also shows how luxury or its accumulation has become a type of leisure in itself. Yet projects like Flip-a-Strip and Campbell Hall show that community interaction and learning also continue to be forms of leisure. That same social value is tapped when leisure is mixed in with other uses, as with Creative Office Buildings, Hyundai Capital, and DMC Landmark.

_by Li Wen and John Parman with Shawn Gehle and Benjamin Anderson

Retail Study Excerpts Anne Alexander Alexia Beghi Aaron Birney Natasha Camell Andy Cohen Libby Farley David Glover Deanna Goodwin Clara Kim Lara Marrero Dominick Ricci Jue Shi Bartley Tucker Shawn Wachter Eliza Wong

RANK 2007

COUNTRY

CITIES

LOCATION

RENT (US$/sq ft/year)

USA

New York

Fifth Avenue

$1500

Hong Kong

Causeway Bay

$1213

France

Paris

Avenue des Champs Elysees

$922

United Kingdom

London

New Bond Street

$814

Japan

Tokyo

Ginza

$683

Ireland

Dublin

Grafton Street

$669

Switzerland

Zurich

Bahnhofstrasse

$492

Austrailia

Sydney

Pitt Street Mall

$489

Greece

Athens

Ermou

$451

South Korea

Seoul

Gangnam Station

$431

Germany

Munich

Kauﬁngerstraße

$391

Italy

Milan

Via Montenapoleone/ Via Condotti

$376

Spain

Madrid

Preciados

$361

Singapore

Orchard Road

$325

Austria

Vienna

Kärntnerstraße

$300

India

New Delhi

Khan Market

$280

Denmark

Copenhagen

Strøget

$279

Russia

Moscow

Tverskaya

$279

China

Beijing

Wanfujing

$268

Czech Republic

Prague

Na Prikope/Wenceslas Square

$255

Source: Cushman & Wakefield: New York’s Fifth Avenue Tops the Ranking of the World’s Most Expensive Shopping Location, November 14, 2007

RETAIL STUDY

The World’s Most Expensive Shopping Streets

Total Net Worth Rankings, by Country

2007 United States 1. Japan 2. 3. United Kingdom France 4. Italy 5. Germany 6. China 7. Spain 8. Canada 9. Australia 10. 7

1. 2. 3. 4. 5. 6. 7. 8. 9. 10.

United States Japan China United Kingdom Germany France Italy India Canada Spain

RETAIL STUDY

2017

Global Sales of Luxury Goods

2006

2015 CHINA

USA CHINA

JAPAN

29%

17% 12% 41%

27% 15%

16% 5%

14%

EUROPE

OTHERS

4% 3%

15%

USA

OTHERS BRAZIL INDIA RUSSIA

EUROPE

what the wealthiest buy...

What the Wealthiest Buy USA

EUROPE

art collections, Luxury collectibles

jewelry, gems, watches , luxury consumables

RETAIL STUDY

luxury collectibles, luxury experiential travel

ASIA

art collections, luxury collectibles

SOUTH AMERICA

luxury collectibles, Jewelry gems, watches

MIDDLE EAST

World Growth worldSpending spending growth G6: “Group of Six” United States, Japan, Germany, United Kingdom, France, Italy G6: “Group of Six” United States, Japan, Germany, United Kingdom, France, Italy B6: “Big Six” China, Russia, India, Mexico, Brazil, South Korea “Big Six” China, Russia,retail India, Mexico, Brazil, and South Korea * B6: Indicates fastest growing market

* Indicates fastest growing retail market

United States

Japan

Germany

United Kingdom

France

POPULATION

304,943,000

127,433,494

82,217,800

60,975,000

64,473,140

59,619,

AREA

9,826,630 km 2

377,873 km 2

357,021 km 2

244,820 km 2

674,843 km 2

1301,31

$13.794 trillion

$4.886 trillion

$3.32 trillion

$2.772 trillion

$2.232 trillion

$2.067 tr

$43,594

$38,341

$40,415

$45,845

$35,404

$35,38

2.1%

1.8.%

2.7%

3.2%

1.8 %

1.8%

$14,607

$19,942

$21,636

$27,498

$ 22,068

$19,49

3.1%

0.8%

1.0%

2.1%

2.3%

1.6%

New York, Los Angeles

Tokyo

Berlin

London

Paris

Rome, M

GROSS DOMESTIC PRODUCT (GDP) GDP PER CAPITA GDP GROWTH ‘07 11

CONSUMER SPENDING PER CAPITA CONSUMER SPENDING GROWTH ‘06 FIRST TIER CITIES

Italy

China*

Russia*

India*

Mexico

Brazil*

South Korea

59,619,290

1,321,851,888

142,008,838

1,132,446,000

106,682,500

187,393,918

49,044,790

,843 km 2

1301,318 km 2

9,598,086 km 2

17,075,400 km

3,287,590 km 2

1,972,550 km 2

8,514,877 km 2

99,646 km 2

32 trillion

$2.067 trillion

$3.42 trillion

$1.290 trillion

$1.089 trillion

$840.012 billion

$1,313 trillion

$981.900 billion

35,404

$35,386

$2,800

$9,075

$977

$8,066

$6,842

$19,983

1.8 %

1.8%

11.4 %

7.4%

7.9%

3.3%

5.1%

5.0%

$19,492

$ 687

n/a

$452

$1,166

$2,801

n/a

2.3%

1.6%

9.2%

9.0%

7.9%

5.4%

3.3%

1.7%

Paris

Rome, Milan

Beijing, Shanghai, Guangzhou

Moscow

New Delhi, Mumbai

Mexico City

S達o Paulo

Seoul

473,140

22,068

RETAIL STUDY

rance

The Five Stages of Luxury Adoption by Consumers STAGE 1 STAGE 2 STAGE 3 STAGE 4 STAGE 5

STAGE 1 STAGE 2 STAGE 3 STAGE 4 STAGE 5

Subjugation

Start of Money

Authoritarian rule Poverty and deprivation

Economic growth Masses buy mass-market goods Elites start buying lux

STAGE 1 STAGE 2 STAGE 3 STAGE 4 STAGE 5

STAGE 1 STAGE 2 STAGE 3 STAGE 4 STAGE 5 RETAIL STUDY

STAGE 1 STAGE 2 STAGE 3 STAGE 4 STAGE 5

Show Off Acquire symbols of wealth Display economic status

Fit in Large scale adoption of luxe Fueled by need to conform

Way of Life Locked into luxe habit Confident, discerning buyers

LEISURE AND THE PURSUIT OF LUXURY Has shopping, or more the accumulation of luxury, become a type of leisure in itself? This has been the case since the rise of the Bourgeoisie, culminating in the materialism of the Age of Enlightenment. The focus of 19th-century industrialization on mass consumer goods led to the split noted by Thorsten Veblen in his Theory of the Leisure Class: between handmade goods, which were visibly scarce, and mass-produced goods, which were ubiquitous. (The Arts and Crafts movement, exemplified by reformers like William Morris, sought unsuccessfully to heal the split. In doing so, they anticipated the recent phenomenon of branded mass goods that command a premium that’s at odds with their evident origin and use value.) French Impressionist paintings that capture the flâneur or boulevardier culture of late 19th-century Paris chronicle the rise of shopping, first taken up by the urban leisure class. Even today, the Champs Élysées is the world’s third most expensive shopping street. Though the term globalization is new, the phenomenon is not. We sometimes forget that the Statue of Liberty was a gift of France and that many of the most sought-after dry goods during America’s western expansion were of European origin. These are the prototypes of today’s global luxury brands.

That the accumulation of luxury goods has become a worldwide phenomenon is shown by these excerpts from Gensler’s retail study. They also document the shifts that have occurred in the global economy. Luxury retailing depends for growth on a mindset that values luxury goods as a sign of “arrival.” (This explains Porsche’s recent decision to unveil its most expensive offerings in China.) The rapidity of information flow fuels a global desire for luxury and exposes its contradictions. At the same time that globalization has bifurcated design and production, it has also given rise to huge gray and black markets for stolen, unauthorized, and counterfeit luxury goods. Countering this is a deliberate or inadvertent local focus that creates scarcity, sometimes with “ecological” intent (as with the preference for local, seasonal food).

