Ideas 5 by Gensler_LA

Introduction

“In the electronic age, we wear all mankind as our skin.” -MARSHALL McLUHAN Architecturally one could argue that in the Classical age, more of mankind was worn on the “skin” of buildings than today. Before industry, before the Guttenberg Press, before globalization, the values of a society were embedded in the facades of their buildings, as they were the largest communal canvas for which to express a society’s collective narrative, and represented a permanence of statement that could not be achieved in other media. Elements of regional pride, craft and care were dedicated to telling unique cultural and environmental stories, often capable of inspiring and authentically responding to place and use. These Classical objectives were summed up in the Vitruvian values of firmness, commodity, and delight. With the advent of the press and mass communication, the broadcast engine of our social values migrated away from buildings, and became more fragmented with the rise of commercial industry and the division of labor within the building profession. The expressive potential of building facades became in themselves, neglected – either relegated to the background in support of the

more formal and/or political expressions of the Classic Modern Age, or empty to be covered by consumerist messages from Post-industrial Capitalism. The pastiche efforts of Post-Modern-ism to resuscitate the Classical role of the facade did little to chart a path for the future development of this important architectural element. Instead Post-Modernism, in search of a familiar history in architecture, adopted a hollowed out sampling from the past, franchising Classical elements with little regard for their original purpose, proportion or construction methodology. Combined with the overall focus on architectural “language” at the time, this all created a condition where meanings and symbolism became plug-ins, their interchangeability assailing the permanence they once had. The resurgence of interest in the expressive possibilities of the building skin occurred roughly at the beginning of the new millennium. This resurgence was empowered by the digital design and construction toolset born out of the manufacturing and hi-tech industries a decade before. Inspired by the processes being employed

in for example the automotive and aerospace industries, many architects and designers began to explore forms and patterns formerly considered too complex, time consuming and costly with traditional building methods. These same tools afforded designers the ability to digitally simulate performative aspects of buildings and fabricate intricate and referential patterns with increasingly higher levels of customization. This represented a return to integrating authentic forms of communicative messaging on to the surface of buildings. The re-discovery of this expressive “place” is the focus of Ideas_5. The exuberant exploration of methods to manipulate skins and surfaces illustrated in this edition reflects a common area of investigation throughout Gensler’s Southwest region. The cause for this is perhaps two-fold. First, the programs for the projects that Gensler executes have become increasingly determined by external forces that the designer does not control. Cost, programmatic standardization, and standardized functionality all conspire to remove the type of exploration common, and in fact char-

acteristic, of the Classical Modern age. This reduces architecture’s potential to serve as a mechanism to engineer social change as it was believed in Classic Modern times in a heroically naïve sense, perhaps because the experiment itself was largely misguided. Yet buildings are still persistent in our mind and visual experience of the city and our daily lives. As such, they demand to be addressed; but perhaps in a “design space” that has now become ever more acute due to these external forces. This narrowing of the playing field to that of a line – the thin line of the skin – is both limiting and liberating. Limiting for it acknowledges the challenges and difficulties we as designers now face; but liberating in that it provides a brutally clear space in which the designer can employ his/her curiosity, ideas and talents. Explorations of materials, their pliability and expressive possibilities, and the capacity of the skin to address programmatic demands – concerns that have traditionally fallen within therealm of the designer’s purview – can all be investigated on the surface of the skin. Second, this body of work represents the continued rise of a new, younger generation of designers here at Gensler – a generation adept at deploying and advancing the digital toolset necessary to exploit and optimize this thin design space and transform it into a wide, rich body of work. Though building experience may be more limited in this generation, their imaginative capacity is limitless. The fact that many of the projects presented in this edition reside within a building’s interior is not a coincidence. Disconnected from the concerns of waterproofing and the complexity of thermal transfer issues, they are liberated from the associated liability concerns, thereby growing their design space from the “inside out”. Encouraged by senior design leaders and the internal quest for Cool S#!@, these designers have

been motivated by the observation that a truly authentic and progressive design culture is rapidly growing from the bottom up. The “hands” of these creators of the current guard are influenced, as they always are, by the technological and social forces of their time, which in the case of this generation are dominated by the instantiation of information recall and two-dimensional global access and travel. Any notions of authenticity and/or progress, whether in the areas of production or consumption, needs to be evaluated through this lens. Doing so reveals that this contemporary emphasis on the skin brings full circle the formal evolution of one of architecture’s fundamental elements: the wall. In pre-modern times the load-bearing wall was dominant in shaping our experiences of the built environment. This condition progressed to where the wall parted for the column to become as Kahn stated, further developing in Classic Modern times to a condition where the wall “disappeared” through transparency. The phenomenological depth achieved with the inside-outside play of space that this transparency promoted has now been intentionally abandoned by the reestablishment and demarcation of this new zone of experience in the skin; one which fully sheds its need for a historical model in exchange for a surface that aims to capture that same power through the statement of image. This development is relevant in a world where the emergence of the “image” as a representation of space and experience has now become the dominant manner for which our perceptions are shaped. In the two-dimensional space of Google where handheld access to seemingly infinite digital portals can provide one with the world, there can be no image if there is no wall, skin, or surface from and on which it can be projected.

Ideas_5 has been curated as a journal of these investigations and phenomena as they have occurred in 2011-2012 in Gensler’s Southwest Region, and is intended to capture the essence of this new generational spirit. All projects are organized within the framework of firmness, commodity, and delight, but to reflect our contemporary times, these terms have been re-phrased as material, function, and effect. As Ideas_ was birthed as a journal to promote the design process, we have also added the term operation to indicate HOW the material and function were translated into an effect. As designers, we select materials, interpret programs, and create operations, to produce effects. And though the desired effect of “beauty” may be only skin deep, in a highly visual society bloated by an incessant, 24 hour cycle of information, “what the design looks like” is a most relevant question given the power of the image. As we accelerate ever faster to an uncertain future, what we “wear” can only be skin deep. The effects of what we feel through the image may be all that we can take with us as we may not be afforded the time to decipher anything deeper. Traditional notions of meaning may need to be found in other forms of experience - or be embedded within the effect of the skin - its “thinness” being relative to what one implants between its layers. The experiential depth of the skin can go beyond the physical to the metaphysical. That is still in the control of the designer. ‡ by Ben Anderson, Shawn Gehle, and Li Wen

MATERIAL

FUNCTION

FABRIC FELT FELT FRP

CLADDING CLADDING

FRP GFRC

GLASS

CURTAIN WALL

EXTERIOR WALL METAL INTERIOR WALL

PLASTER PRECAST PRECAST CONCRETE CONCRETE

SCREEN

SOLID SURFACE WOOD VINYL

TABLE

OPERATION AGGREGATION BANDING COLD BENDING CONTOURING CRENELLATION

EFFECT

PAGE

AMORPHOUS

2 6

BRAIDED

12 4

DIFFERENTIATED

16 6

DIRECTIONAL

20 8 26 10

EMBROIDERED

30 12

ENCAPSULATED

36 14

GRADATION

44 18

40 16

MODULATION

20 50 KINETIC

22 54

LAYERED

24 60

PATTERNING LUMINOUS

PERFORATION TARTAN TESSELATION

WEAVING

WRAPPING TESSELATION

26 64 28 68

MOIRED

30 72

MONOLITHIC

32 76

PILLOWED

34 82

QUILTED

36 88

SPARKLED

38 92

TOPOGRAPHIC

40 96

UNDULATED WEIGHTED

102 42 106 44 110 46

COMMUNAL TABLE GENSLER

MATERIAL: SOLID SURFACE ⁄ WOOD FUNCTION: TABLE OPERATION: CONTOURING EFFECT: AMORPHOUS PROJECT OFFICE: Los Angeles PROJECT TEAM: Gensler & Cal Poly San Luis Obispo (SLO) School of Architecture - Mark Cabrinha (SLO) ⁄ Ben Cambell (SLO) ⁄ Jim Doerfler (SLO) ⁄ Kegan Flanderka (SLO) ⁄ Shawn Gehle ⁄ Richard Hammond ⁄ Robert Jernigan ⁄ Valentin Lieu ⁄ Sabu Song ⁄ Cory Walker (SLO) LOCATION: Gensler Office, Los Angeles, CA PROGRAM: Surface to welcome guests with Gensler PR material CLIENT: Gensler

multple meetings

8 Other Option

Current Design

Fabrication

3 student PROJECTS CONVERGED into a single CONCEPT

Concept

[Fabrication Techniques] To save money with material, and to enhance visual experiences, the thermal formed Corian was minimized by exposing the underlying structure. This exposure occurs on the facade facing the wall / tv. The slats can be adjusted to also store drawings or magazines.

