DIVERCITIES
Introduction
“The complexity and diversity of the world is the hope for the future.” -MICHAEL PALIN
The design of diversity to establish hope: this is DIVERCITIES. As opposed to an ideology driven by fear that manifests itself in partisanship, DIVERCITIES offers hope in the form of platforms where diversity can flourish, and by extension an increased opportunity for understanding, and thus learning and respect. The projects in this edition of Ideas_ are characterized by the assertion that hope can be both manufactured and utilized through design to shape cities and places all over the world. Where Increasingly, architecture and interiors have taken on more the characteristics of cities, where the traditional definitions of function have been denied their singularity by the presence and cohabitation of other equally pressing needs and desires. Whether it be the Activity Center of Amgen’s Workplace of the Future, the central spine and front entry court at APS DVN-1, the conceptual merging of skies to organize nextCOEX, or the direct connection between town and gown in
Southwestern College, the projects of this edition of Ideas_ demonstrate the ability of design to create positive platforms where differences, in activity, material, and people, are embedded to operate synergistically for optimum effect. Such is the life of our metropolitan cities. Such is the “place” of DIVERCITIES. How From a methodology standpoint, DIVERCITIES are the result of intent, as opposed to being the result of consequences. Thus it requires selection and editing. As Venturi clearly states in Complexities and Contradiction in Architecture, “contrast supports meaning.” It is not enough to be simply inclusive; for mere quantity does not by itself lead to a critical contrast. Such meaningful design through contrast must be generated through the choreography of differences. As our social charge of designing the environment expands even further to new territories – of geography, of infrastructure, of economies, of biology and technology – DIVERCITIES can
serve as a critical framework for analyzing and identifying those moments of meaning in the ubiquitous information stream. This by nature is a process of selection that requires editing. This is the paradox of DIVERCITIES. Why To extend Venturi’s quote, meaning supports value, and value is the root characteristic defining any form of capital. The value of hope is as high as it’s ability to empower us as an active participant in the definition of capital, and DIVERCITIES offers a positivist position from which to do so, both as method and result. In such troubling times, nothing could be more relevant.
‡ by Li Wen with Shawn Gehle
Contents: Thousand Oaks Amgen Workplace of the Future Phoenix APS DVN–1 La Mirada Biola Prayer Chapel Studio City Equinox Gangnam-Gu Hyundai Card Purple Club Los Angeles LMU School of Film and Television San Diego Mid-City Gateway Seoul nextCOEX Honolulu OM Kapiolani New Delhi Priya Cinemas Chula Vista Southwestern College
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AMGEN WORKPLACE OF THE FUTURE PROJECT OFFICE: Los Angeles PROJECT TEAM: Barbara Bouza ⁄ Tiffany Chen ⁄ Chris Coldoff ⁄ Lindsay Green ⁄ Greg Nelson ⁄ John Reyna ⁄ Cassie Sanchez ⁄ Shawn Shin / Li Wen / John Wiedner LOCATION: Thousand Oaks, CA
CLIENT: Amgen
PROJECT SUMMARY
MO
RE
ILA
RIT
YW
ZONE 1 ACTIVITY CENTER
The Amgen Workplace of the Future aims to re-organize the Amgen workforce to better serve the evolved state of the company as a global entity. Situated within existing Building 21 on the Amgen campus, this project is meant to be a prototype for future Amgen workspaces while also optimizing the site conditions of Building 21. Conceptually, the workspace is seen as an “urban-scape” composed of neighborhoods and a “park” Activity Center that forms the project’s social nexus. With an increased global presence, Amgen’s workforce is organized into three work groups, each with a differing level of physical attendance, and thus needs, in the space. Coupled with visitors, this forms four main user groups, which in turn forms four spatial work zones whose relationship is inversely proportional between activity/social and familiarity/privacy. This prototype diagram is then adjusted to the particular site conditions of Building 21 to yield a spatially layered solution unique to this project.
ITH
ZONE 3 AD HOC COLLABORATION
SPATIAL WORK ZONES
BU
ILD
ING LES
S
MORE
PRIVACY
LESS
RE
MO
ZONE 2 SCHEDULED CONFERENCING
ITY
ZONE 4 FOCUS WORK SPACE
TIV
AC S
LES
RESIDENT
ADAPTABLE
MOBILE
VISITORS
RESIDENT
ADAPTABLE
MOBILE
VISITORS
In the office 4-5 days a week, at desk more than 50% of the time.
In the office 4-5 days a week, at desk less than 50% of the time.
48%
38%
In the office 2-3 days a week.
SPATIAL WORK ZONES AMGEN USER TYPES
FA M
14%
Non-Amgen staff not assigned to a site requiring a workspace for some period of time.