The deep recession shows how fragile this lifestyle really is. It also highlights how connected we all are. As global capitalism leverages global resources to bring luxury goods to global markets, the countries involved become more dependent on each other for their economic well being. “The world is flat,” Thomas Friedman famously asserted, but Paul Krugman (in Pop Internationalism) also showed that global trade was higher in the 1890s than it is today, and that 80% of economic activity in cities like Los Angeles is purely local. To which we might add, “local, but globally savvy”: even when goods are local, they are rarely free now of global influence. If there’s a revaluing of local goods and destinations, it’s partly because they are referencing what they’re supplanting, hoping to carve out space for local luxury in the recovery. _by Li Wen and John Parman with Shawn Gehle and Benjamin Anderson

RETAIL STUDY

This has accelerated the entry and arrival time for new consumer groups to some markets (while excluding others deemed less willing to pay the freight). What the Wealthiest Buy illustrates that evolution from entry to arrival. As an economy grows from a young developing stage to an established developed state, one moves from purchasing consumables, to acquiring collectables, and finally to establishing collections. As The Five Stages of Luxury Adoption by Consumers charts, the final stage is the evolution of a leisure lifestyle—social patterns that evolve in parallel with typical settings, at every price point from suburban malls to urban high streets.

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LOCATION MAP

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Ben Anderson Jorge Barrero Andy Cohen David Fridlund David Glover Adam Gumowski

Clara Kim Eisa Lee Michael Monis Bartley Tucker Shawn Wachter

Program: 1,000,000 sf Retail; 320,000 sf cultural & assembly facilities; 32,000 sf monorail station; 100,000 sf botanical & zoological gardens; 175,000 sf public landscape & open space. Location: Seoul, Korea. Client: DMC Landmark Consortium.

[ecology + technology]

Site Characteristics: 9.2 acre flat site at the southern tip of the Digital Media City (DMC) in Seoul, Korea – an area dedicated to the country’s high-tech electronics industry. The site faces natural parkland to the south and west and residential hi-rises to the north and east.

DMC Landmark

Schedule: No completion date established.

ECOLOGY

Shopping as Leisure: This design proposes the idea of a connectivity network as the means of organizing this very large tower retail base with its external site forces. The first set of forces that are connected are the technological and ecological forces from the north and south; the activity from the Digital Media Strip will provide an influx of people from the north, while the City’s desire to connect the project to the Han River and its adjacent parkland will create a vector from the south. These two forces meet to carve an open pedestrian street through the site, curving around the tower and culminating in a pedestrian bridge to Nanjicheon Park. The next vector runs east/west through the site connecting the residential neighborhood to the east with the urban park to the west.

TECHNOLOGY

A large department store to the east and a cultural/assembly complex to the west define this vector. The last connection point to the site is an upper level monorail station anchoring the southeast corner. These various movement forces erode the building mass creating habitable garden terraces on multiple levels; this formal erosion is articulated through the material differentiation between the site perimeter and the storefronts flowing through the site. Multi-level access points to the project podium coupled with a striated section produce a layered vertical experience where one’s spatial reference is blurred to produce an immersive experience within the network.

ORGANIC

MAN MADE

Bukhan Mt.

Daeduk Mt.

SITE 37,280 m

Glow Park

Nanjicheon Park Sky Park

North Ri

Residential Area

Maebong Mt.

DMC LANDMARK

DMC Digital Media City Neighborhood Park

verside Ro

Han River Renaissance Development

+ responding to site forces

IMPLEMENTING CONNECTIVITY

HAN RIVER

DEFINING SITE BOUNDARIES/ MATERIAL DIFFERENTIATION

TECHNOLOGICAL

TECHNOLOGY Connection to DMC

B NATURAL

SITE

RESIDENTIAL

SITE

ECOLOGY Connection to Nanjicheon Park, Sky Park, Han River Waterfront

RECREATIONAL

+ responding to site forces

IMPLEMENTING CONNECTIVITY

DEFINING SITE BOUNDARIES/ IMPLEMENTING CONNEC MATERIAL DIFFERENTIATION

TECHNOLOGICAL

TECHNOLOGY Connection to DMC

DENTIAL

NATURAL

SITE

RESIDENTIAL

SITE

ECOLOGY Connection to Nanjicheon Park, Sky Park, Han River Waterfront

RECREATIONAL

ECOLOGY Connection to Nanjicheon Park, Sky Park, Han River Waterfront

DMC LANDMARK 22 CONCEPT Eroded Interior

Plaza Cultural + Convention

Tower

Dept. Store + Retail Hard Shell

Plaza

Program Organization

Ground Level Diagram

Podium Massing

Tower

DMS 8F

Park

Car

Sunken Car

23 Tower Beyond

Convention

Retail Exhibition Retail Hotel Drop-Off

Retail

Department Store

Parking/Loading Parking

Podium: Network of connectivity shaped by the natural and unnatural forces that impact the site.

DMC LANDMARK

Chantal Aquin Natasha Carnell Jennifer Celesia Christopher Chan Eric Choi Kevin Heinly Valentin Lieu

Callum MacBean Wenzhong Shen Colette Smith Jun Xia Sung-Ze Yi

Program: 2.1m sf high and low-rise residential neighborhood & retail center. Location: Shanghai, China. Client: Tishman Speyer. Site Characteristics: Flat site is at a unique intersection between a historically industrial airbase zone and a thriving, high-density residential neighborhood, centered around a new, modern mass-transit hub. Schedule: Competition completed in 2008.

Domesticity as Leisure: Proposed midrise and hi-rise housing facilities for a 4,821 acre development in Shanghai, China – a country that has razed more urban area for new construction than any other country during peacetime history. This project proposes to balance leisure and living through a transformation of traditional Chinese courtyard type housing. This type of housing relies on its courtyards to integrate outdoor space, gain access to the natural elements, and serve as a private sanctuary. At the micro-scale of building elements, Chinese screen patterns echo a similar purpose – their woven openings allowing for infiltration of the natural elements while providing visual privacy; at the macro-scale of the city,

Jiang Wan New Town Development this housing forms a dense urban fabric punctuated by these courtyards. This design idea projects this urban fabric onto the elevation form of the building – a displaced map that visually recalls the plan texture of the traditional Chinese courtyards for which they are replacing. These “courtyards in the sky” also perform a similar function as an extension of the living unit through the provision of full transparency only at the surfaces between the interior and this outdoor room. Seen on the skyline, these buildings establish a collective memory of a disappearing…and reappearing form of the burgeoning Chinese leisure class.

JIANGWAN NEW TOWN DEVELOPMENT

Living

= Leisure

Leisure Living

semi private

private

semi public

public

Dwelling

street

Section

Private Open Space

• Integration of open public space with dwelling • Light to living/bedrooms • Views of the sky • Provides privacy in dense neighborhoods

Plan

Small Balcony

Large Balcony

Activities

• Sitting

• Talking

• Views

• Reading

VS.

• 2-3 People

• Dining • Cooking • Reading • Herb Garden

1.5m

• 3-5 People3.5m

3.5m

JIANGWAN NEW TOWN DEVELOPMENT

Low Rise

member name member name member name member name member name member name member name member name member name member name member name

High Rise

DINING

LIVING

BEDROOM

Unit 2

Unit 1

Unit 3

Unit 4

Unit 5

1 BEDROOM UNIT

Unit 6

Project Title Unit 2

Unit 1

Unit 3

Unit 4

Unit 6

Unit 5

OM UNIT

3 BEDROOM UNIT

1 BEDROOM UNIT

DINING

LIVING

Unit 3

DROOM UNIT

2 BEDROOM UNIT

DINING

LIVING

BEDROOM

L L

3 BEDROOM UNIT

4 BEDROOM UNIT

DINING

UNIT 2 BEDROOM Unit 2 Bedroom

LIVING

3 BEDROOM UNIT

BEDROOM

Unit 4

Living

Bedroom

UNIT 3 BEDROOMUnit 3 Bedroom Unit 3

Unit 2

D Dining

Unit 1 D

BEDROOM

UNIT 1 BEDROOMUnit 1 Bedroom

B D

Unit 2

3 BEDROOM UNIT

2 BEDROOM UNIT

Unit 3

Unit 2

Unit 1

Unit 3

Unit 2

Unit 1

3 BEDROOM UNIT

1 BEDROOM UNIT

B D

Unit 2

Unit 1

Unit 5

3 BEDROOM UNIT

Unit 4

1 BEDROOM UNIT

Unit 3

B D

3 BEDROOM UNIT

Unit 5

4 Bedroom Unit

4 BEDROOM UNIT Unit 6

1 Bedroom Unit D

DINING

LIVING

2 Bedroom Unit D

1 BEDROOM B B UNIT

Unit 1

3 BEDROOM UNIT

3 Bedroom Unit L

3 BEDROOM UNIT BEDROOM

Living

Bedroom

Unit 2

Unit 3

Unit 1

B D

Unit

B D

3 BEDROOM UNIT

D Dining

1 BEDROOM UNIT

3 BEDROOM UNIT

JIANGWAN NEW TOWN DEVELOPMENT

Yeva Arutyunyan Garo Balmanoukian Aaron Birney James Britton Shawn Gehle Jeff Grisby Tom Ito James Kelly Taehyung Kim Jim Lefever