Emphasizing material relationship - encourages touch and interaction Very flexible functionality - variety of uses

Thermal Formed Corian Exposed Structure

THIS PAGE

OPPOSITE PAGE

INSTALLED TABLE

FINAL CONCEPT RENDERING

INDIVIDUAL STUDENT CONCEPTS

SURFACE RESOLUTION USING RHINO\T-SPLINES Structural Analysis Feedback TOOL PATH MATRIX VERTICAL STRUCTURE LEGEND ABS PLASTIC PROTOTYPE

9 SLO Gen Table

Page 1 of 3

Gensler approached Buro Happold to provide structural engineering input for a table fixture to be located prominently within the main lobby of their new downtown Los Angeles office. The table consists of a plywood egg crate base construction with a hi-mac thermoformed shell overlay. The project evolved from a collaboration between Gensler and Cal Poly San Luis Obispo.

Image 01 – Rhino Model, as provided by Gensler/Cal Poly

Image 02 – System Description

The engineering analyses undertaken for the project were conducted to establish structural behaviour within the composite system. Initially, the egg crate system was studied independent of the hi-mac shell to evaluate its deflection based upon the degree of rotation at the jointing (joint = interface between vertically and horizontally running plywood sheets). Fixity was varied from free rotation to fully fixed to understand the magnitude of the cantilever deflection. Expected fabrication tolerances were evaluated and set for the project which in turn set the degree of rotation allowed within each joint. The degree of rotation at each joint established to a significant degree the extent of deflection at the cantilever tip.

Image 03 – Egg Crate Deflection Analysis

10 THIS PAGE BALTIC BIRCH PLYWOOD RIBS BEING CUT VIA CNC TWO HALVES OF EGG CRATE DURING ASSEMBLY 3-AXIS CNC MILLING OF FOAM MOLDS FULLY ASSEMBLED EGG CRATE

OPPOSITE PAGE DRAPE MOLD AND CURING PROCESS FOR LG HI-MACS SOLID SURFACE FINAL ALIGNMENT OF HORIZONTAL AND VERTICAL SURFACES FINAL SANDING FINISHED DESK IN SHOP SHIPPED FULLY ASSEMBLED COMPLETE AND IN PLACE

CANOPY CEILING NCJHS

MATERIAL: METAL FUNCTION: SCREEN OPERATION: WEAVING EFFECT: BRAIDED PROJECT OFFICE: Los Angeles PROJECT TEAM: Peter Barsuk ⁄ Nick Christopher ⁄ David Herjeczki ⁄ Charrisse Johnston ⁄ Chris Kao ⁄ Nathan Kim ⁄ Heidi Konieczka ⁄ Colette Smith ⁄ Shira Zur

LOCATION: West Hills, CA PROGRAM: High School CLIENT: New Community Jewish High School

The “Tallis” is a Jewish prayer shawl worn by men and women during morning prayer services used to prepare the mind and heart for prayer and inspire elation and reverence for God. The endless knot that is seen on the “tallis” worn at graduation, is a Jewish motif symbolizing eternity. The infinite knot motif is used as the driver for the metal entry portal screen.

Current Entry Portal finished with plaster

Center Line

ENDLESS KNOT MOTIF

ENTRY PORTAL CEILING TREATMENT ENTRY PORTAL DESIGN OPTIONS FABRICATION LAYOUT AND OPTIMIZATION

Custom Fabricated Ceiling Treatment

2d Line Pattern

TALLIS WORN AT GRADUATION

BENT METAL PIPE COMPONENT

BENT METAL PIPE 2D Line pattern expressed as

FLACK STOCK METAL COMPONENT

FLAT STOCK METAL 2D Line pattern expressed as ex-

bend round metal pipe. The pipe

truded metal surface that has been

is weaved with an overall depth

cut with another planar surface. The

of 2-3.â&#x20AC;?

cutting plane gives the metal plate a wave-like appearance.

REPETITIVE

CUSTOM

MIRROR LINE 2

CUT PLANE FOR CUSTOM

A (x6)

B (x6) C(x6) D(x8)

FLACK STOCK METAL SURFACE

ACOUSTIC WALL KCET

MATERIAL: FELT FUNCTION: INTERIOR WALL OPERATION: MODULATION EFFECT: DIFFERENTIATED PROJECT OFFICE: Los Angeles PROJECT TEAM: Barbara Bouza ⁄ Katie Buchanan ⁄ Kevin Kilmer ⁄ James Lee ⁄ Douglas Peters ⁄ John Plumb ⁄ Christine Rohde ⁄ Michael White ⁄ John Wiedner ⁄ Denise Zacky-Popoch

LOCATION: Burbank, CA PROGRAM: Entertainment ⁄ Media Office Interiors CLIENT: KCET Community Television Station

The ribbon liner is akin to a “wrapper” or the “mobius band” that achieves infiniteness, continuity, and visual dynamism. It intertwines the private enterprise of making television productions and the public community outreach that KCET is deeply entrenched in.

RIBBON LINER PERSPECTIVE MOBIUS BAND FOLDING OF THE RIBBON LINER SECTION THROUGH RIBBON

19 1.

3. DONOR WALL 4. 2-STORY TELEVISION STUDIO

LOBBY COMMUNITY ROOM

CURTAIN WALL KOREAN AIR LINES MATERIAL: GLASS FUNCTION: CURTAIN WALL OPERATION: BANDING EFFECT: DIRECTIONAL PROJECT OFFICE: Los Angeles PROJECT TEAM: Robyn Bisbee ⁄ Michelle Boll ⁄ Aurora Carlon ⁄ Hogan Chun ⁄ Ryan Davis ⁄ Brian Fraumeni ⁄ Kristen George ⁄ Lauren Gropper ⁄ Adam Gumowski ⁄ Dorothy Helmuth ⁄ Tom Ito ⁄ Mike Janas ⁄ Lisa Kong ⁄ Fong Liu ⁄ Kap Malik ⁄ Candra Mathis ⁄ Glen Rasmussen ⁄ Nellie Reid ⁄ Jiang Shen ⁄ Steven Upchurch ⁄ Warwick Wicksman LOCATION: Incheon, South Korea PROGRAM: Hotel, Restaurant, Bar⁄Lounge, Ballroom, Conference Facility CLIENT: Korean Air Lines Co., LTD.

The prelimary concept featured horizontal projections, tracking upwards in elevation as the line traveled along the length of the facade. Further evolution used the technique of outward tilting unitized curtain wall panels to affect the reading of sun shadows cast upon the facade by a larger horizontal projection spaced equally from floor to floor. This new facade design gave the effect of the upward tracking horizontal projection without out compromising the views looking out from the guestrooms.