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RECOGNIZE INDIVIDUALITY ORGANIZATIONAL ATTRIBUTES ADDRESSED BY THE STRATEGY
è è è è
Varying work styles and roles Diversity Performance Recognition
+
ENABLE AGILITY ORGANIZATIONAL ATTRIBUTES ADDRESSED BY THE STRATEGY
è Speed è Mobility è Flexibility è
è Competition è Choice è Globalization
FOSTER CONNECTIONS ORGANIZATIONAL ATTRIBUTES ADDRESSED BY THE STRATEGY
è è è è
Decision-making Team-building Trust Learning
è Transparency
EMBRACE YOUR IDENTITY ORGANIZATIONAL ATTRIBUTES ADDRESSED BY THE STRATEGY
è è è è
Engagement Purpose Value Alignment
WHAT IT MEANS FOR AMGEN è Better work/life balance è Improved real estate è Reduced carbon footprint è Strengthened virtual community support
WHAT IT MEANS FOR AMGEN è Improved and business continuity è Balance and support for physical/virtual work è Increased (allows for local interpretations of standards – within benchmarks) è portfolio
WHAT IT MEANS FOR AMGEN è Improved communication with clients è Increased knowledge sharing, mentoring and coaching è Faster, better-informed decision making è Easier access to team members è Improved lateral career mobility
WHAT IT MEANS FOR AMGEN è Increased employee engagement è Improved alignment with Amgen values, business purpose and strategies è Greater sense of collegiality and working together on teams
SITE ANALYSIS 19 The site analysis was crucial to determine how the workplace organizational prototype diagram would be adjusted to better tie Building 21 to the surrounding campus. After the analysis, the following objectives were determined:
• The design plan should recognize the axial geometry of the larger campus as a means for organization.
4
21
• The east elevation facing Mission Gardens should be opened up with glass to serve as the building front to co-opt the Gardens.
OPTIMAL SIDE OF BUILDING TO ENGAGE WITH CAMPUS Ref. No
rth
• The design section should connect the upper campus to the lower campus, as the building is situated at the sectional threshold between the two.
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SITE CONDITIONS - CAMPUS GEOMETRY SITE FRONT (+) AND BACK (-) STUDY OF CAMPUS GEOMETRY INFLUENCES ON DESIGN
-
21
LESS DESIRABLE SIDE OF BUILDING TO ENGAGE WITH Ref. No
rth
+
OPTIMAL SIDE OF BUILDING TO ENGAGE WITH CAMPUS
4
11
CONCEPT STUDIES
CAMPUS AXIS
CAMPUS AXIS AS AXIAL SPACE IN BUILDING
OUTDOOR SOCIAL SPACE AS LANDSCAPE
CAMPUS AXIS EXTENDED TO BUILDING
AXIAL SPACE AS OUTDOOR SOCIAL SPACE
SITE MODEL
PROGRAM STRATEGY The interior spaces are layered back from the east elevation with the Activity Center being the interface layer between exterior and interior. Shaped in plan in accordance to the campus geometry, the Activity Center becomes a split-level space to spatially merge with Mission Gardens while connecting the two levels of the campus.
ACTIVITY CENTER SCHEDULED MEETING SP “LANDSCAPE” PLAN
IMPROMPTU SPACES
GROUND FLOOR PLAN
ASSIGNED INDIVIDUAL W
LOBBY RENDERING
CIRCULATION
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Park Scheme
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“Good day —The Beatles
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APS DVN-1
PROJECT OFFICE: Phoenix PROJECT TEAM: Caleb Alvarado ⁄ Candy Choi ⁄ Katie Crestin ⁄ Luis Cruz-Martinez ⁄ Bruce Findling ⁄ Jennifer Gozzi ⁄ Beth Harmon-Vaughan ⁄ Robert Himmelberger ⁄ Julie Hutchison ⁄ Jeffrey Maas ⁄ Patrick Magness ⁄ Jay Silverberg ⁄ Mike Stanley ⁄ Erik Von-Gundlach LOCATION: Phoenix, AZ
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CLIENT: Arizona Public Service
9/26/11 3:23 PM
The project site is an 80,000 sf industrial building that will be repurposed into a new operations facility composed of three program components: Customer Call Center, Metro Dispatch Headquarters, and Emergency Command Center. The concept for this project aims to address the inherent program contradiction: the intent of the client to combine the three program components under one roof into a connected community campus; and the security realities that keep them separate.
PROJECT PARTI DIAGRAM BUILDING SECTION - BRINGING NATURAL LIGHT INSIDE EXISTING CAMPUS BUILDINGS CIRCULATION AND CONNECTION POINTS PROGRAM ORGANIZATION AND CONNECTION
SOLAR CANOPY GREEN STRATEGIES LIGHTWEIGHT SHELTER SUN SKY BOX EMBEDDING FOREIGN OBJECT ADDITION
PROJECT SUMMARY
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ADAPTIVE REUSE PROGRAM STRATEGY
APS DVN-1 is organized around two spaces that aim to bridge this contradiction: an entry courtyard that serves as the front door to all three programs, and an internal circulation spine shared by the same. This circulation spine provides all program interiors with natural light and air circulation via its long ventilating skylight. Here in this space, users of the three programs are thus experientially tied together through natural light, but are physically separated in section so as to allow one to see, but not mix, and by visual separations composed of translucent materials that allow one to sense, but not see. This is in contrast to the entry courtyard: a place where all users may physically connect without the ďŹ nesse of feint and obfuscation.