Kap Malik Gilbert Najm Obed Ortiz Chris Ramsey Ane Rocha Kavita Solanki Sanjeev Tankha Steve Upchurch Dan Whipple Jim Young

Program: 55,000 sf international real estate marketing and sales center Location: Dubai, U.A.E. Client: EMAAR Site Characteristics: Flat site within the Burj Dubai master plan LEGEND

Schedule: Withheld at client’s request

PEDESTRIAN CIRCULATION VEHICULAR CIRCULATION LIGHT RAIL

RESIDENTIAL DEVELOPMENT

Emaar International Centre-Dubai SITE CIRCULATION

Dreaming as Leisure: Surrounded by a collection of Dubai’s tallest towers, this project lies along a lake and will serve as a gallery and point of sale for the client’s worldwide projects. EMAAR’s clients are composed of a cross-section of the wealthy and upwardly mobile classes from individuals with High Net Worth (HNW), to VIPs such as Sheiks and celebrities. The design challenge is how to simultaneously entertain and educate these potential clients about EMAAR’s vast portfolio in a manner that is indiscriminate to the fine grain differences within these wealthy classes. The solution demanded a singular experience – a state of suspended animation - for all who participate. 31

This is provided by the project’s epicenter, a 2.5 story elevated drum: the EMAAR Experience - a carefully choreographed multi level environment that forms the visitor’s first encounter before proceeding on to the project’s gallery and expo area. Accessed from below or by penetrating through at a second level, the EMAAR Experience immediately immerses visitors in a media rich environment. This drum is suspended from the main roof that visually links the upper boulevard level to the promenade at the lake level below. The relationship of this object and its enclosure is blurred by a glass façade that manipulates and modulates transparency through an intricate pattern of ceramic castings and frit. The castings act as both structure and shading device for the building’s glass enclosure in the harsh desert climate.

GROUND

HEIGHT MAPPING

HEIGHT

SUBGRADE PARKING BOULEVARD PARKING ACCESS

3 VIP SALES

EMAAR EXPERIENCE

MOOD RM

2 HNW

2 HNW SALES

PROMENADE

SALES OFFICE CAFE EXPO

MARGAID STNETXE ETIS

MARGAID FFO - PORD OPTION 1_ SEPARATE EMAAR EXPERIENCES EMAAR EXPERIENCE LAUNCH SPACE EXPO SPACE

OPTION 2 ONE SHARED EMAAR EXPERIENCE

EMAAR INTERNATIONAL CENTRE-DUBAI

3 VIP

OPTION 3 LINEAR EMAAR EXPERIENCE

EMAAR EXPERIENCE

VIP /HNW PROGRAM

LAUNCH ZONE

EXPO SPACE

OPTION 1A: HEAVY WALLS / LIGHT ROOF

OPTION 1: OBJECT PROTRUDING FROM ENCLOSURE

OBJECT

ENCLOSURE

OPTION 2: OBJECT CONTAINED WITHIN ENCLOSURE

OPTION 1B: HEAVY ROOF / LIGHT WALLS

OPTION 1B.1: BLENDED ROOF

OPTION 1C: SOLID FORM

OPTION 1C .1: PATTERN / TEXTURE

RESULTANT: HEAVY ROOF / PATTERN WALL

EMAAR INTERNATIONAL CENTRE-DUBAI 34

SINGLE PATTERN MODULE

MODULE CLUSTER (”LOTUS”)

PATTERN GENERATION

Option 1

Option 2

Option 3

SINGLE PATTERN MODULE PATTERN (”LOTUS”)

PATTERN

PARTI 1 STRUCTURE

PARTI 2

PATTERN

MULLIONS/STRUCTURE

STRUCTURE

PATTERN “DISSOLVE” - FRIT

COMPOSITE PARTIS

GLASS PANELS

COMPOSITE

STRUCTURAL

35 COMPOSITE

GLASS PANELS

COMPOSITE

MODULE CLUSTER (”LOTUS”)

PATTERN GENERATION

Option 1 Option 2 Option 3 EMAAR INTERNATIONAL CENTRE-DUBAI

Emaar International EMAAR INTERNATIONAL Centre-Dubai CENTRE-DUBAI

Candy Choi Markus Hering Melissa Holm Devan Porter Jay Silverberg Kirby Spitler David Vagg Program: Proposed 47,700 rentable sf + parking garden for 58 cars retail / mixed-use complex (proposed zoning: mixed-use agricultural) Location: Phoenix, AZ Client: Scottsdale Museum of Contemporary Art (SMOCA) Site characteristics: 2.091 acres retail strip site fronting a major vehicular thoroughfare and bounded by adjacent residential neighborhoods. 23,817 sq ft of existing retail buildings currently on the site.

Flip a Strip

Schedule: Design competition completed in 2008 Agriculture as Leisure: An award-winning competition entry to transform a set of existing one-story buildings on a two-acre retail strip site in Phoenix, Arizona. This project proposes a nextgeneration community garden through a public/privately funded retail development that merges “sustenance” with a municipal perspective that is supported by the adjacent neighborhoods. To promote this idea, a series of “agricultural” trays are combined with multiple food sources and services to initiate a sustainable cycle of growth, use, and recycle – an environmental condenser based on a community focus within a retail setting and agricultural backdrop. 39

This project proposes to redefine the condition of the

traditional retail strip site organization. Rather than allowing its “front yard” to be a parking lot, this project channels all traffic for parking to the back of the site. This planning move liberates the site frontage to serve as a series of dining areas, terraces, and gardens – the communication function of the traditional strip signage that represents, is now replaced by activity that is. The existing structures are to be renovated and a new one-story addition added on top. Agricultural trays are stacked to define a series of outdoor courts and are organized to provide for shade, and visual and environmental porosity and transparency. Water is harvested and reclaimed for use, while misting systems nurture the plants and provide a cooling agent for the summer months.

URBAN PLANTING CALENDAR JAN JAN

FEB FEB

MAR MAR

APR

MAY MAY

JUN JUN

JUL JUL

AUG AUG

SEP SEP

OCT OCT

NOV NOV

DEC DEC

partial partialshade shade

moistsoil soil++ moist cool cooltemperature temperature

trellises trrllises

drought droughttolerant tolerant

herbs

flower

FLIP A STRIP

vegetables

partialshade shade partial

Route 170 North

Route 170 South

Phoenix

Scottsdale

Tempe

FLIP A STRIP

Proposed Site

Route 32

Route 90

Route 170

Proposed Site 90

32 170

170

170 170

170

SR-51

Route 170

TENANT BACKYARD TENANT BACKYARD

FRONTYARD

COMMUNITY

PATIO

PARKING

PLAZA

PARKING

PLAZA

PARKING

RETAIL

RETAIL RETAIL RETAIL URBAN PATIO

LANDSCAPE

Programmatic Diagram - Level 1

Parking +Pedestrian Circulation Diagram

Parking + Pedestrian Circulation Diagram

VEGETABLES

FLOWER

PATIO RETAIL North-South Section

[a] North-South Section [b]

PATIO

BACKYARD PLAZA

RETAIL RETAIL RETAIL 43

URBAN GARDEN BACKYARD PLAZA

RETAIL SERVICE

PLAZA

PARKING

PATIO COMMUNITY URBAN PATIO RETAIL

Programmatic Diagram - Level 2 Programmatic Diagram - Level 2

Tenant Leasing Diagram - Level 1 Tenant Leasing Diagram

RETAIL

PATIO

[c] SIGNAGE

TENANT BACKYARD TENANT BACKYARD

FRONTYARD

COMMUNITY PATIO

GARDEN

TENANT

GARDEN

TENANT

GARDEN

TENANT

TENANT BACKYARD TENANT BACKYARD

[a]

Programmatic Diagram - Level 1

CO M M U N I T Y S PAC E RE TAIL RE TAIL RE TAIL [a] East-West Section

[b] East-West Section

GARDEN RE TAIL

GARDEN RE TAIL [b] East-West Section

CO M M U N I T Y S PAC E RE TAIL RE TAIL RE TAIL

LEAVES LEAVES

[a] East-West Section radish

asparagus pepper

snap pea bean + garlic

sunflower

arugula

eggplant

mizuna

tomato

spinach

carrot

basil

squash

dill

HERBS HERBS

GARDEN RE TAIL [c] East-West Section

GARDEN RE TAIL

GARDEN RE TAIL [b] East-West Section

FLIP A STRIP

Before

FLIP A STRIP

Before FLIP A STRIP

Lisa Asahara Yu-Fong Chang Simone Drucker Jane Guy Clara Kim Lucy Peng Terence Young