TRACKING FIN PANEL FACADE PERSPECTIVE STEPPED CANTING PANEL FACADE PERSPECTIVE STEPPED CANTING PANEL FACADE ISOMETRIC VIGNETTE TRACKING FIN PANEL MODULE ISOMETRIC VIGNETTE CURTAIN SYSTEMS CURTAIN WALL PANELS

23 + 0° / + 1°

+ 1° / + 2°

+ 2° / + 3°

+ 3° / + 4°

+ 4° / + 5°

AUTOMATED RETAIL EXPERIENCE +

SCHEMATIC DESIGN GUESTROOM / CURTAIN WALL MODULES SCHEMATIC DESIGN EXTERIOR ELEVATION

HALLWAY CEILING VENTURA COLLEGE MATERIAL: Fiber Reinforced Polymer FUNCTION: Screen OPERATION: Aggregation EFFECT: Directional PROJECT OFFICE: Los Angeles PROJECT TEAM: Peter Barsuk ⁄ Gary Downer ⁄ Robert Fabijaniak ⁄ Robert Garlipp ⁄ David Herjeczki ⁄ Charrisse Johnston ⁄ Heidi Konieczka ⁄ Brianna Seabron ⁄ Sung-Ze Yi

LOCATION: Ventura, CA PROGRAM: STEM Lab ⁄ Lecture Hall ⁄ Geo-Sci Visualization Theater CLIENT: Ventura College

Ventura: Where the ocean meets the mountain. This visual metaphor underlies both the macro-level reference for the organization of the building and the micro-level reference for the ceiling of the circulation space at the Applied Science Center. Two distinct volumes of program space are held together by a conjunctive circulation space, capped by an undulating linear ceiling that establishes a visitorâ&#x20AC;&#x2122;s sense of place within the campus and sense of orientation within the building. The subtle wave-form undulation makes an explicit reference to wave phenomena. Waves are disturbances that are either mechanical, propagating through a medium like earth or water, or electromagnetic, traveling as field oscillations through a vacuum. It is left to the observer to interpret the work as referring to mechanical waves as studied by the Geosciences program in the building or as electromagnetic pulses related to work in the STEM lab program, also housed in the building. Issues of accessibility, constructability, and economy are addressed by a design that utilizes FRP linear elements that are cast from only three unique molds and unitized into a set of removable panels.

MOUNTAIN OCEAN

Cover, Ventura Visitors Guide

PROGRAM SPACE Extroverted Flexible Lower height

CONJUNCTIVE SPACE Circulation

Image from a Ventura Visitors Guide wormâ&#x20AC;&#x2122;s eye view organization of the Applied Science Center

PROGRAM SPACE Introverted Specific Tall + varied

A4'

C1'

A4'

C1'

A4'

C1'

A4'

TYPE A2

TYPE A3

TYPE A4

A4'

A4' A4'

A3'

B1 B1 B2 B2

A1'

A3'

A4B2

C1'

A4'

C1'

A4'

C1'

A4'

A4' A4' A4'

A4'

LOBBY CEILING PANEL LAYOUT

B1SCALE: 3/16" = 1'-0"B1

A4B2

A4' A3'

A1' A3' A3'

B1 B1

A1'

A4 A1'

A4'

A3' LOBBY LINEAR CEILING CHANNEL TYPES A3' SECTION

A3'

PLAN VARIES

VARIES TYPE A

A3' 10' - 0"

TYPE B

10' - 0"

5' - 0" TYPE C

- 0"

TYPE C1

A2'

R 2'

B1 A2

R 2' -

" '-0 R1

R 2' - 0"

A4'

A3'

TYPE B2

Lobby ceiling panel types Ceiling layout

5' - 0"

10"

A2'

10"

A4'

TYPE B1

A4'

A1'

A4'

- 0"

R 1'

10"

A4'

TYPE A1

SPECIAL SKIN

CONFIDENTIAL CLIENT MATERIAL: METAL FUNCTION: CLADDING OPERATION: PATTERNING EFFECT: EMBROIDERED PROJECT OFFICE: Los Angeles PROJECT TEAM: Jonathan Breen ⁄ Henry Chang ⁄ Kirk Funkhouser ⁄ David Glover ⁄ Chinmaya Misra ⁄ Nancy Nam ⁄ Tom Perkins ⁄ Maysho Prashad ⁄ Jae Rodriguez ⁄ Scott Severson ⁄ Casey Worrell

LOCATION: China PROGRAM: Retail Center CLIENT: Confidential

Conceptually the built form is envisioned as an antique artifact, capturing the tradition and culture of one of the four great ancient capitals of China. The process of ‘carving’ and ‘scripting’ therefore becomes the underlying design strategy for both program and skin while the Peony, seen as the national flower, gives rise to base profile a (40%) that formal expression.

a base profile a (40%)

base profile b (100%)

b primitive PRIMITIVE

primitive

base profile c (120%)

base profile d (140%)

le a (40%)

base profile b (100%)

EXTRACTING THE SHAPE OF A PEONY PETAL

ABSTRACTING THAT SHAPE GENERATING A PATTERN FROM THAT SHAPE PANELIZING THE PATTERN bUILDING AS ‘ANTIQUE’ breakdown of the SKIN STRATEGY : THE PEONY AND THE SCROLL

primitive

33 X

GLASS WITH FRIT PATTERN OF PEONY FLOWER

NATURAL

SYNTHETIC

SCRIPTED

CLEAR GLASS BEYOND WATER JET PANEL

ABSTRACTED CANOPY - CHINESE SCRIPT (WATER JET METAL PANEL)

CANOPY - PEONY PETAL SHAPED PERFORATIONS (WATER JET METAL PANEL)

CANOPY STRUCTURE

COMPOSED

+ = X

唯庭池唯庭池唯庭池唯庭池唯唯庭庭池池有花有上有花前前前上有花前上有花前上有花前上上牡花花芙牡开芍芍芍芙牡开芍芙牡开芍芙牡开芍芙开芙牡开开丹药药药蕖丹时药蕖丹时药蕖丹时时时时时蕖丹药蕖蕖丹真真真真真妖妖妖妖妖净真节净净庭节唯净庭节唯净节节节节唯妖唯净庭国国国国国池池池池无无无有无有无少国动动动动动动动有无有少少少少花花花花前前前唯唯唯少庭庭上上上上色京色色色京格格格牡格牡格情色京京池池京京京牡格牡情情情情色开开开开芍芍芍有有有花情花花前前芙芙芙芙唯唯唯唯唯城城上城上城城城丹庭庭丹庭庭丹庭丹庭池唯城时时时时池池池池池药药药牡牡牡开开开芍芍蕖蕖蕖蕖有花有有芙芙花花花真花花前前真前前真前真前上有花上上有上上上有节节节节妖妖妖时时时丹丹丹药药牡开牡开开国净净净净蕖蕖开芍芍国芍芍国芍国芍芙牡开动动动动开芙芙牡芙芙芙牡无无无开节节节牡真真真妖妖时时时时时时丹丹丹丹丹药药药药药少少少少净国色净国色京京京京药蕖丹时色蕖蕖真蕖蕖蕖真动动动真格格格节色国无无节节节节真真妖妖城妖城妖城妖城节妖真节 ANCIENT CHINESE SCROLL : SKIN METAPHOR

PANELIZATION OF THE SCROLL : SKIN STRATEGY

APPLICATION OF SCROLL PANEL : SKIN FORMATION

少情庭前芍妖无格

“Paeonia Lactiflora growing in the garden is colorful with no character; the lotus growing in the pond is white with no taste. Only the peony has real beauty; when it blooms everyone comes to enjoy it.”