Adjoining
Extension
Attachment
Addition
Dissection
Opening
Incision
Detachment
Splitting
Dissection
Division
ARCHITECTURAL INTERVENTIONS
Blooming
Grow
Foliate
Greening
Punctured
Pierced
Perforate
Refuge
Shelter
Cover
Solar
Shading
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“De profundis —Psalm 130
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BIOLA PRAYER CHAPEL PROJECT OFFICE: Los Angeles PROJECT TEAM: David Herjeczki / Charrisse Johnston / Nathan Kim / Colette Smith LOCATION: Biola University, Talbot East Building / La Mirada, CA
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CLIENT: Biola University
9/26/11 3:25 PM
PROJECT SUMMARY
Out of the depths I cry to you... Psalm 130
3
The program called for a 500 square foot prayer chapel to be located in the basement level of a classroom building for a Christian University. The intent of this project is to reveal the irony of this site condition and align it with the recurrent Biblical precedent of prayer spoken from the depths. Thus the design is conceived as a “heavy” space deliberately set apart from, but fully formed within, the host classroom building. To articulate this difference, the formal language of the prayer chapel is that of poche’, its walls being monochromatic, monolithic, and continuously swept with no corners that would give way to the expression of joins, all in purposeful contradiction to the “light” assembled tectonics of the overall classroom building. The ceiling of the chapel is designed as a bridge between the two, it’s sweeping arcs consistent with the language of it’s walls, but materially expressed through the randomly stacked wood strips assembled from reclaimed lumber and harvested olive trees from the campus. The choice of such recycled wood is consistent with the “poor” and primitive sensibility of the chapel, but materially it provides a “rich” contrast to the fundamental nature of the space. Upon entry, the ceiling is set very low, imparting a strong sense of weight. Proceeding inward, the space expands as the ceiling sweeps up to a brightly lit ceiling opening: the primary source of illumination in this windowless “site” – and from which prayers rise.
2
Multipurpose Elemental
Ancient Tactile
1
2010 Simple Elegant Directional Natural materials
B
31
“Weighty Hull” swept wood ceiling “Weighty Hull” swept wood ceiling
cross OliveOlive treetree cross
WoodWood furniture furniture
Corner-free shaped plaster surface Corner-free shaped plaster surface
Windowless “Site” Windowless “site”
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Is beauty onl
y skin-deep?
EQUINOX STUDIO CITY PROJECT OFFICE: Los Angeles PROJECT TEAM: Benjamin Anderson / Patrice Hironimus / Mike Janas / Joyce Leus / Duncan Paterson / Jae Rodriguez / Carolina Tombolesi LOCATION: Studio City, CA
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CLIENT: Equinox Gym
9/26/11 3:25 PM
PROJECT SUMMARY This project is directly adjacent to the enigmatic Sportsmen’s Lodge, a local landmark in the San Fernando Valley and a prime example of the Valley Modernism typology which previously dominated Ventura Boulevard. Equinox Studio City was challenged with this pseudo-historic condition of a strong pre-existing architectural context, aiming to negotiate the territory between the extremes of purposeful contradiction and thematic appropriation. Abstract referencing of key concepts from this stylistic typological base provided a purposeful dynamism between these opposites, satisfying a community demand for buildings that were respectful of context while still engaging an ever-changing Ventura Boulevard. Occupying a previously surface-parked area of the site, the majority of the 30,000 sf building hangs over a vehicular drive accessing the site, recalling the car culture of the 1960s and Francis Ventre’s Dingbat Architecture, formed around the constraints of the car. The overhang also creates a ‘fifth façade’, and introduces another major component of the design – a contiguous ‘skin’ wrapped over the building. This ‘skin’ similarly references key elements of the building’s context, playing with the idea of materiality. PHYSICAL MODEL PHOTO - PLAN SHOWING WRAPPED SKIN PHYSICAL MODEL PHOTO - FRONTAGE ALONG VENTURA BLVD. PHYSICAL MODEL PHOTO - BACK & MAIN ENTRANCE
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REFERENTIAL ABSTRACTION
ARCHITECTURAL PRECEDENT
EXTRACTED MATERIALITY
SUBTRACTED GRAIN
AMBIENT UNIFORMITY & MATERIAL REINTERPRETATION
VS
RECORDED PATTERN
COMPARATIVE TEXTURING SCALING
MATERIAL ADAPTATION
REPETETIVE COMPONENTS The ‘skin’ references the materiality used throughout the Valley during its heyday without appropriating it directly. Granular qualities and graphic potentiality were explored, leading to a transferrence of the visual qualities of wood onto a metal mesh rainscreen system. In short, a wood building was made out of metal.
OPTIMIZATION
COMPONENTRY & OPTIMIZATION
TYPE A
TYPE B
TYPE C
1
2
3
3
4
1
3
5
3
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“Wine is the mo thing in the wo —Ernest Hemingway
st civilized rld.�
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HYUNDAI CARD PURPLE CLUB PROJECT OFFICE: Los Angeles PROJECT TEAM: Sarah Gibbons ⁄ Lynn Kubin ⁄ Nila Leiserowitz / Neil Mclean ⁄ Philippe Paré ⁄ Dominick Ricci ⁄ Jaimelynn Shah LOCATION: Gangnam-Gu, South Korea
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CLIENT: Hyundai Card
9/26/11 3:25 PM
PROJECT SUMMARY A
For holders of the Purple Card, its value lies in the ability to facilitate access to a much soughtafter and high-quality lifestyle. This private club creates the perfect opportunity for cardholders to enjoy the trendy lifestyle and differentiated services they seek.