Mark Briggs Hunter Clayton Lesley Grant Richard Hammond Jonathan Lim Alex Webb

Program: 100,000 s.f. project with terminal functions, astronaut training facilities, spacecraft exhibition and maintenance, educational/interpretive center, and administration and operations program; designed to achieve a LEED gold (or higher) certification. Location: In New Mexico near Truth or Consequences, NM and White Sands Missile Range Client: New Mexico Spaceport Authority (NMSA) Site characteristics: A flat site in the New Mexico desert . This isolated location is seeking World Heritage Status as it contains the historic El Camino Real. Schedule: Design competition completed in 2008

Exploration as Leisure: One of three finalists for the competition to design the first commercial spaceport terminal for future tenant Virgin Galactic: the worldâ&#x20AC;&#x2122;s first commercial spaceline. Set within the vast expanse of the New Mexico desert, this project is the last threshold between the tangible world of man and the intangible space of the universe â&#x20AC;&#x201C; a horizontal gate from which to climb vertically. 49

To mark this special place, lines are cut in the sand, and berms are formed from the land. These landforms cloak a scientific training and exhibition machine designed to harvest sunlight, humidity, and wind energy while conserving energy through natural ventilation, shading elements, and the very

Spaceport America berms within which it is nested. At times this machine reveals itself from underneath its desert blanket to spatially organize around a public courtyard; this central space marks manâ&#x20AC;&#x2122;s next phase in space travel and the hopes it carries to transform both technology and attitudes of sustaining life on earth. But while the building functions as a machine, the users experience it as a naturalistic environment through a series of choreographed sequences from within the darkness of the earth into the light of the desert where rests the final launch point. A long walk across an expansive tarmac to an awaiting spaceship is the last ritual one experiences before embarking on to the celestial realm.

SPACEPORT AMERICA view from space distance to target: 50k mi

plan distance to target: 1 mi

section/elevation distance to target: 1 mi

plan distance to target: .5 mi

member name member name member name member name member name member name member name member name member name member name member name

Project Title 51

Group 1 [classroom A] Zero Gravity

Graduate [entry/exit]

Astronauts

Training [entry/exit]

Lunch [Dining Room]

Group 2 [classroom B]

Graduate [entry/exit] Suiting

Astronauts Medical

Group Talks [Auditorium] Group 3 [classroom C]

Group 2 [classroom B]

Lunch [dining room]

Training [entry/exit]

Graduation [auditorium] Group 3 [classroom C]

Days To Launch: 2

Astronauts

Suiting

Zero Gravity

Papers, Etc. [immigration room]

Graduate [entry/exit]

Group 2 [classroom B]

Brunch [dining room]

Training [entry/exit]

Medical

Simulator

Group 1 [classroom A]

Secret Corridor [Ceremonial Walk]

Zero Gravity Mission Control

Loading [boarding area]

Simulator

Suiting

Medical Group 3 [classroom C]

Launch [airway]

Simulator

Farewell

celebration [auditorium]

Days To Launch: 1 Days To Launch: 0

Launch [roof]

[family tours] View of Brieﬁng [room with a view]

Friends & Family

VIP/Public [entry]

Group 2 [classroom B]

Brunch [family lounge}

Farewell

Tarmac

Celebration [auditorium/ celebration room?

Spaceship

Public Areas

SPACEPORT AMERICA

Group 1 [classroom A] [Tour]

Astronauts

Days To Launch: 0

Virgin Galactic Support/Office

1000 sf

686 sf

960 sf

NMSA Aircraft - Hangar & Support

250 sf

Graduates

Astronauts in Training

2 3

Public VIP Public NMSA 1. Reception - Waiting - Badging 2. Concierge 3. Conference Rooms 4. Conference Rooms 5. Zero Gravity* 6. Astronaut Simulation 7. Pilot changing - Dressing - Suit Maintenance 8. Revivals 9. Departure Lounge 10. Mission Control (Private) - Mission Planning 11. NMSA 12. Entry/Waiting Lobby 13. VG Office - Staff/Support 14. Shop* 15. Food Services 16. Friends & Family Lounge* 17. Mission Control (Public) 18. Viewing* 19. Hangar 20. Clubhouse/Breakroom 21. Secondary 22. VG Engineering Offices** 23. Hangar Support 24. Secondary Circulation 25. Crew Meeting Room 26. Addt’l Secondary Circulation & Building Multiplier

* Not in Program ** Planned Expansion

800 sf

210 sf 1080 sf

Astronauts

1080 sf

500 sf

1080 sf

750 sf

600 sf 150 sf 240 sf 200 sf 480 sf

250 sf

240 sf 240 sf

800 sf

15 1000 sf

1,775 sf 3,610 sf

Public 640 sf 50000 sf

23 17

2,698 sf

18 24

913 sf 200 sf

member name member name member name member name member name member name member name member name member name member name member name

SECT

ION C

SECTION A

53 SECTION B

30’

195’

1”

3”

30’

90’

SPACEPORT AMERICA

Benjamin Anderson Jodi Batay-Csorba Marty Borko Claudia Carol Kevin Chan David Herjeczki Hae Sun Kim Nik Muir

Duncan Paterson Michael Pederson Toygar Targutay Carolina Tombolesi David Wang Amanda Webber Jingfang Zhao

Program: 100,000 sf of retail & dining; 400,000 sf office; 3 hotels comprising 500 rooms. Location: Ontario, California Client: OliverMcMillan Site Characteristics: 15 acre flat site with existing historic buildings, bordered by major thoroughfares. Schedule: Withheld at Client Request

Entertainment as Leisure: The site of a former winery and vineyard, The Guasti Historic District is unique within its surroundings. Situated in Ontario, California - an area formerly defined by agricultural industrial heritage now replaced by generic business parks and repetitive shopping destinations - Guasti defies its current context by evidencing its richer and authentic past. This dichotomy of place is rare in retail and commercial project sites, but allows investigations into the relationships between such distinct environments. The project seeks to reconcile seemingly contradictory intentions: preservation of existing historic buildings alongside the creation of viable new retail, hospitality, and office environments. This was accomplished by understanding 55

Guasti Historic District the site as a constantly changing and diverse set of typologies which have since inception maintained close proximity to and even consumed one another as conditions/needs changed. The buildings within this project speak strongly of the respective era in which they were built, and remain true to typologies and prevailing aesthetic/functional bias. The idea thus becomes one of a symbiotic state - the deliberate use of proximity between two distinct architectural vocabularies to identify and signify the importance of each through contrast, rather than conformity. This acknowledgement thus prevents the use of direct theming or literal referencing of the existing architectural fabric, instead inviting systematic adherences to inventive, effective, and relevant architecture.

GUASTI HISTORIC DISTRICT PROJECT SITE

EXISTING SITE PHOTOS

SITE / PLANNING TYPICAL GROWTH JUST DOWN THE ROAD...

(A)TYPICAL GROWTH AT GUASTI

VIRGIN SITE

S S

CONVENTIONAL SUBURBAN DEVELOPMENT ARRIVES

S S

DEVELOPMENT MATURES WITHIN SUBURBAN GRID _STILL NO CENTER _INCREASED DENSITY = INCREASED WEALTH _RETAIL MARKET EMERGES

AGRICULTURAL DEVELOPMENT ARRIVES _AGRARIAN CONTEXT _ISOLATED DENSITY = UNIQUE COMMUNITY _INTROSPECTIVE & CENTRIC

_ACENTRIC _NO CONTEXT _LOSS OF PLACE

DEVELOPMENT MATURES AROUND CENTRAL AREA

_COHESIVE CENTER _INCREASED DENSITY = INCREASED COMMUNITY _IDENTITY EMERGES _SENSE OF PLACE = CONNECTION TO LANDSCAPE

CONVENTIONAL RETAIL RESPONSE ARRIVES

UNIQUE ADAPTIVE REUSE OPPORTUNITY ARRIVES

_INVASIVE ATTEMPT TO CREATE CENTER _INCREASED WEALTH = INCREASED PROFIT

_INVASIVE GROWTH = LESS AGRICULTURE = REUSE OF BUILDINGS _CONTINUED USE = PRESERVATION OF BUILDINGS _SURROUNDING HOMOGENEITY = HIGHLIGHTS UNIQUE IDENTITY _COMMUNITY PRESERVATION = HISTORICAL RELEVANCE