少情庭前芍妖无格

The Peony and the Scroll :

庭池庭池庭池有上上前前上有前花花牡芙牡芍芍芙开芍芙开丹蕖药蕖丹药时时蕖药真真妖净妖节节净妖净国少动无少国无动少无色京格情色格京情格情唯城唯城庭庭池池庭池有上花花上前前上有前牡芙开开芙芍芍芙牡芍时时蕖药丹蕖药蕖丹药真节节妖妖真妖 X

唯庭池唯庭池唯庭池唯庭池唯唯庭庭池池有花有上有花前前前上有花前上有花前上有花前上上牡花花芍芍芍芙牡开芍芙牡开芍芙牡开芍芙开开芙牡开开芙牡丹丹丹丹丹药药药药药蕖丹时蕖蕖蕖蕖时时时真时真时真时药蕖真真妖妖妖妖妖净真节净净庭节唯净庭节唯净节节节节唯妖唯净庭国国国国国池池池池无无无无无少国动动动动有动动动有无有少少少色少色有花花花花前前前唯唯唯少庭庭上上上上色色色格格格牡格牡格情色京京京池京池京京京牡格牡情情情情开开开开芍芍芍有有有花情花花前前芙芙芙芙唯城唯唯上上城城城丹庭庭丹庭庭丹庭丹庭池唯城时时时时城池池唯池池池唯药药药城牡牡牡开开开有芍芍有蕖蕖蕖蕖有有有芙芙花花花花花花前前真前前前上上节上上上节前上有花节节真真真妖妖妖开时时时牡丹丹丹药药牡牡牡开开开开净净净净蕖蕖芍芍芍芍芍芍芙牡开动动动开芙芙动芙芙芙牡国国国国无无时无时节节节真真真妖妖时时时时丹丹丹丹丹药药药药药少少色净少净少京京京京药蕖丹时色色色蕖蕖真蕖蕖蕖真动动动真格格格节国国国无无节节节节真真妖妖城妖城妖城妖城节妖真节

STAIR WALL

CONFIDENTIAL CLIENT MATERIAL: WOOD FUNCTION: SCREEN OPERATION: PATTERNING EFFECT: ENCAPSULATED PROJECT OFFICE: Los Angeles PROJECT TEAM: Barbara Bouza ⁄ Tiffany Chen ⁄ Chris Coldoff ⁄ Lindsay Green ⁄ Greg Nelson ⁄ John Reyna ⁄ Cassie Sanchez ⁄ Shawn Shin ⁄ Tam Tran ⁄ Li Wen ⁄ John Wiedner

LOCATION: Thousand Oaks, CA PROGRAM: Office Space CLIENT: Confidential

38 1" 3'-82

3'-0"

VIEW DOWN MAIN STAIR

1" 7'-32

24'-5"

7'-0"

1" 2'-102

1" 4'-02

3'-7"

TRIMMED PATTERN APPLIED TO WALL FORM

1" 7'-32

PANELIZED LAYOUT FOR FABRICATION ROUTED AND CUT PREFABRICATION PLYWOOD SAMPLE DESIGN INSPIRATION AND PROCESS STAIR WALL POST INSTALLATION

3'-8"

24'-9"

3'-8"

2'-9"

CONCEPTUAL IMAGERY

SURFACE DEVELOPMENT

PATTERN DEVELOPMENT

FABRICATION PROTOTYPE

FEATURE WALL KOREAN AIR LINES MATERIAL: GLASS FIBER REINFORCED CONCRETE FUNCTION: INTERIOR WALL OPERATION: WEAVING EFFECT: GRADATION PROJECT OFFICE: Los Angeles PROJECT TEAM: Robyn Bisbee ⁄ Michelle Boll ⁄ Aurora Carlon ⁄ Hogan Chun ⁄ Ryan Davis ⁄ Brian Fraumeni ⁄ Kristen George ⁄ Lauren Gropper ⁄ Adam Gumowski ⁄ Dorothy Helmuth ⁄ Tom Ito ⁄ Mike Janas ⁄ Lisa Kong ⁄ Fong Liu ⁄ Kap Malik ⁄ Candra Mathis ⁄ Glen Rasmussen ⁄ Nellie Reid ⁄ Jiang Shen ⁄ Steven Upchurch ⁄ Warwick Wicksman LOCATION: Incheon, South Korea PROGRAM: Hotel, Restaurant, Bar⁄Lounge, Ballroom, Conference Facility CLIENT: Korean Air Lines Co., LTD.

42 BB

44 cm

SECTION AA

SECTION BB

30 cm 102.71 cm

18.91

31.81

348 cm 30 cm

100.25 cm

31.89

8 cm

348 cm

63.23 cm

18.91

348 cm

8 cm

PLAN

44 cm

20.58

62.10 cm

40.39 cm

44 cm

32.65

30 cm

53.56 cm

44 cm

SECTION CC

8 cm

ELEVATION 44 cm

SCHEMATIC PHASE - PANEL DESIGN (SERIAL SECTIONS) DESIGN DOCUMENTS - DETAILED PLAN CUTTING THROUGH WALL MOCK UP & PARAMETRIC CURTAIN WALL PANEL FAMILY ELEVATION DESIGN DOCUMENTS - PREFUNCTION INTERIOR ELEVATION

44 cm

210.50 cm

43 LEVEL 02 7000

LEVEL 02 7000

LEVEL 01 -0

LEVEL B1 -5200

SUNSCREEN WESTIN

MATERIAL: METAL FUNCTION: CLADDING OPERATION: PATTERNING EFFECT: GRADATION PROJECT OFFICE: Los Angeles PROJECT TEAM: Aimee Akazawa ⁄ Robyn Bisbee ⁄ Alvin Chen ⁄ Brian Fraumeni ⁄ Suzanne Gehlert ⁄ Kristen George ⁄ Ken-Hao Hsu ⁄ Tom Ito ⁄ Fong Liu ⁄ Kap Malik ⁄ Obed Ortiz ⁄ Morgan Wiener

LOCATION: Suzhou, China PROGRAM: Westin Hotel⁄Conference, Service Apartments, Restaurants CLIENT: KWG Property Holding Limited

46 SCHEME 1 - PARTI & LOCATION OF SCREENS

SCHEME 2 - PARTI & LOCATION OF SCREENS

SCHEME 1 - NORTH EAST DROP OFF PERSPECTIVE SCHEME 1 - NORTH EAST AERIAL VIEW SCHEME 2 - NORTH EAST AERIAL VIEW SCHEME 2 - NORTH EAST DROP OFF PERSPECTIVE TRADITIONAL CHINESE LATTICE DESIGNS TRADITIONAL CHINESE FRAMED OPENINGS

47 COAT OF ARMS

COMPOUND HEXAGONS

SEPARATED OCTAGON SQUARE

CLOUD

CROSSED THUNDERCLOUDS

ROTATED ORIENTAL FERN

ICE RAY

CROSS

SEPARATED WAVES

ICE RAY

TEARDROP

48 P13

TRANSFER 28800

LEVEL 4 23300

2 3

3 LEVEL 3 15300

LEVEL 2 9300

SCHEME 1: ISO VIEW 1) FRAME 2) PATTERNED SCREEN 3) ENCLOSURE SCHEME 1: WALL SECTION SCHEME 1: ENLARGED ELEVATION scheme 2: PROGRAM OPACITY DIAGRAMS SCHEME 2: UNFOLDED PODIUM SCREEN

49 TRANSFER

LEVEL 4

TRANSFER

OPAQUE

LEVEL 3

RENT

LEVEL 4

LEVEL 2

TRANSFER

HYBRID

LEVEL 4

Opaque OPAQUE

Hybrid HYBRID

Transparent TRANSPARENT

LEVEL 2 LEVEL 3

LEVEL 4

TRANSPARENT

LEVEL 2 LEVEL 3

LEVEL 2

ade West Fac

North Facade

ad East Fac

The size of openings is controlled by the public and/or private functions across the TRANSPARENT East podium facade.

Roof

HYBRID

LEVEL 3

TRANSFER

The screen design for various podium elements is referential of the celebrated Taihu rock and its porous nature.