B
C
D
The concept for the club is to create a space that leverages movement and sightlines to provide multiple opportunities for guests to interact and socialize. A dramatic ramp and stair are used to organize the space and invite circulation between both rooms, encouraging guests to “see and be seen.” A substantial lounge seating area in the front remains flexible to accommodate cultural events or live performances. The smaller room provides an intimate counterpoint to the openness and activity of the main space. Guests can socialize in a quiet environment, while they enjoy exclusive white glove service or browse through a carefully curated collection of printed materials. The club becomes a premium reward for valued Hyundai Card customers, delivered through a unique experience crafted around the personality of the Purple: Dare to be Purple.
FLOOR PLAN WITH MATERIAL ANNOTATION SECTIONS
Wood
Concrete
Stone
Dark Area Rug
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Section A
Section B
Section C
Section D
MATERIAL PALETTE The material palette combines white walls and ceilings with polished concrete oors to create a gallery-like setting for the club. Wood panels bring warmth to the space, while giving a sense of place to the main seating area. The use of color is limited to a lighting installation featuring pure purple light, along with carefully chosen and unexpected HyundaiCard touchpoints, to further emphasize the exclusivity of the brand. The overall atmosphere is unique: timeless and understated, yet at the same time stylish and sophisticated.
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1 2 3 4
} Y
U P
5
w
7
{
8 9 10 11 12 13
E
I
O r
q
u R
t i
Q
6
14 15 16 17
e T W
o
19 20 21
D
STYLISH. SOPHISTICATED.
27
Polished concrete Limestone with raked finish White painted metal panels with joint lines (5mm) Typical reveal between wall and concrete floor (25mm) Typical reveal between metal panels and concrete floor (12.5mm) Typical reveal between wall and acoustical plaster ceiling (25mm) Typical reveal between metal panels and acoustical plaster ceiling (40mm) Wood veneer panels with joint lines (5mm) White paint over gypsum board Concealed light cove Slot for interactive bar equipment (150mm) Slot for adjustable downlight (150mm) Illuminated clear low-iron glass box for wine bottle display Concealed light cove with purple feature lighting Illuminated panels bar front Self-serve wine dispenser with flush installation White stone countertop with interactive display (75mm) Built-in seating Four Seasons stool by Knoll with black leather upholstery and chrome base Swan chair by Fritz Hansen with gray leather upholstery and chrome base HBF oval egg table
CRAFTING THE PURPLE CLUB
The interactive bar provides an opportunity to learn about wine and explore the club’s exclusive selection, offered through unique self-service machines that pour tastings using a Purple Card. Juxtaposing the pristine gallery environment, a digitally printed wall graphic celebrates the evidence of a great night out. Abstracted imagery of wine stains are featured in largerthan-life scales.
LOCATION OF INTERACTIVE BAR LOCATION OF SELF-SERVICE MACHINE INTERACTIVE BAR CONCEPT IMAGE SELF-SERVICE MACHINE VIEWS OF PRINTED WALL GRAPHIC BRAND TOUCHPOINTS AS FINE ART
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53
Purple combines the stability of blue and the energy of red. Purple is associated with royalty. it symbolizes power, nobility, luxury, and ambition. It conveys wealth and extravagance. purple is associated with wisdom, dignity, creativity, mystery, independence, and magic.
The Mixing
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Chamber
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LMU SCHOOL OF FILM AND TELEVISION PROJECT OFFICE: Los Angeles PROJECT TEAM: Peter Barsuk ⁄ Shawn Gehle ⁄ Charrisse Johnston ⁄ Kevin Kilmer ⁄ Nathan Kim / Mindy King ⁄ Dillon Pranger / Tam Tran ⁄ Michael White LOCATION: Loyola Marymount University, Communication Arts Building / Los Angeles, CA
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CLIENT: Loyola Marymount University
9/26/11 3:26 PM
The LMU School of Film and Television curriculum is structured around teaching the fundamentals of storytelling and the mechanics necessary to deliver professional grade media within the gaming, movie, and television industries. The school’s success has come from fostering an environment where students are encouraged to build peer-to-peer connections among historically introverted departments and work collaboratively. Constrained by its current home, a 1970’s era general communications building, the proposed design retains the existing building’s sound stage and expands the building’s functionality by two simple operations: first, the externalization of the school’s mission to share its environment and facilities with the campus body it serves, and second, a careful insertion, drawing attention to the school’s focus on departmental collaboration and socialization.
LINC OLN
Belta n Dr
ian W ay Nard
Altav an
Ave
78TH ST.