RETAIL RESPONSE_ONTARIO MILLS

RETAIL RESPONSE_GUASTI RETAIL CORE

_MASS & SIZE = CENTER _MORE CENTER = MORE PROFIT

_HISTORICAL PRESENCE & COMMUNITY CONNECTIVITY = CENTER _MORE IDENTITY = MORE PROFIT

Existing Site

Demolished Site / Preserved Historic Buildings

Iconographic Remnants

RETAIL RETAIL RESPONSE: CONVENTIONAL TYPOLOGY

RETAIL RESPONSE: GUASTI RETAIL CORE

_HIGH CONNECTIVITY, LOW CIRCUITRY _ENCLOSED, CONVENTIONAL TYPOLOGY OF EXPERIENCE _LIMITED ARCHITECTURAL IDENTITY / COHESION _LINEAR EXPERIENCE > SPATIAL EXPERIENCE

_MOST EXTERIOR SURFACE AREA = BACK END _LITTLE EXPRESSION / CONNECTION TO SURROUNDINGS _IDENTITY = MASS _ARCHITECTURE = RESPONSE TO BANALITY, ISOLATION

_HIGH CONNECTIVITY, HIGH CIRCUITRY _OUTDOOR, CONNECTED EXPERIENCE TO EXISTING HISTORIC DISTRICT _STRONG ARCHITECTURAL IDENTITY / COHESION _SPATIAL EXPERIENCE > LINEAR EXPERIENCE

_MOST EXTERIOR SURFACE AREA = HISTORIC / FEATURE FACADES _HIGHLY EXPRESSIVE / STRONG CONNECTION TO CONTEXT _IDENTITY = HISTORICAL CONTEXT, COMMUNITY _ARCHITECTURE = RESPONSE TO HISTORICAL FABRIC, COMMENTARY

GUASTI HISTORIC DISTRICT

Project Site

X 58

Site Constraints to Maximized Program

Residual InямБll

Program Optimization / Contextual Response

RETAIL CORE GENERATIVE CONCEPTS_

INTERDEPENDENT ARCHITECURAL FABRIC: EXISTING HISTORIC BUILDINGS

X Replicated from Context

X Synthetic to Context

Divergent from Context

= Divergent Architecture Grafts onto Historical Context

GUASTI HISTORIC DISTRICT 60

= Divergent Response to Agrarian Context | Landscape

OFFICE BUILDING GENERATIVE CONCEPTS_

INDEPENDENT ARCHITECURAL FABRIC: NEW CONSTRUCTION

X Replicated from Context | Landscape

X Synthetic to Context | Landscape

Divergent from Context | Landscape

Shift + Rotate Floor Plates

Shaped Cover: Scale + Gesture = Divergence

Shade: Building + Exterior Pedestrian Link = Connection

GUASTI HISTORIC DISTRICT

OFFICE BUILDING

VILLA HOTEL GENERATIVE CONCEPTS_ OFFICE

RETAIL

PLANNING APPROACH

PRE-EXISTING LANDSCAPE

30 29

24 23 22 21

01: PLAN SUITE TERRACE SUITE ENTRANCE SUITE OUTDOOR / POOL VERTICAL CIRC. BOH PUBLIC

6 6

“ERODED” MASS AROUND PRESERVED TREE COURTYARDS PUBLIC

WRAP ROOMS AROUND COURTYARDS

RETAIL CORE

PRIVATE

PRIVATE/ EVENTS

PRIVATE

PUBLIC

PUBLIC/ DINING

PUBLIC

PRIVATE

PRIVATE PUBLIC

PRIVATE

PUBLIC

PRIVATE

PUBLIC

CIRCULATION THRU COURTYARDS

SOLID TO VOID RELATIONSHIP

U-Shaped Courtyard

Subtraction Creates Courtyards

Passages Reveal Jewel Box Inside

GUASTI HISTORIC DISTRICT 66

Enclosed Transparent Architectural Grafts

Partial Open Transparent Architectural Grafts

Open Transparent Architectural Grafts

Mat / Modular Grid

Yeva Arutyunian Jaimelynn Banaban Russell Banks Malissa Cindrich Sue Cvetankovsky Sarah Gibbons Cici Han Hans Herst Lynn Kubin Nila Leiserowitz Tess Logan Greg Nelson Amanda O’Brien Philippe Pare Dominick Ricci Mark Runge Robert Schuster Doug Sitzes Sabu Song Program: 55,000sf – tenant improvement (office) Location: Irvine, CA Client: Hyundai Motor Finance Company (HMFC) Site characteristics: Top three floors of a 20-story building Schedule: Completed in May 2009

Collaboration as Leisure: Situated on the top three floors of an office tower with clear unobstructed views to the surrounding landscape, this project aims to offer a similar experiential freedom within the context of a typical center core, stacked floor plate configuration. By proposing the concept of the work environment as a place of free exchange - of information, of ideas, and of culture – this design liberates the user to engage in any of the four work modes – focus, collaborate, learn, and socialize – in a seamless manner. Thus hybrid conditions are produced – focused collaboration, socialized learning, social focus - where one mode feeds off the condition of the other, increasing the quantity and quality of information and ideas to enrich the culture. 67

Hyundai Capital In plan, a series of circulation exchange loops vary the sequencing of shared and common areas on each floor, significantly reducing experiential repetition. These loops also vary in their scale to trace a variety of interior spaces and trajectories, and along with the strategic placement of private offices, help to tame the large floor plate down to a human scale. In section, the three floors are interconnected by a large staircase/amphitheater, which provides for free exchange vertically. This continuous space is culminated by the top floor clubhouse, which forms the leisure center of the project. This penthouse program also embodies the spirit of this project: like a club, this is not a place where people work per se, but a place where people go to meet people.

IDEAS

THE ART OF

E XC H A N G E I N F O R M AT I O N

C U LT U R E

ideas

culture

= HC

HYUNDAI CAPITAL

information

BASIC ELEMENTS

CONCEPT DIAGRAM

Graphic Walls scape Vertical Branding

The source of success is innovation, the source of innovation is creativity, the source of creativity is people.

-Cay Von Fournier

69 4 Work Modes :

focus

collaborate

learn

socialize

3 Key Drivers for a Creative Workplace: Establish a relationship between individual and collaborative workspaces. Provide a diversity of work settings. Facilitate physical movement and change of venue.

HYUNDAI CAPITAL

Interactive Zones

EXCHANGE LOOPS

THINK TANKS

AMPHITHEATER

CLUBHOUSE

HYUNDAI CAPITAL

COMMONS

Section A – Grand Stair

Section B – Grand Stair

“A more appropriate workplace response is what I call the clubhouse concept- a ‘members and guests only’ kind of workplace where very few people have assigned spaces. It’s a club, after all, so it needs to be very nice - even exciting - a place where you go to meet people.” -Charles Handy (from “New Workers, New Organizations,” by Arnold Levin, Dialogue 15, page 28 )

HYUNDAI CAPITAL

Darren Adkisson Andrew Boquiren Leo Micolta Diaz Lindsay Green Marc-Antoine Grondin Richard Hammond James Kelly

Valentin Lieu Ursula Marques Melanie McArtor John Parkin Brianna Seabron Colette Smith

Core Curriculum Dispersed to encourage multi-disciplinary interactions

Program: A 38,000 sf classroom building for a private K-12 school. Program includes: music, visual arts, performing arts and general classrooms, a student art gallery and a 200 car below grade parking structure. Client: Campbell Hall Episcopal School Location: A flat site in a primarily a residential neighborhood. The site is bordered on the east by a major thoroughfare, to the south and west by the LA River and to the north by the 101 Freeway. Schedule: Projected completion 2012 75

Learning as Leisure: A new educational facility for a private K-12 school designed by noted architect Quincy Jones. This project challenges the static/segregated classroom model, by proposing a dynamic/ holistic alternative driven by the belief that the traditionally binary relationship between teacher and student and the linear learning process that it promotes is inapplicable to the complexity of the contemporary learning culture that relies as much on tangential and indirect sources. The design idea explores the interstitial space - an interstitial incubator that promotes connectivity through increased opportunities for ambient learning and multi-disciplinary interactions.