South Facade

OPAQUE

ROOF TILES IIAC

MATERIAL: GLASS FIBER REINFORCED CONCRETE FUNCTION: CLADDING OPERATION: MODULATION EFFECT: GRADATION PROJECT OFFICE: Los Angeles PROJECT TEAM: Nicholas Acevedo ⁄ Tom Baty ⁄ Brian Barnes ⁄ Parinaz Behbahani ⁄ Cody Campbell ⁄ Mini Chu ⁄ Kevin Conklin ⁄ Dara Douraghi ⁄ Matthew Johnston ⁄ Robert Garlipp ⁄ Leigh Kobe ⁄ Mason Lee ⁄ Young Lee ⁄ Todd Macpherson ⁄ Marisol Mejia ⁄ Nathan Moore ⁄ Chris Musich ⁄ Hyunjoo Oh ⁄ Obed Ortiz ⁄ Shawn Shin ⁄ Sabu Song ⁄ Keith Thompson ⁄ James Young ⁄ Terence Young LOCATION: Incheon Airport Terminal 2 PROGRAM: Airport CLIENT: Incheon International Airport Committee

52 Skylight opening Waterproof layer Rain screen panels TICKETING HALL ROOF LONG SPAN SERIES OF SHELL VAULTS

SINGLE PANEL - ONE SIZE FITS ALL

RETAIL AREA ROOF LONG SPAN, SELF SUPPORTING SHELL ROOF

LAYERED, NESTED - REDUCES HEAT LOAD

CONCOURSE ROOF LENTICULAR SHAPED TRUSS VARYING IN WIDTH RETAIL NODE ROOF LONG SPAN, SELF SUPPORTING SHELL ROOF

PANEL OPERATIONS AND RESULTANT PERFORMANCE ROOF SKIN PERSPECTIVE NESTED SYSTEMS DIAGRAM

PERFORATED FILTERS LIGHT

53 Skylight Filter

Skylight opening Cladding

Waterproof layer

Structural frame

FEATURE CEILING HYUNDAI CAPITAL MATERIAL: VINYL FUNCTION: SCREEN OPERATION: MODULATION EFFECT: KINETIC PROJECT OFFICE: Los Angeles PROJECT TEAM: Sarah Gibbons ⁄ Neil McLean ⁄ Philippe Paré ⁄ Mirko Wanders ⁄Jennifer Wu ⁄ Betty Yiu

LOCATION: Atlanta, GA PROGRAM: Employee break area CLIENT: Hyundai Capital

16 B B

A 6

HALF SIZE MOCK-UP INSTALLATION

HALF SIZE MOCK-UP

CONE GENERATION

GRID PLAN LAYOUT and ELEVATIONS

13 12

Fire retardant parachute material proved to be the material of choice given its qualities: ripstop, lightweight, cost effectiveness and color stable.

The team worked closely with a fabricator to create a half-size mock-up. It was essential to create a seamless workflow between the computer model, pattern layout, annotation, and final assembly.

A fabric-cloud ceiling, geometrical rock-shaped conference rooms and a living vertical garden, create a soothing backdrop for rejuvenation, socialization and inspiration.

Hyundai Capitalâ&#x20AC;&#x2122;s primary objective for its 50,000 sq ft Operations Center in Atlanta, Georgia, was to maximize employee productivity while making a strong commitment to promote employee well-being. The concept of nature is brought inside the building in the form of sky, land, and vegetation.

5 4 3 2 1 A B C A1

J 5

D 4 3 2

CNC CUT

FABRICATION

ASSEMBLY A E5

C G5

J E3

A1 F3

12” 2

I 3

5 4

GRID

12”

A B C D E F G H

1 2 3 4 5 6 7 8 9 B

A B C D E F G H

5 4

E F G H I

E F G H

1 2 3 4 5 6 7 8 9 A1

LAYOUT

58 VIEW OF MODEL FROM EAST, MODEL SCALE: 1/8” = 1’-0” WAVY CEILING GEOMETRY FABRIC CEILING INLAY DIMENSION: 90’ X 25’ 3D PRINT OF CEILING USING TRANSPARENT PLASTIC VIEW OF MODEL FROM NORTH ELEVATION

STRUCTURAL WALL UC SAN DIEGO MATERIAL: PRECAST CONCRETE FUNCTION: EXTERIOR WALL OPERATION: TARTAN EFFECT: LAYERED PROJECT OFFICE: Los Angeles PROJECT TEAM: Nick Alanen ⁄ Ruby Aquino ⁄ Robert Garlipp ⁄ Tom Heffernan ⁄ Kevin Heinly ⁄ Nathan Ouren ⁄ Christian Robert ⁄ Claudia Salazar ⁄ Jamie Salvo ⁄ Gene Watanabe

LOCATION: San Diego, CA PROGRAM: Office CLIENT: University of California San Diego

EXTERIOR SKIN HYUNDAI MATERIAL: GLASS FUNCTION: CURTAIN WALL OPERATION: PATTERNING EFFECT: LUMINOUS PROJECT OFFICE: Los Angeles PROJECT TEAM: John Adams ⁄ Suhoon Bae ⁄ Elizabeth Brink ⁄ Marc Cucco ⁄ Yanina Diaz ⁄ Jeff Fukawa ⁄ Robert Garlipp ⁄ Jenny Huang ⁄ Nate Jakus ⁄ Robert Jernigan ⁄ Hae-Sun Kim ⁄ Hans Krake ⁄ Vincent Lai ⁄ Valentin Lieu ⁄ Joe Lo ⁄ Carrie Morrison ⁄ Greg Nelson ⁄ Philippe Paré ⁄ Dominick Ricci ⁄ Jillian Rubbert ⁄ Cassie Sanchez ⁄ James Schrader ⁄ Colette Smith ⁄ Ryan Spruston ⁄ Audrey Vuong ⁄ Gene Watanabe ⁄ Serena Winner ⁄ Audrey Wu ⁄ Mika Yagi ⁄ Sung-Ze Yi ⁄ Tommy Yuen ⁄ Evangelique Zhao LOCATION: Fountain Valley, CA PROGRAM: Headquarters CLIENT: V Motors

66 ELEVATIONAL PATTERN STUDY WITH SCALE FIGURES RENDERED ELEVATION SHOWING FRIT OPTION FRIT PATTERN EFFECTS ON INTERIOR SPACES FACADE AND FRIT PATTERN PROTOTYPE

U.S. Headquarters for Hyundai Motor America

03.06.12

U.S. Headquarters for Hyundai Motor America

03.06.12

67 LEVEL 01 HALLWAY +4㏳#⊳ᦂ⮎⛚#⊶#⻏ⷓ,

TYPICAL OFFICE WORKSPACE +Ꮾ⺾㏳#♪⃲ኳᇂ,

TYPICAL OFFICE OPEN MEETING / RECEPTION AREAS +Ꮾ⺾㍧#㱊ⴖ#⇍#Ὢ✇✖#ኳᇂ,

U.S. Headquarters for Hyundai Motor America

03.14.12

FEATURE CEILING IIAC

MATERIAL: METAL FUNCTION: CLADDING OPERATION: TESSELLATING EFFECT: LUMINOUS PROJECT OFFICE: Los Angeles PROJECT TEAM: Nicholas Acevedo ⁄ Tom Baty ⁄ Brian Barnes ⁄ Parinaz Behbahani ⁄ Cody Campbell ⁄ Mini Chu ⁄ Kevin Conklin ⁄ Dara Douraghi ⁄ Matthew Johnston ⁄ Robert Garlipp ⁄ Leigh Kobe ⁄ Mason Lee ⁄ Young Lee ⁄ Todd Macpherson ⁄ Marisol Mejia ⁄ Nathan Moore ⁄ Chris Musich ⁄ Hyunjoo Oh ⁄ Obed Ortiz ⁄ Shawn Shin ⁄ Sabu Song ⁄ Keith Thompson ⁄ James Young ⁄ Terence Young LOCATION: Incheon Airport Terminal 2 PROGRAM: Airport CLIENT: Incheon International Airport Committee

The terminal roof filters light to glow brilliantly during the day and at night. A series of vaults spans the grand terminal hall, supported by columns designed to flow with the smooth, sculptural surface of the luminous ceiling. Conceptually, the structure of this roof and ceiling combines the aerodynamic softness of wings, traditional patterns of Korean windows, the luminosity of Korean paper craft â&#x20AC;&#x153;Hanji,â&#x20AC;? and the smooth shapes of innovative computational design.