FORDHAM RD
McConnell Ave
PROJECT SUMMARY
80th st
B
PROPOSED CROSS CAMPUS CONNECTION
FUTURE DEMOLITION IN MASTER PLAN
EXST’G. SFTV LOADING/ RECEIVING WORK SHOP
Alumni Mall
CINEMA SOUND STAGE
TELEVISION STUDIO A
Seaver Science Hall FIGURE / GROUND ANALYSIS ALTERNATE SFTV LOADING/ RECEIVING
SITE CIRCULATION DIAGRAM DIAGRAM OF POTENTIAL SCALES OF NEW ARCHITECTURE
Leavey Hall
Burns Fine Art Center
77th
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KEEP ENTIRE EXISTING BUILDING + BUILD NEW ADDITION
STRATEGIES FOR EXPANSION
Existing Building
OR
KEEP PORTION OF EXISTING BUILDING + BUILD NEW ADDITION
DEMO EXISTING BUILDING + BUILD ALL NEW
THE VESSEL
BRIDGES CONNECTING CIRCULATION AND PROGRAM SECTIONAL DIAGRAM OF CONNECTIVITY PHYSICAL MODEL PHOTO - AERIAL VIEW
61
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65 VIEW FROM ALUMNI MALL
PHYSICAL MODEL OF SLOPED ENTRY INTO BASEMENT
VIEW FROM BELOW ELEVATED THEATER
SECTION THROUGH ELEVATED THEATER
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MID-CITY GATEWAY PROJECT OFFICE: Los Angeles PROJECT TEAM: Claudia Carol ⁄ Hogan Chun / Adam Gumowski ⁄ Tom Heffernan ⁄ Kevin Heinly ⁄ Tom Ito ⁄ Fong Liu ⁄ Kap Malik LOCATION: San Diego, CA
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CLIENT: Price Charities
9/26/11 3:26 PM
PROJECT SUMMARY A residential/retail/community mixed-use project spread across two sites that comprise 5.1 acres, this project fronts the historic El Cajon Blvd. and flanks Fairmount Ave. - a high traffic artery that serves the surrounding areas. Conceptually, Mid-City Gateway treats the ground plane as a datum for a landscape strategy that spatially connects the two sides of the project across Fairmount, treating this street as the center for this new development, as opposed to the street’s traditional role as development edge. The project is organized into 6 main parcels with the main residential building blocks outlining a ground floor retail path that zigs through the parcels. Terraces line the residential forming a sectional transition to the street level, imbuing the development’s spatial qualities with that of a cascading landscape. This idea culminates in the path moving under Fairmount and back up a series of terraces forming a public park on the roof of the Community Center on the southeast parcel, effectively stitching the two parts of the project together across Fairmont, and thereby co-opting it as its own.
The space must feel ee el like lik ke a lounge, yet function like a store. sttor
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CONCEPT Residential neighborhood
Community Inspiration
? $
The Idea
Retail on El Cajon Boulevard
1 Address Given Conditions
Connecting neighborhoods
Encorporating El Cajon Boulevard
2 Divide the Site
Making community space
Need for park space
3 Develop Community Space
Conceptual Diagram Interior condition for community space Exterior condition reects the urban attitude of El Cajon
Splitting the space allows for paths to connect between the three surrounding communities, and also directs users into the project from El Cajon
Linear pedestrian paths
Precedents
Reconnecting to El Cajon’s retro age
Opening up the interior creates comfortable, green public spaces
European Plazas
Green Residences
GUEST PARKING
43rd Street Meade Avenue
Existing parking structure to be reclad
GUEST PARKING
El Cajon Boulevard
RESIDENT SERVICE PARKING ENTRY
Photovoltaic arrays to harness solar energy Roof terrace and gardens Private residential gardens & terraces
RESIDENT PARKING
Shared residential pool and fitness deck Public plaza for dining / retail / community events / etc.
GUEST PARKING
Fairmount Avenue
Community center with outdoor gardens and terraces for viewing of community performance and “movies in the park” events Sunken garden with community performance space and gardens Private pool and fitness deck for the live / work lofts
N
SERVICE RESIDENT ENTRY PARKING
44th Street
Private roof terrace for the live / work lofts
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Live / work lofts
Performance stage
Sunken garden with circulation tunnel to the west parcel
Public parks and viewing terraces
Community center for all ages
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“‘Scuse me whil —Jimi Hendrix
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NEXT COEX PROJECT OFFICE: Los Angeles PROJECT TEAM: Benjamin Anderson / John Cho / Wilson Diaz / Marisol Mejia / Duncan Paterson / Maysho Prashad / Jae Rodriguez / Jeff Walker LOCATION: Seoul, South Korea
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CLIENT: COEX
9/26/11 3:27 PM
PROJECT SUMMARY
AS SEM TO OWER Ent. (Vehicle)
INTER-CONTINENTAL T
COEX is currently the largest underground mall in Asia, with an effective leasable area of about 85,000 square meters, all on one single level. nextCOEX is a complete reconceptualization of what COEX currently is – a fragmented and confusing mixture of underground spaces and has little visual presence at street level.
Ent.
MORNING SKY K GARDEN SP SPRING SKY K GARDEN N
Ent.
SUMMER SKY K GARDEN
SPRING SKY K GARDEN
OAKWOOD TOWER
FOOD COURT
AQUARIUM UM M
LO OADING D DOCK MEGA BOX
ASEM ASEM M TOWER WER R
RETAIL FAMILY ENTERTAINMENT MINI-ANCHOR
INTERCONTINENT TAL
BOOKSTORE (MINI-ANCHOR)
KOREAN GARDEN CONFECTIONERY BAZAAR KIOSKS / LOUNGE ZONE SERVICE / BACK OF HOUSE ADJACENT TENANT
AUTUMN SKY K GARDEN
HYUNDAI DEPT. T STORE
ASIAN COSMETICS GARDEN
MAJOR CIRCULATION ROUTES - GROUND FLOOR
KOREAN GARDEN
INTERCONTINENTAL T
FOOD & BEVERAGES
ENTRY, CIRCULATION AND DESTINATION DIAGRAMS
Ent. (Vehicle)
Ent. (Vehicle)
The “Unfolded Sky” is derivative of a opportunistic ‘peeling back’ of the groundplane, opening up the underground environments to light, air, natural exposure, and celebrating a connection with nature. This also allows a visual and architectural presence at street level for an otherwise dominant underground condition.