User Paths

Campbell Hall Community Arts Center The mapping of the two primary campus conditions yields the formal structure of the project. The first mapping charts the formal rhythm, configuration and scale of the existing Quincy Jones campus buildings. The second mapping charts the direct circulation paths from the major divisions of the school. The resultant vectors produce the form of the interstitial space on the ground floor of this project; the resultant form of the first mapping is then displaced from the ground level and stacked on top of this second map. The resultant interstitial space binds the two levels together through its sectional qualities and interactive character promoting open-ended interchange between inside and outside and with the rest of the campus.

TRADITIONAL CLASSROOM MODEL

DYNAMIC/HOLISTIC CLASSROOM MODEL

Interact Genera interact ambien

Interstitial Space Network for new learning

CAMPBELL HALL

Core Curriculum Dispersed to encourage multi-disciplinary interactions

User Paths

Interaction Nodes Generator of multi-disciplinary interactions, and opportunities for ambient learning.

+607â&#x20AC;&#x2122; A.S.L.

+621â&#x20AC;&#x2122; A.S.L.

1 2

LEGEND PUBLIC AREAS - LOBBY , ART GALLERY OFFICES CLASSROOMS THEATER - AUDITORIUM / STAGE

THEATER - SUPPORT SUPPORT - EQUIPMENT RM

Second Level

+621â&#x20AC;&#x2122; A.S.L. #

% %

" !$ ! !

First Level ! !

Under Utilized Space Administration Theater

Drama General Education Visual Arts Music

Program

Displacing the ground plane maximizes the site

Program inserted under displaced ground plane

Program redistributed to maximize intimate outdoor spaces

1. Patterns of scale, rhythm and conďŹ guration of the existing built environment.

2. The circulation patterns established by the students and faculty as they converge on the community arts center.

Combined Geometries This mapping integrates these two patterns to provide both social & physical continuity.

+ Interstitial Space

CAMPBELL HALL

Interstitial Space Expands Learning Opportunities

Interstitial Space

Core Curriculum Core Curriculum

Core Curriculum

CAMPBELL HALL

Patrick Farley Doug Gardner Shawn Gehle CiCi Han Rob Jernigan Colette Smith Ryan Spruston Li Wen Program: 300,000 sf office complex Location: Southern California Client: Withheld at clientâ&#x20AC;&#x2122;s request Site characteristics: A flat 7 acre site, industrial re-use and office complexes lie to the north and west, and a community art complex and residential communities lie to the south and east. Schedule: Projected completion 2012

Work as Leisure: This project utilizes intense prototyping to arrive at the solution 81 that seizes the various project opportunities and optimizes them for user benefit. The design proposes locating taller buildings to the north and west and lower buildings to the south and east as a means to address the varied building scale of the surrounding environment. Domestication of the office space is applied to encourage the creative lifestyle: increased spatial variety is provided through the insertion of differentiated indoor and outdoor areas, and strategic locations of doubleheight spaces, operable windows and a 70 foot building width encourage cross ventilation and openness. The height of the complex at the northern edge provides the upper office floors panoramic views of the mountain ranges beyond. A series

Creative Office Buildings of varied outdoor spaces link the complex west to east: the western one is a formal drive court; the central one, a public plaza for dining and art and a pedestrian link through the site; next is a private courtyard for the office users; and the east one serves as a backyard mews with recreational activity. In order to provide for the structural efficiency and economic benefits of repetition that developers desire, the structural grid of all multi-story buildings above corresponds to that of the parking garage below. Thus, through the process of prototyping to embrace the concept of Specificity with Flexibility, a logical means of obtaining a variety of planametric and volumetric spaces is achieved, without compromising the viability and usability of the speculative space for the developer.

RECREATIONAL SPACE

WORK SPACE

LEISURE SPACE

1 Building 300,000 sf

CREATIVE OFFICE BUILDINGS

CREATIVE OFFICE SPACE

CORNER BUILDING SECTION TYPOLOGY 1 Building 300,000 sf CREATIVE OFFICE SPACE 200,000 sf

CREATIVE OFFICE SPACE

4 3 2 1

TRADITIONAL OFFICE SPACE 100,000 sf

SEPARATE INTO 2 BUILDINGS

200,000 sf

TALLER GROUND FLOOR WITH UPPER FLOORS OVERHANGING

TRADITIONAL OFFICE SPACE 100,000 sf

CREATIVE BUILDING SECTION TYPOLOGIES

4 3 2 1 TAPERED VOLUME ON FOURTH FLOOR

3 2 1 TAPERED VOLUME ON THIRD FLOOR

3 2 1 TAPERED VOLUME ON THIRD FLOOR WITH TERRACE

1 TAPERED VOLUME WITH TERRACE ABOVE

1 TAPERED VOLUME

2 1 TAPERED VOLUME ON SECOND FLOOR

BASELINE PERMUTATIONS

BIG BOX (HEIGHT LIMITED TO 30’ OR 45’)

MULTI STORY INTERIOR VOLUMES

EXTERIOR PUBLIC COURTYARDS

BAR (MIXED HEIGHT 30’ & 45’)

EXTERIOR PRIVATE COURTYARDS UNIFORM WIDTH

EXTERIOR PRIVATE COURTYARDS

83 VARYING BAY WIDTHS EXTERIOR PRIVATE COURTYARDS

EXTERIOR PUBLIC & PRIVATE COURTYARDS

SHIFTING PLATES (UNIFORM HEIGHT LIMTED TO 30’ OR MIXED HEIGHT 30’ & 45’)

EXTERIOR PUBLIC COURTYARDS OPEN TO OLYMPIC

EXTERIOR PUBLIC COURTYARDS OPEN TO NORTH

CREATIVE OFFICE BUILDINGS

120’ Width = (2) 60’ Bays

1 2 0 ’

103

3 Levels @

3’

414 /Level

Optimized Parking Layout

= 1,242 180’ Width = (3) 60’ Bays

688

1 8 0 ’

BELOW GRADE -10’ -20’ -30’

’

310,000sf or (310) 1,000sf @4

/1,000 sf

TOTAL: FOR

310 = 1,240 120’ Width = (2) 60’ Bays

/Level

1 2

0 ’

2 Levels @ 620

= 1,240

155 0’

Total

BELOW GRADE -10’ -20’

8 0

’

180’ Width = (3) 60’ Bays

103

3’

CREATIVE OFFICE BUILDINGS Multi Story Buildings Organized Over Optimized Parking

PEDESTRIAN CONNECTION

MOUNTAIN VIEWS

SEMI-PUBLIC EXTERIOR SPACE

PUBLIC EXTERIOR SPACE SEMI-PUBLIC

PRIVATE EXTERIOR SPACE

EXTERIOR SPACE

PUBLIC EXTERIOR SPACE

CORN TR ER

FIC & VISIBILITY

EALM

LIC R

E PUB

G TH

NDIN EXTE

CREATIVE OFFICE BUILDINGS

The encore to even a moderately successful first act is always a challenge; as they say in the music industry, you have years to think out and conceive your first album, but usually only a year or so to produce the second. So it has been with ideas_2. It’s helpful that the objective for Ideas remains unchanged: to document and present not only the “what”, but also the “how” and “why” of our work—and in doing so make an argument for the legitimacy of our approach to design. As we put it in ideas_1:

Ultimately, ideas are where our people and our work meet; they guide the participation and collaborative processes of our people; they are evident in the work. This journal serves as a recording of this engagement. It is also serves as a benchmark of “…this process (at Gensler) 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.’” ideas_1 pg.3

Ideas is produced by the Design Directors of Gensler’s Southwest Region. It features work designed in the studios of our five offices: Las Vegas, Newport This position is rooted in the belief that: Beach, Phoenix, San Diego, and Santa Monica. We thank Andy Cohen, Rob Jernigan, Nila Leiserowitz and Gene Watanabe for their support of its continuing • The design process at Gensler must be commensurate with the Bigness of its publication. practice. • Subjectivity exists in any design process, but that the scale and pace of working _The editorial team 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.” ideas_1, pg.1 This idea-driven design process also changes the structure of our design teams: 89

• 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.” ideas_1, pg2

AFTERWARDS

we are about the ‘we’ ...