Structural system of repetitive bays articulate the vaulted roof and undulating ceiling forms

DOUBLE LAYER ROOF SYSTEM; DEPTH RANGES FROM 1.8M TO 10.0M

Roof surface

Structural space frame Roof structure Ceiling panels of varying porosity

Skylight

Ceiling surface

The tessellated or triangulated ceiling surface serves to clad and conceal the roof structure from below roof structure from above ceiling surface and roof structure

intricate structural roof system above. Creating clarity to the interior space while at the time diffusing the daylight through the gradated skylights

CEILING SURFACE

02. TYPICAL CEILING PANEL

03. TYPICAL CEILING PANEL

04. TYPICAL CEILING PANEL

3.0 M

Subdivided undulated surface 01. TYPICAL CEILING PANEL

The ceiling design consists of 4 typical white metal panel types of a max Dimension 3.0 M x 1.4 M TRIANGULATION Diagrid triangulation generated to create planar panelization

MATERIAL: WHITE METAL PERFORATION TYPE A MATERIAL: WHITE METAL PERFORATION TYPE B

SKYLIGHT GRADIENT Gradated panel apertures for Lighting effect

APERTURE CONTROL Dimensional control of light aperture

Ceiling panel types and CEILING PANEL MATERIAL SAMPLE

APERTURE REFINEMENT Defining overall aperture sizing requirements for MEP system loads

Rendering of interior “cloud” ceiling at the ticketing hall Paneling logic for typical ceiling bay

FEATURE WALL PVR CINEMAS MATERIAL: METAL FUNCTION: SCREEN OPERATION: PERFORATION EFFECT: MOIRÉD PROJECT OFFICE: Los Angeles PROJECT TEAM: Aimee Akazawa ⁄ Vic Froglia ⁄ Kristen George ⁄ Tom Ito ⁄ Kap Malik ⁄ Chris Rallo ⁄ Warwick Wicksman ⁄ Morgan Wiener ⁄ Rashana Zaklit

LOCATION: Chennai, India PROGRAM: Movie Theater, Concessions, Lounge CLIENT: PVR Cinemas

74 TRIANGULATION, BALANCE & REPETITION OVERLAY PATTERN DIAGRAMS ALTA RED DYE USED IN BHARATA NATYAM DANCE MALL ATRIUM ELEVATION INTERIOR RENDERINGS

LED-BACKLIT METAL SIGN 782

PERFORATED RED HIGH GLOSS METAL PANELS EQ

23555 EQ

573

07_Terrace Level

480

ce Level

1689

27350

22720

06_Projector Level 6896

ctor Level

3745

Exit Level

Entry Level

05_AUD Exit Level 19200 GLASS CURTAIN WALL SYSTEM CENTERED ON STRUCTURAL GRID

04_AUD Entry Level 704

2775

789

14750

EXTERIOR SKIN SHENBEI ARENA MATERIAL: METAL FUNCTION: CLADDING OPERATION: BENDING EFFECT: MONOLITHIC PROJECT OFFICE: Los Angeles PROJECT TEAM: Jeffrey Anglada / Cody Campbell / Yupil Chon / Steve Chung / Jonathan Emmett / Kirk Funkhouser / Ken-Hao Hsu / Lorenzo Marasso / Pamela Nava / Marcello Pozzi / Sonny Putro / Eric Randolph / Eric Stultz / Demetra Thornton / Ron Turner LOCATION: Shenyang, China PROGRAM: Sports Facility CLIENT: Shenbei Arena

The three dimensional surfaces of the exterior skin are geometrically called “ruled” because they are characterized by a straight line running through their entire length. Though more manageable than a sphere or any other spherical shape, not all ruled surfaces are “developable,” meaning they have the unique capacity of being subdivided into equal components. Ruled surfaces need a higher degree of customization. More customization means higher construction costs. The resulting curve that measures the degree of curvature and its production cost has a logarithmic development.

79 x=6719 y=80240 z=22275

x=0 y=71396 z=6000 43

11107

6000

37.2

4.8 80

WP - B

WP - C

x= -14550 y=0 z=0

x=14550 y=0 z=0

WP - A x=0 y=0 z=0

Shengjing International Performance Center Shengjing, China

CONSTRAINTS AND IMPLICATIONS

DESIGN AND ANALYSIS

RESULT WORKING WITH CONSTRAINTS

a 0$;,080 '(9,$7,21 PP a

3$1(/ $1$/<6,6 *$3 &5($7(' %< 3$1(/ -2,17 ',6&5(3$1&<

'$7$ ,6 &2//(&7(' )520 7+( 1(: *5,' 2) 3$1(/6 72 '(7(50,1( +2: 08&+ 7+( 1(: 5$7,21$/,=(' 685)$&( '(9,$7(6 )520 7+( 25,*,1$/ 685)$&(

&2/' )250 %(1',1* */$66

DATE: AUGUST 1st, 2011

32,176 $5( $1&+25(' $1' 7+( 7+,5' 32,17 2) 7+( 3$1(/ &$1 %( )25&(' ,172 3/$&(

COLD BENDING By forcing one vertice of a panel into places, as all new found subdivisions are not ďŹ&#x201A;at panels rather warped squares, and a calculation of the amount for each vertice to be cold bent we were to communicate the data (on the right) to the fabricator who approved the process.

SKG110C

H/31 (H/11) COLUMN DIMENSIONING

In order to array a standard flat panel over a curved surface, one has to re-parameterize the construction grid of the base surface by forcing its subdivisions to a shape very close to the given size of the panels. Even though geometrically these subdivisions will not be all exactly of the same length and width, they will be very close to the size of 2M by 1M, the size suggested by the metal fabricator. Scripting allows a departure from the boundaries of standard tool sets, allowing the program to carry out a different series of operations to achieve desirable results. Through the combination of modeling software Rhinoceros 3D, Grasshopper, and recursive plug-in Hoopsnake, the geometric properties of the Arenaâ&#x20AC;&#x2122;s base surfaces were rewritten to achieve standar panels for the majority of the exterior skin.

81 QUADRANT 01

QUADRANT 02

QUADRANT 04

QUADRANT 03

6188 UNTRIMMED PANELS 1.1M X 2M 1544 TRIMMED PANELS

PANELING GRID PLAN PANEL TYPES PANELING GRID AXONOMETRIC

SPECIAL SKIN SMC

MATERIAL: FIBER REINFORCED POLYMER + FRITTED GLASS FUNCTION: CLADDING OPERATION: PATTERNING EFFECT: PILLOWED PROJECT OFFICE: Los Angeles PROJECT TEAM: Sanjiv Bajaj ⁄ Marty Borko ⁄ Chris Bushong ⁄ Jonathan Emmett ⁄ Keith Fuchigami ⁄ Robert Garlipp ⁄ Shawn Gehle ⁄ Brian Glodney ⁄ Alexis Huether ⁄ Charrisse Johnston ⁄ Marine Maroukian ⁄ Ursula Marques ⁄ Casey Nagel ⁄ Eric Randolph ⁄ Nellie Reid ⁄ Dominick Ricci ⁄ Clair Souki ⁄ Jeremy Tooke ⁄ Tam Tran LOCATION: Santa Monica, CA PROGRAM: Health, PE, Fitness, Dance and Central Plant Facility CLIENT: Santa Monica College

84 r=10.6”

R=1”