PROJECT DIAGRAMMATIC AXONOMETRIC VIEW
Ent. t.
CO C OEX ARTIUM O M
This project introduces two key concepts to drive such transformation: ‘The Unfolded Sky” and ‘The Urban River.”
The “Urban River” deals with the massive circulation on the site driven by two subway stations and major towers throughout the project; transforming a confusing network of small retail streets in a singular network of flow-based patterns. These flows channel visitors and connects the dynamic array of Sky Gardens throughout the site.
AUTUMN SKY K GARDEN
Ent.
HYUND DAI DEPT. T STORE
SUMMER SKY K GARDEN
81 “Spring Sky”
Multiple points of entry create riverlike connections based on pedestrian flow
Multiple Points of Entry Create Riverlike Connections throughout site Based on Pedestrianthe Flows Throughout Site
Pedestrian circulation flows carve out & create public space, amenity & Pedestrian Circulation Flows Carve Out & Create Public Space, major urban Amenity & Major Urbanspaces Spaces
“Evening Sky”
Urban Spaces Within within COEX Define Major Destinations Urban spaces COEX define major & Frame the Unfolded Createthe Distinct Zones destinations & Sky, frame Unfolded Sky
“Eternal Sky”
“Summer Sky”
“Morning Sky”
“Autumn Sky”
UNFOLDING SKY ‘The Unfolded Sky’ allows the massive complex of underground spaces and circulation pathways to periodically link up with and celebrate a connection with the natural world, in particular the sky. Daylighting is the most celebrated aspect of this project given its subterranean positioning, and as such the architecture of nextCOEX responds by referencing a number of methods to recall and celebrate it. By maximizing the use of natural light as a primary architectural signature for the project, large urban spaces are created as points of rest, orientation, celebration and exchange that function as vital drivers of circulation throughout the site. The formal exploration of this association yielded a number of operational strategies for the forms of each ‘Sky Garden’, allowing the project to adapt to multiple divergent existing conditions while maintaining a common thread of association to a larger architectural image. By lifting, peeling, tearing and folding the conceptually pliable groundplane, many new types of gaways, plazas, and celebrations of Sky emerge.
UNFOLDING SPACES - OPERATIONAL TYPES & EFFECTIVE READINGS CIRCULATION STRATEGIES
CLOUD ABOVE
BILLBOARD TO STREET
TRIUMPHAL ARCH
GATEWAY
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SUNKEN GARDEN - NEW ASEM PLAZA
Existing Circulation Condition
Proposed Circulation Condition
SUNKEN GARDEN - NEW MILLENNIUM PLAZA
Existing Circulation Condition
Proposed Circulation Condition
COEX EXHIBITION - WEST ENTRANCE
Existing Circulation Condition
Proposed Circulation Condition
Circulatory patterns are vital-blending the groundplanes between basement retail and street creates a more dynamic mixture of visitor traffic and flow.
SPRING SKY
UNFOLDING STUDIES - METHODOLOGY AND FORM OF ACCESS POINTS TO NEXTCOEX FROM STREET
SUMMER SKY
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MORNING SKY
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OM KAPIOLANI PROJECT OFFICE: Los Angeles PROJECT TEAM: Haila Adamo ⁄ Nick Christopher ⁄ Duncan Paterson / Olivier Sommerhalder ⁄ Jonathan Tapia ⁄ Jeff Walker LOCATION: Honolulu, HI
CLIENT: OliverMcMillan
As a hi-rise residential tower, OM Kapiolani aims to recapture the vernacular modernism that was present in the architectural character of Honolulu in the 50’s and 70’s, a vernacular that has been lost to the international globalism indicative of development in the last twenty years. To counter this malaise, this project injects a Polynesian flavor to counter the viral effects of the contemporary global esthetic whose results are either unceremoniously neutral or ceremoniously inappropriate. The vertical residential tower sits atop a base that supports vehicular functions of parking and a hi-end car dealership, functions that are inherently organized horizontally. The tower itself is articulated into a sea side portion (Makai) that responds to the horizontal horizons of the ocean, and the land side portion (Mauka) that responds to the vertical nature of the mountain ranges beyond. The Polynesian influence presents itself in the idea of the “weave”, which expresses itself in the slab and wall edge articulation that forms the overall elevation texture of the tower. The idea of the “weave” also drives the section qualities of the base where various vehicular and pedestrian circulation paths intertwine to form the car dealership showroom, while being enshrouded in a tightly woven concrete pattern that simulates the dappled and lush crown of the Monkeypod, a tree species abundant in Honolulu and lining Kapiolani Boulevard.