NICHOLAS ACEVEDO JOHN ADAMS DARREN ADKISSON SALIM AHMED MARGARET A ANDERSON ROBERT ANDERSON VICTORIA ANDERSON NANCY ANDRADE POLITO JULIA AUBURN HECTOR AYALA MICHELLE BABA SANGSOOK BAE JULIA BAIKOVA CARIN BAILEY GARO BALMANOUKIAN JAIMELYNN BANABAN PATRICK BANDY RUS BAUTISTA ANTHONY BEAVERS RHETT BEAVERS HOLLYANN BECKER JEFF BECKER CHERYL BECSI ALEXIA BEGHI ALLYSON BELL KELLEY BENJAMIN BROOKE BENNETT BOECKMAN MICHELLE BOLL MICHAEL BONE DALE BOOMER ANDREW BOQUIREN MARTY BORKO THOMAS BOURQUE BARBARA BOUZA GAIL BRACKETT LEIGH B BROWNING KATHLENE BRUNER TATIANA BRUTOCAO KEVIN BRYON AMY BRZECZEK SHIRLEY BUCKNOR CHRISTIAN BUSHONG STEVEN BUTLER EDGARDO CACER CHRISTOPHER CARTER MELANIE CARTMELL GARY CAWN JORGE CELY CHRISTOPHERCHAN JOSHUA CHAN KEVIN CHAN NICOLE CHAN WING HO CHAN YU FONG C MIN KOO CHUNG SANDY CHUNG MALISSA CINDRICH JOHN CIRCENIS ALEXANDER CLAYTON DOUGLAS CLEAVER ROBIN CLOONEY ANDREW COHEN PAUL COHOON CRANE JASON CRAWFORD CHRISTOPHER CROLLE JOSEPH CRUZ LUIS CRUZ-MARTINEZ ROSEMARIE CULLEN DIANE CULLEN-LEVIN CATHLEEN CUPP PHILLIP CUPPLE MARNA CHRISTINE DENNIS-ABILLA DENITA DERUSO BRIAN DEYOUNG DALE DIAZ CARLOS DIEZ JR STEPHEN DIGIACOMO RODRIGO DIMLA DIANNE DODGE LINDS ERICKSON RONNIE ESQUIVEL DAVID ESTIANDAN JULIE ESTRADA MARCY EVANCHOCK ELIZABETH FARLEY PATRICK FARLEY DARLA FARNELL KENNETH FARRELL FLORES MIGUEL FLORES CHRISTOPHER FLORIN HOWE FOONG SHERYL FORREST LUTGARDA FRANCISCO DAVID FRANK DAVID FRIDLUND CARIN FRIEDMAN LAU GATES FARSHID GAZOR SHAWN GEHLE FRANZ GEHRKE DEAN GEIB CHARLOTTE GERALD SARAH GIBBONS ANDREW GIERKE WENDI GILBERT TAL GIVONY BRIAN GOODWIN KIMBERLY GORDON JAMES GOTA JENNIFER GOZZI KIMBERLY GRAHAM LESLEY GRANT LINDSAY GREEN JEFFREY GREENBAUM BRYAN GRIGSBY MARC HACKNEY MARK HALADYNA MARIA HALL RICHARD HAMMOND BECKY HAN PING-SH HAN AUDREY HANDELMAN DAVID HARDIE JAMES HARDIN VANESSA HA THOMAS HEFFERNAN JAMES HEINLY DOROTHY HELMUTH DONALD HENNING STEVEN HERGERT MARKUS HERING DAVID HERJECZKI JOY HERNANDEZ HANS H PEGGY HOWARD ANNA MARIE HOWELL JEREMY HSU KEN-HAO HSU EDWARD HUANG JULIE HUANG JESSICA HUENNEKENS ALEXIS HUETHER JULIE HUTCHISON K JENKIN LIPIKA JENSEN CHRISTOPHER JERDE ROBERT JERNIGAN CHRISTIAN JESPERSON LORI JOHNSON MATTHEW JOHNSON CHARRISSE JOHNSTON FELIZ JONE JAMES KELLY MICHELLE KELLY THOMAS KELLY TIMOTHY KENEIPP CHRISTOPHER KEOUGH CHRISTINE KIM CLARA KIM HAE SUN KIM KYUNG KIM NATHAN KIM TA SYLVA KOUZOUIAN DIANNE KRAUS SANSHIERA KRISNA LYNN KUBIN LINDA KUESTER MEGAN KUHLMANN MAHOGANIE LA FRANKS KATJA LAAJISTO WILLA LAG MYUNG-JONG LEE PEGGYLEE SANG DAE LEE SOPHIA LEE YOUNGHO LEE JAMES LEFEVER NILALEISEROWITZ ESTER LEIYN LAURENCE LESSARD CIENNA LEUNG MA CHENG-I LIN FRANK LIN SHAO-HSIIN LIN TSUNG-YU LIN RALPH LINDER LANCE LITTLEJOHN FANG LIU JOSEPH LO WAN-CHIN LO TESS LOGAN JOYCE LOO LEIAN MAAS CAILEIGH MACKELLAR LORI MACLACHLAN BRYAN MADDOCK PATRICK MAGNESS KRUTI MAJMUDAR JAIDIP MAJUMDAR KAPIL MALIK LINDSAY MALISON J MATTHEWS MELANIE MCARTOR SCOTT MCCAGE JORDAN MCGEE SHAUNA MCKAY NEIL MCLEAN STACEY MCLEOD MARK MCMANUS MARK MCPHERSON AMIR M MILLER SUNG MIN JUDY MITCHELL ZATTIA MITCHELL AI MITSUFUJI YUKA MIZUTANI ALLISON MOCILNIKAR MICHAEL MONIER MICHAEL MONIS TANYA MOODY GABRIELL MURPHY MOLLY MURPHY CHRISTOPHER MUSICH MICHAEL MUSKEWITZ JILL NAGEL ROBERT NAGEL GILBERT NAJM PAUL NATZKE ALEXA NEIBART GR ADRIAN OCHOA ALICE O’KEEFE CHRISTINE OLIVAS STACY OLMS STACEY OLSON MAFFRINE ONG VANESSA ORTEGA OBED ORTIZ BRYCE OSBORN JAMES OSWALD DUNCAN PATERSON LESLIE PATINO KELLIE PATRY JESSICA PATTERSON JENNIFER PAULISH ALICE PAYNE MICHAELPEDERSEN JULIE PELLUM LUC PELTIER WILLIAM PEM COLE RICHIE POOLE CARLOS POSADA UMA POSKOVIC MARCELLO POZZI ALEKSANDRA PRAZIC-KRSTIC ANDREA PRZYBYLSKI CHRISTOPHER RAMSEY STEPHEN RAN CONNIE ROBINSON KESTER ROBINSON ALAN ROBLES ANADELIA ROBLES ANEMARIE ROCHA ADRIENNERODRIGUEZ TIMOTHY ROESLER MARLON ROMERO NICHO SANCHEZ DAWN SANDERSON ALBERT SAWANO JEAN SAWYER SUZANNE SCHECHTMAN TORSTEN SCHMUDDE LANE SCHOFIELD COREY SCHUCHARDT JEREMY SCHU SEVIER LA’MIKA SHELLEY JIANG SHEN MICHAEL SHURTLEFF KIMBERLY SICHTA JAY SILVERBERG GARY SINGER NUPUR SINHA DOUGLAS SITZES JOBETH SKAGGS V SOLIVEN BRIAN SOLY OLIVIER SOMMERHALDER Y’UNSUN SONG KEVIN SONGER BRANDY SORRO PAUL SPANNHAKE TANYA SPATZ-RODRIGUEZ KIRBY SPITLER STURGES SHARON STURM MYUNGSOO SUH TIMOTHY SULLIVAN SZE THOMAS ARPAD TAKACS IMRE TAKACS TETSURO TAKII FUNG KIU TAM SANJEEV TANKHA T BERT TIETJE NICHOLE TODD CAROLINA TOMBOLESI JEREMY TOOKE NICHOLE TORRES JULIE TRAN BART TUCKER RONALD TURNER STEVEN UPCHURCH DAVID VA WALLACE DAVID WANG NORMAN WANG SANDRA WARNEKE HRISHIT WARTY TIMOTHY WAT GENE WATANABE ALEXANDER WEBB IV AMANDA WEBBER JASON WE JOHN WIEDNER MICHAEL WIENER BRYAN WILCOX RHONDA WILHITE ELIZABETH WILLIAMS GUY WILLIAMS ROBERT WILLIAMS CARL WILLMANN DAVID WILMANS YIK BOSEUL YOON SOO YOUNG YOON PATRICIA YORK JAMES YOUNG TERENCE YOUNG DENISE ZACKY-POPOCH JAY ZALLAN THERESE ZEHNDER LAURA ZEHRING EVANGELIQUE ZHAO JING ZHAO JING FANG ZHAO