TYPE - B1

X-1

r=8.6”

X-2 R=1”

X-3

R=3”

X-4

30” TYPE - A1

X-5

15”

0’-15”

X-6 X-7 X-8 X-9

TYPE - A1

3”

X-12

28’-09”

X-11 R=3”

3”

X-10

X-11

TYPE - C1

X-10 X-9 X-8 X-7

X-2

X-4

X-6

X-8

X-10

X-12

TYPE - A1

X-6 X-5 X-4 X-3

TYPE - A1

X-2 R=1”

X-3

X-5

X-7

X-9

X-11

5’-0” 6”

X-1

3”

85 INTERNAL PORTION

EXTERIOR

OF WALL PANEL

EFFECT

SOFFIT

SKETCH MODEL OF ORIGINAL CONCEPT PARTIAL PANEL PROTOTYPE - FULL SCALE WALL APPLICATIONS DEFINITION OF GEOMETRY SMALL SCALE PROTOTYPES ALTERNATIVE CORNER CONDITIONS 3D WALL SECTION

86 FULL SIZE FRIT PATTERN MOCKUP DEFINITION OF 30” X 30” FRIT GEOMETRY AND PATTERN CONCEPT RENDERING - WEST ELEVATION FULL SIZE FRIT PATTERN MOCKUP APPLICATION OF 30” X 30” PATTERN OVER GLAZING UNITS

MEETING ROOMS NIAGARA MATERIAL: FABRIC FUNCTION: INTERIOR WALL OPERATION: WRAPPING EFFECT: QUILTED PROJECT OFFICE: Los Angeles PROJECT TEAM: Kim Alford ⁄ Barbara Bouza ⁄ Elizabeth Brink ⁄ Chris Carter ⁄ Sarah Gibbons ⁄ Nate Jakus ⁄ Ian Macduff ⁄ Philippe Paré ⁄ Douglas Peters ⁄ Mirko Wanders

LOCATION: Ontario, CA PROGRAM: Company headquarters CLIENT: Niagara Bottling, LLC

Niagara Bottling Company commissioned an expansion of their existing headquarters building. Planning for the space needed to accommodate a maximum number of individual workstations for focus work, several conference rooms, and flexible touchdown areas for impromptu meetings. The design team imagined a simple feature to solve these apparently contradictory goals: floating meeting spaces. Scattered throughout the open work area, these meeting rooms define neighborhood spaces while providing much needed spaces for collaboration. While these meeting areas would seem to interfere with focus work, the soft rooms improve the acoustic environment of the neighboring open workstations. The soft rooms are made of 12â&#x20AC;&#x2122; tall, impregnated canvas panels filled with acoustic material, alternating with clear acrylic vision panels, and sewn together in a wavy vertical seam pattern.

MEETING ROOM - SHAPE AND CONFIGURATION CLIENT IDENTITY USED AS FORMAL INSPIRATION MEETING ROOM - PLAN VIEW MEETING ROOM - PERSPECTIVE VIEW DESIGN PROCESS PATTERN OPTIMIZATION TO TAKE FULL ADVANTAGE OF MATERIAL SIZE

91 PATTERN STUDY

FINAL DESIGN

MOCK-UP

EXTERIOR SKIN

CONFIDENTIAL CLIENT MATERIAL: GLASS FUNCTION: CURTAIN WALL OPERATION: CRENELLATION EFFECT: SPARKLE PROJECT OFFICE: Los Angeles PROJECT TEAM: John Adams ⁄ Jon Garcia ⁄ Robert Garlipp ⁄ Mindy King ⁄ Carrie Morrison ⁄ Audrey Vuong ⁄ Li Wen

LOCATION: Los Angeles, CA PROGRAM: Office CLIENT: Confidential

June 26th, 2012

d Glass Unit

SPANREL VISION GLASS

SKINSKIN A A

CURTAIN CURTAIN WALL WALL DETAIL DETAIL

andrel Truss Diagram of Light Reflection Reflection DIAGRAM OF LIGHT REFLECTION Axonometric section of curtain wall AXONOMETRIC SECTION OFofCURTAIN WALL

Spandrel Spandrel and Glass and Glass Unit Unit

SKIN SKINAA

CURTAIN CURTAINWALL WALLDETAIL DETAIL June 26th, 2012

SPANDREL + GLASS UNIT

Spandrel and Glass Unit Spandrel and Glass Unit

UTILIZED SPANDREL TRUSS Truss Unitized Unitized Spandrel Spandrel Truss

enclos

sion Glass OLYMPIC NORTH SITE STUDY

LOS ANGELES,CA

June 26th, 2012

05.8348.000

Unitized Spandrel Truss

Unitized Unitized VisionVision Glass Glass

SKIN A 95

SLAB SERRATED FLOOR SLAB GRID

GRID

1'-3" 3/$1

1'-1"

STUB BEAM

3/$1

2'-6"

1'-3"

STUB BEAM

GRID

CANTILEVER @ KINK IN SLAB EDGE

Additional Area

30'-0" REFERENCE

DIRECTION OF DECK SPAN

30'-0" REFERENCE

BEAM TO BRACE PLASTIC HINGE REGION

CANTILEVER @ KINK IN SLAB EDGE

1/4" BENT PLATE

5'-0" +/REFERENCE, TYP

RBS, TYP DIRECTION OF DECK SPAN

BEAM TO BRACE PLASTIC HINGE REGION

30'-0" REFERENCE

GRID RBS, TYP

GRID

3/$1

2'-6"

L5x3 1/2x5/16 (LLV), TYP

Additional Area

30'-0" REFERENCE

1'-3"

DIRECTION OF DECK SPAN

3/$1

L5x3 1/2x5/16 (LLV), TYP

GRID

SINGLE ANGLE BRACE, TYP

STUB BEAM

SINGLE ANGLE BRACE, TYP

5'-0" +/REFERENCE, TYP

3/$1

2'-6"

5'-0" +/REFERENCE, TYP

1'-3"

GRID

SINGLE ANGLE BRACE, TYP

STUB BEAM

GRID

STUB BEAM

GRID

GRID 5'-0" +/REFERENCE, TYP

STRAIGHT FLOOR SLAB PLAN DETAIL

an detail CANTILEVER @ KINK IN SLAB EDGE

SERRATED FLOOR SLAB PLAN DETAIL

Straight Floor Slab - Plan Serrated detail Floor Slab - Plan Detail

E STUDY

Additional Area EQUAL ADDITIONAL OLYMPIC NORTH SITE STUDY

LOS ANGELES,CA

LOS ANGELES,CA AREA

30'-0" REFERENCE

05.8348.000

Serrated Floor Slab - Plan Detail June 26th, 2012

05.8348.000

June 26th, 2012

2’-6”

L5x3 1/2x5/16 (LLV), TYP

SINGLE ANGLE BRACE, TYP

4’-6” STUB BEAM

GRID

10’-0”

r Slab - Plan Detail June 26th, 2012

25’-0”

OLYMPIC NORTH TOWER.indd 95

5’-0”

9/6/12 5:27 PM

CASINO CEILING SANDS COTAI MATERIAL: PLASTER FUNCTION: SCREEN OPERATION: CONTOURING EFFECT: UNDULATED PROJECT OFFICE: Las Vegas PROJECT TEAM: Jorge Barrero ⁄ Jeff Campbell ⁄ Glen Curry ⁄ Scott Dewoody ⁄ Lipika Jensen ⁄ Chris Koch ⁄ Protesto Martinez ⁄ John Raiten ⁄ Stephen Ranck ⁄ Brett Robillard

LOCATION: Parcel 6 Casino, Cotai Strip, Macau, SAR PROGRAM: Casino CLIENT: Las Vegas Sands Corporation

98 CONCEPT SKETCH

REFLECTED CEILING PLAN OF EXISTING 45° BAY REFLECTED CEILING PLAN OF REDESIGN SECTION OF EXISTING CASINO CEILING SECTION OF REDESIGN

17’-0” min.