Sky Tower
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Plaza Earth
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Parking
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JN Dealership
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ka pio lan i
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PROJECT SUMMARY
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Re cr Pa eati o rk ing n D ec Hi G k ar gh ag En e dA ut oD ea ler
91 TYPE E UNIT FLOORPLATE
MAUKA TYPE D UNIT FLOORPLATE
TYPE C UNIT FLOORPLATE
MAKAI TYPE B UNIT FLOORPLATE
TYPE A UNIT FLOORPLATE
MAKAI
MAUKA
The tower’s façade transitions on the Makai (sea) side from a flat façade at the base to a weaving, horizontally expressed balcony pattern at the top. The Mauka (land) side of the tower inverses the Makai façade pattern to obtain a vertical expression. The different condominium types stratified vertically allow for alternating horizontal expression on Makai side and vertical expression on Mauka side.
CONCEPT ORGANIC WEAVING Visiting Hawaii’s Bishop Museum, a museum all about Hawaii’s cultural heritage, made apparent that a lot of the craft and architecture was made out of grasses which are abundantly available on the Polynesian islands. The manipulation of grasses in different patterns of weaving and knotting to create roofs, walls, furniture, baskets and other articles for the daily domestic life were the inspiration for the use of the weaving pattern in the project.
BRAIDED/LAYERED HAY ROOF MEMBRANE WOVEN PALM DETAIL KNITTED SACK WOVEN STRAW HAT VIEW OF BUILDING SKINS - PODIUM SCREEN AND FACADE ITERATIVE SCREEN STUDIES
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Punched Fins
Enlarged Pleat
Skinny Pleat
Orthogonal Weaving
Triangular Weaving
The punched ďŹ n screen is the
The enlarged pleat was created
The skinny pleat is similar in
The orthogonal weave consists of
The triangular weave works in a
current design, reected in the
through a folding operation. The
operation to the enlarged pleat,
rectangular units connected in a
similar fashion to the orthogonal
above rendering. The design has
design generates the perception of
however a higher degree of
staggered pattern that depicts an
weave, except members are no
an optimal degree of porosity from
movement or twisting.
repetition in the members creates a
interlacing or knitted aesthetic.
longer rectangular.
the street due to unit size and perforation.
more rhythmic pattern.
PODIUM The program at the base is a high end car dealership/gallery, a restaurant and a lobby for the condo tower. The upper floors of the podium are car service and car storage for the dealership followed by parking floors. The podium roof is a large recreation deck.
PODIUM MODEL PHOTO LEVEL 02 PODIUM RENDERING PANORAMIC MODEL PHOTO
95 1 QUEUING LANES AND AUTO DISPLAY ENTRY TO MEZZANINE FROM QUEUING SERVICE OFFICES FOR QUEUING LANES
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VIEW/SIGHT LINES DIAGRAM EXPLODED PODIUM DIAGRAM INTERIOR RENDERING OF DEALERSHIP
COURTYARD OPEN TO ABOVE AND MEZZANINE
Taking India to th “Cinema is a
what’s in the what’s out.” —Martin Scorsese
he movies. matter of
frame and
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PRIYA CINEMA PROJECT OFFICE: Los Angeles PROJECT TEAM: Garo Balmanoukian ⁄ Edgardo Caceres / Eva Fernandez ⁄ Sarah Fleming / Kap Malik ⁄ Nupur Sinha / Olivier Sommerhalder ⁄ Bart Tucker ⁄ Steve Upchurch ⁄ Warwick Wicksman / Amy Sun Yoon LOCATION: New Delhi, India
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CLIENT: PVR Limited
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PROJECT SUMMARY Situated in a pedestrian retail neighborhood, Priya Cinema is designed to act as its urban focal point, while extending the immersive nature of the ground floor pedestrian experience up into a vertical condition. Conceptually, the building is a mixing chamber that attracts, directs, and re-directs through its various spatial pores. Accessed from all directions at the center of Basant Lok Square, the cinema marks this important location through the interplay of building masses held in a state of dynamic equilibrium: two “floating” volumes that contain three cinemas, are perched upon a two story retail base. Retail is placed at the perimeter, voiding out the center of the base of the project to provide various trajectories of connection through it. These trajectories are spatially choreographed as a moving menagerie of city views, spatial compression and release points, and various lighting effects, all designed to produce for the user the immersive effect of film, and thus be an extension of the cinematic experience.
PROJECT IS LOCATED BETWEEN TWO SMALL CITY SQUARES PROPERTY PART OF A LARGER URBAN SQUARE DEFINED BY BUILDINGS VOLUMES CONNECT TWO PLAZAS BRIDGE BETWEEN EXISTING SQUARES
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CONNECTING TWO SMALLER CITY SQUARES
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A> Extend The retail (in blue) is placed on the perimeter of the site creating a seamless extension of Basant Lok’s main square (A) into the building.
Float The two smaller theaters (yellow) and the IMAX (orange) are ‘floating’ above the indoor plaza.
Connect The indoor open area creates new connection between the Northern urban square and the Southern ‘green’ plaza.
Elevate The distinct cinema volumes are differentiated and elevated from the retail.