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AIN ANNE ALEXANDER ROOSEVELT ALEXANDRE KIM ALFORD KELLEY ALLISON RHACIA MARIE ALVARO-SORIANO JORGE AMAYA NICOLE AMAYA BENJAMIN AN ANDRADE CHING YANG JEFFREY ANG ROSEMARIE ANOLIN MICHAEL ANONUEVO CHANTAL AQUIN YEVA ARUTYUNYAN ASIA ARYEETEY LISA ASAHARA RYLAND SSELL BANKS UNIQUE BANKS NANCY BARBOUR IRINA BARBOUTIS PETER BARSUK GANTCHO BATCHKAROV STEVEN BATTE THOMAS BATY ERA BAUMER QUINN T DANIELLE BENZ MARYBETH BERUBE LJUBOMIRKA BILENJKIJ AARON BIRNEY PAUL BLAGBROUGH MAGAN BLASIG STEPHANIE BLATSOS EDWARD BOATMAN JANE BRANNON JAMES BRENTON ANNE BRETANA JEFFREY BRICKNER MARK BRIGGS ELIZABETH BRINK ERIN BROCKLEHURST MARLA BROWN MIRIAM BROWN MARTHA ERES-ALVAREZ ARNULFO CALINGO ERIN CALLAHAN JEFFREY CAMPBELL STACY CANNON NATASHA CARNELL CLAUDIA CAROL HOLLIE CARSON ROMAN CARSON CHANG ALEJANDRO CHAVEZ FERNANDO CHAVEZ TERRENCE CHEW JULIAN CHO WOOYOUNG CHOI YU YAN CHOI WENG CHU ALEXANDER CHUN HOGAN CHUN N CHRISTOPHER COLDOFF MICHAEL COLLINS TWANA COLLINS RICHARD CORREIA MARIE COUPOIS ROBERT COUSINS CORY COVINGTON TIM COWELL JACQUELINE ES SUZAN CVETANOVSKI THEODORE DAHLE RICHARD DALY THOMAS DARNER SHAWN DAVIDSON ALBERT DE PLAZAOLA LAURA DEAN PATRICIA DECKETT LOREN SEY DOREN ELLA DOWD GARY DOWNER SIMONERUCKER BARBARA DUNN OBINNA ELECHI DON ELLIOTT LEANNE ELLIOTT JOY EMERY MATTHEW EPSTEIN JEFFERY MARSHALL FARRIS WILLIAM FAUBER CHARLIE FERNANDEZ MARIAPAZ FERNANDEZ ERIN FERRY JOSEPH FINN III MARGARET FITZSIMONS DALE FLEMMING JOSE UREN FRIEDMAN HIROMI FUJIKI STANLEY FUKAWA VADIM GABER MATTHEW GAMMEL DOUGLAS GARDNER ROBERT GARLIPP YUKIKO GASIORKIEWICZ GRACE N GLODNEY DANA GLOVER DAVID GLOVER RYAN GOBUTY ASHLEY GOESER LOREE GOFFIGON GARY GOLDEN STEPHANIE GOMEZ ISRAEL GONZALEZ DEANNA C-ANTOINE GRONDIN RONGJUAN GU CELERINA GUERRERO SAMUEL GUERRERO REGINALD GUILLERMO STELINGER GUILLET ADAM GUMOWSKI ANJA HAAS M ARDISON MARK HARKEY ELIZABETH HARMON-VAUGHAN BENJAMIN HARWOOD MAMUN HASHEM ARPY HATZIKIAN STEPHEN HAVERSTICK WILLIAM HEBINCK HERST UTE HEWITT DONALD HICKEY GERARDO HIDALGO TZE HO JEFFREY HOLLANDER TIMOTHYHOLLENBECK MELISSA HOLM JANIE HORAS MICHELLE HORN KRISTIN IMPELLIZZERI REBECCA IRISE YOKO ISAJI THOMAS ITO NANCY IVEY SATU JACKSON SUSAN JACQUES CARLOS JAHEN ERIC JAMES MICHAEL JANAS KRISTIN ES WEI JU SONYA JURY CLAUDE KAMAR ALLISON KAMINSKIS LAN KANG LYDIA KANSCHAT SATORU KATO ERIC KAUFFMAN SCOTT KAUFMAN ALLISON KEISER AEHYUNG KIM WILLIAM KIM SEAN KING MICHELLE KLASSEN MARISA KNOPMAN STEPHANIE KOENIG LISA KONG ANNE KONIE OLEG KOSTOUR SHIRA KOTONO GOYDA VINCENT LAI RICHARD LAM REBECCA LANDAU ANA LAPINSKI ELIZABETH LAPSLEY JAMES LARSON NICOLE LEBLANC JIEUN LEE KYOUNGLEE LUANNE LEE MARC LEVEY ARNOLD LEVIN LESLIE LEWIS-WALKER FRANCESCO LICARI ALEXANDER LIEDL VALENTIN LIEU DANNY LIM WILLIAM LIM WINSTON LIM ALBERTO LIMA NA LOPEZ MICHAEL LOVE DAVID LOYOLA GRZEGORZ LOZINSKI KARA LUCAS ARTHUR LUCENTE AMANDA LUCERO PEGGY LUNDBERG KATHLEEN LYNCH JEFFREY JENNY MANANSALA LYNDON MANUEL URSULA MARQUES LARA MARRERO PAULO MARROQUIN TIINA MARTIN MARGARET MARTINEZ GINA MATTEUCCI MIGNON MEHRINFAR KRISTYNA MERCER MELISSA MERRIMAN MICOLTA DIAZ LEONARDO ANTHONY MICU RYAN MILESKI IRWIN MILLER JULIE MILLER JUSTIN MILLER NOLAN Y PAUL MORFORD BRUCE MORMAN JENNIFER MORRIS DEBRA MORSE-MARTINEZ CARLY MOSSMAN CINDY MOUNSAMRUATH NICHOLAS MUIR GINA MUKHEY REGORY NELSON LYNN NEWHALL SIHENNE NG HANG NGUYEN ROBERT NICHOLS CONSTANCE NORTHUP DEBORAH NORTON BRYAN OAKES AMANDA O’BRIEN D NATHAN OUREN AMY OWEN GINO PAINO FARHAD PAKBAZ DESIREE PAKRAVAN PHILIPPE PARE JOSLYN PARENTI JOHN PARKIN JESSICA PARRA SAYJEL PATEL MBERTON XOCHITL PEREZ MELCHIOR PETER SCOTT PETERSON CAROLYN PETTIT LINDA PHAM MICHAEL PHILLIPS JOLYNN PINEDA JOHN PLUMB CARLA POKRYWKA NCK GLENN RASMUSSEN RENEERASMUSSEN AMBER RATLIFF ERASMO RAZO CATHERINE RECCARDI NELLIE REID JOHN REYNA DOMINICK RICCI CHRISTIAN ROBERT OLE ROSENBERG RACHEL ROSSO MARK RUNGE DEAN RUSSELL PAVLINA RYVOLA CLAUDIA SALAZAR BENJAMIN SALK PAMELA SALVADOR JAMIE SALVO CASILDA ULTZ MELANIE SCHUSTER ROBERT SCHUSTER BRIANNA SEABRON LASZLO SEBESTENY CHARLES SEEGER PETER SEINFELD MICHAEL SEKULA VINCENT SENA AARON VICTORIA SKALLAND CHARIE SKINNELL COLETTE SMITH DAVID SMITH GERALD SMITH KRISTEN SMITH NANCYSMITH ANTONIO SOLIS SOSHEIL SOLIS SHALEAH RYAN SPRUSTON ROBERT STEFKO ALEXANDER STEIN RONALD STEINERT ROBERT STEWARD DANIEL STEWART PHILIP STEWART ERIC STULTZ TRACY STULTZ ERICA TOYGAR TARGUTAY KARIN TARSKY LAURIE TARTAGNI ROBYN TAYLOR SCOTT TAYLOR STUART THEMUDO WENDY THENE KEITH THOMPSON REBECCA THOMPSON AGG KONSTANZE VALDEZ KRISTENVANDRIEL ROSALINDA VEJAR TRACY VICTOR-SNOW EDGAR VILLA MIMI VO SHAWN WACHTER SHEILA WAKELAM MICHELLE EEKS AMANDA WEINSTEIN MELISSA WELLS LI WEN JESSICA WENKO BRIAN WEST MEAGAN WESTHOVEN DANIEL WHIPPLE MARK WHITENACK WARWICK WICKSMAN S TYRELL WILSON III AMIT WOLF DAVID WOO MARY WOODS THEODORE WRIGHT KATIE WROBEL YUE WU ENGE XING MEIYEE YAM MIJIN YANG SUNG ZE YI MAO

der to get there, we must first understand the ‘i’.