SPACE PROGRAM Projection Booth
IMAX 450 Seats
Bridge to IMAX Concession Projector
Concession Lounge
Small House 131 Seats
Terrace
Retail Parking
Parking Ramp
Mechanical
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SOUTHWESTERN COLLEGE PROJECT OFFICE: Los Angeles PROJECT TEAM: Shawn Gehle ⁄ Tom Heffernan / Kevin Heinly / Hae-Sun Kim / Bryce Osborn / Sung-Ze v LOCATION: Southwestern College, Corner Lot / Chula Vista, CA
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CLIENT: Southwestern College
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et St re EH
PROJECT SUMMARY
Otay Lakes Road
The Corner Lot project on the campus of Southwestern Community College is a first in a series of large capital projects for the regional commuter campus. The design is formally conceived on optimizing program elements around their planimetric and orientation ideals. This strategy manipulates the economy of simple orthogonal planning by bending and shaping social and flexible program elements such as galleries, food court and the campus book store. The result is a design that physically and symbolically connects the adjacent neighborhood and campus.
COMPETITION REQUESTED CONNECTION AND EXISTING SITE FACTORS PROPOSED SOLUTION FOR CONNECTIONS
CO NN EC T
TH ES E
DO TS
CORNER OF CAMPUS
CORNER OF CAMPUS
COLLEGE
FRONT DOOR OF CAMPUS
FRONT DOOR OF CAMPUS
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RO NE
F THE SITE
CO R
MAKING A PHYSICAL AND SYMBOLIC CONNECTION
FRONT DOOR OF CAMPUS
CORNER OF CAMPUS
REALIGN CONNECTION
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REA CHI
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NT O
OU T
CA
MP
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TO COM MU N
ITY
FRONT DOOR OF CAMPUS
EXTEND CONNECTIONS
VIEW WITHIN “HANDSHAKE”
REA CHI
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IN
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AM
PU S
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TO COM MU N
ITY
FRONT DOOR OF CAMPUS
CONCEPTUAL “HANDSHAKE”
SPACE PROGRAM FOCUSED : WORK & LEARNING COLUMN FREE OR REGULAR, PREDICTABLE SPACING
EFFICIENCY DRIVEN SF/PERSON (STUDENT)
Internally Accessed Classrooms
Externally Accessed Classrooms
Open Office
Perimeter Office
BASEMENT LEVEL
DRIVES ORTHOGONAL PLANNING
+ SOCIALIZING : LEARNING & GATHERING ACCOMODATES COLUMNS
EXPERIENCE DRIVEN
Gallery
Food Court
Bookstore ALLOWS FOR BENDING AND SHAPING
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Optimized program elements around ideal planimetic configuration Efficient Space
Flexible Space
Programmatic Function
SUPERINTENDENT / PRESIDENT AREA PUBLIC INFORMATION OFFICE INSTRUCTIONAL SERVICES & V.P. INST. INFORMATION SERVICES ADMINISTRATIVE AFFAIRS & V.P. OFFICE SECOND LEVEL
BUSINESS OPERATIONS HUMAN RESOURCES FISCAL / PAYROLL SERVICES CONFERENCE ROOMS INSTITUTIONAL ADVANCEMENT ART GALLERY COMMUNITY CONFERENCE CENTER BOARD ROOM CONTINUING EDUCATION ADMINISTRATION CLASSROOMS WELLNESS CENTER COMPUTER LABORATORIES ADMINISTRATION JOINT USE FACILITIES CAMPUS POLICE CENTER BOOKSTORE FOOD COURT SMALL BUSINESS INTERNATIONAL ED.
SKETCH VIEW FROM PARKING LOT
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Afterword With this fourth edition of Ideas_, one will first notice how the graphics and the layout have changed. But look deeper at those listed on our editorial team this year, and one will find a bigger change from the first three editions – a new team, a new look.
As we continue to evolve, 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:
As the firm has started to grow with the dynamic fits and starts of the economy, we have seen an influx of many new members into our studios. Coming out of the economic downturn, they have provided us with a much-needed injection of fresh energy and viewpoints. This freshness adds breath and diversity to our collective resource of ideas and capabilities, much as the influx of new citizens to a city alters its economy and identity. As such, Gensler itself can be seen as a DIVERCITY of sorts.
“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.” Ideas_1, page 1
To reverse-engineer Venturi’s quote, “contrast supports meaning,” we can say that diversity supports contrast; nowhere is this condition more prevalent than in the metropolitan life of our cities. It is this central belief, highlighted by the recent gene splicing in our studio DNA, aided by a dose of growth hormone, that underlies this year’s theme, DIVERCITIES.
This idea-driven design process also changes the structure of our design teams: • “...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, page 2 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, page 3 Ideas_ is a Southwest Region publication organized and produced by the Design Directors of Los Angeles. Its content is selected from work designed in the studios of our Region’s six offices: Denver, Los Angeles, Las Vegas, Newport Beach, Phoenix, and San Diego. We thank Andy Cohen, Rob Jernigan, and Gene Watanabe for their support in its continuing publication.
_The Editorial Team
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A B C D E F G H I
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Benjamin Anderson Brian Fraumeni Shawn Gehle Kristen George Jinney Kho Mindy King Shira Kotono Jaclyn Lazur Rudolph Marnich
J K L M N O P Q
Benjamin McAlister Marisol Mejia Philippe ParĂŠ Dominick Ricci Shawn Shin Clair Souki Ryan Spruston Li Wen
IDEAS 4 EDITORIAL TEAM C
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Printed in China
SEITICREVID