COORDINATION WITH MECHANICAL & MINIMUM CEILING HEIGHT TYPICAL CEILING BAY SOLUTIONS

DIVIDED & OBSTRUCTED

17’-0” min.

OPEN & CONTINUOUS

21’

> 20’-0” AFF

19’ -0” AFF

18’ -0” AFF

LIGHTING

DIFFUSER

SPRINKLERS

17’

17’ -0” AFF

GEOMETRY

LIGHTING

FIRE PROTECTION

HVAC

Used 7 unique GFG bands, comprised of

Located 4” down lights centered on panels to

Located sprinkler heads centered on panels to

Provided an equal or greater amount of linear

GRG components. Total forms used are

provide uniform lighting levels for table game

provide full coverage.

diffuser length.

approximately 125 with a maximum width

requirements.

of 48”

100

46 ITERATIONS / 2 MONTHS

MIRROR TYPE 1 = TYPE 2 TYPE 2 A

FINAL MODULE

180˚ Panel Rotation

TYPE 1

180˚ A

TYPE 1 A

SINGLE BAY

DIMINISHED COLUMN PRESENCE = EXPANDED SPATIAL PERCEPTION

UNIT LOGIC

101 Page 1 of 1

Page 1 of 1

Page 1 of 1 Page 1 of 1

POLYNESIAN SUNSENT IMAGERY POLYNESIAN SUNSENT IMAGERY POLYNESIAN SUNSENT IMAGERY POLYNESIAN SUNSENT IMAGERY

Page 1 of 1

POLYNESIAN SUNSENT IMAGERY

http://antwrp.gsfc.nasa.gov/apod/image/0901/lenticular_picking.jpg 12/16/2010 http://antwrp.gsfc.nasa.gov/apod/image/0901/lenticular_picking.jpg http://antwrp.gsfc.nasa.gov/apod/image/0901/lenticular_picking.jpg 12/16/2010

AMBER SKY

12/16/2010

http://antwrp.gsfc.nasa.gov/apod/image/0901/lenticular_picking.jpg

12/16/2010 http://antwrp.gsfc.nasa.gov/apod/image/0901/lenticular_picking.jpg

12/16/2010

http://antwrp.gsfc.nasa.gov/apod/image/0901/lenticular_picking.jpg

MULTI COLOR LED MOCK UP

Casino 6-Pacifica

MULTI COLOR LEDCOLOR MOCK UP MULTI COLOR MULTI LED MOCK UP LED MOCK UP MULTI COLOR LED MOCK UP Casino 6-Pacifica

LAVENDER SKY

12/16/2010

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Page 1 of 1

POLYNESIAN SUNSENT IMAGERY

BLUE SKY

RED SKY

MULTI COLOR LED MOCK UP

Page 1 of 1

12/16/2010

FACADE SCREEN GENSLER MATERIAL: METAL FUNCTION: SCREEN OPERATION: PERFORATION EFFECT: TOPOGRAPHIC PROJECT OFFICE: Los Angeles PROJECT TEAM: Roderick Darling ⁄ Richard Hammond ⁄ Yasushi Ishida ⁄ Valentin Lieu ⁄ Ben McAlister ⁄ Dillon Pranger ⁄ Sabu Song / Tam Tran

LOCATION: Los Angeles, CA PROGRAM: Office CLIENT: Gensler

104

The challenge for the office entry wall was to create a 150â&#x20AC;&#x2122; long screen wall behind 26â&#x20AC;&#x2122; high glazing, which would serve as a billboard to the street and hold some significance to the neighborhood. The solution was a perforated, laser cut aluminum panel representing an abstracted map of Downtown LA achieved by laying the map over a topographic surface and applying a deformation.

BLACK & WHITE IMAGE OF DOWNTOWN L.a vortex deformation of downtown l.A city grid computational process of grid deformation to achieve 3d form perception

PROCESS: Start with a 2D xy point grid. Point grid is

PROCESS: Surface normals indicate directional changes of

PROCESS: Surface normals are projected on to the xy plane,

displaced on a deformed 3D surface.

the deformed 3D suface on UV coordinates.

resulting in an vector map of which the endpoint of each vector will determine the starting point for the aperture location on the grid.

105 SHOP DRAWING OF PANEL LAYOUT PHOTOGRAPHS OF SCREEN PANEL WALL

WALLS & CEILING

CONFIDENTIAL CLIENT MATERIAL: WOOD FUNCTION: SCREEN OPERATION: AGGREGATION EFFECT: UNDULATED PROJECT OFFICE: Los Angeles PROJECT TEAM: Aaron Birney ⁄ Edgardo Caceres-Alvarez ⁄ Jinney Kho ⁄ Lara Marrero ⁄ Irwin Miller ⁄ Naoko Miyano ⁄ Sonny Putro ⁄ Dominick Ricci ⁄ Kathleen Sampang ⁄ Guy Williams ⁄ Sarah Zimney

LOCATION: Confidential PROGRAM: Retail CLIENT: Confidential

Natural light becomes the thread that connects the perimeter of the store to the central atrium, a ribbon frozen in motion constantly informs the core circulation.

RENDERING OF RIBBON IN SPACE DESIGN CONCEPT RENDERING OF RIBBON IN SPACE RIBBON DETAIL VERTICAL CIRCULATION AND PATH OF RIBBON RENDERING OF MAIN STAIRCASE

STRUCTURAL WALL CONFIDENTIAL CLIENT MATERIAL: PRECAST CONCRETE FUNCTION: EXTERIOR WALL OPERATION: WEAVING EFFECT: WEIGHTED PROJECT OFFICE: Los Angeles ⁄ Newport Beach PROJECT TEAM: Eric James ⁄ Chris Kao ⁄ Hae-Sun Kim ⁄ Mindy King ⁄ Ben McAlister ⁄ Dillon Pranger ⁄ Li Wen

LOCATION: Confidential PROGRAM: Data center with office support CLIENT: Confidential

34' - 0"

SETBACK LINE

PROPERTY LINE

112 30' PARKWAY

68' 137' - 0"

Top of panel must screen equipment and allow air flow Truck can carry 40,000 lbs max

Size must not 36’ exceed 36’ tall by 10’ wide

(L x W x D) x 150 lbs/ft3

Maximize repetition of panel forms (<$) while increasing pattern diversity

69' EXTENT OF FUTURE PHASE

16' TYP.

(A + B) vs (A + B + C)

10’

SITE SECTION - SCREENING FUNCTION OF PANELS FROM STREET RENDERING OF LOADING DOCK AREA SHOWING PRECAST PANELS PANEL PARAMETERS AND CONCEPT DIAGRAM

TRANSFORM

INNER RING ROAD

113

The precast panels were formed off-site and transported by truck to the job site in order to achieve better consistency in the pattern. The shadows that are cast on the facade are achieved by creating a 2 1/2â&#x20AC;? shift in the panel face in each band. This basketweave pattern modulates the building exterior by decreasing the perception of height on the 34â&#x20AC;&#x2122; tall, windowles facades.

Afterword It can be argued that accepting the design space of the skin is a form of resignation, that designers have been relegated to merely packaging and/ or decorating various forms of capitalism for mass consumption. Though there may be some truth to that interpretation, we chose to view this phenomenon with a more optimistic note. Just as one’s clothing can promote how one wishes to be perceived by others, and is received by others, the skin can do the same for the building or space relative to society; and thus can be a vehicle to promote, and even provoke positive social change. Thus the re-emphasis on its design is one of critical importance, not one to be seen as merely a left over. In a fast moving society where perceptions shape reality, skins shape perception. Realities follow. As Gensler continues 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: “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 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, Las Vegas, Los Angeles, 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

Benjamin Anderson

Kristen George

Jaclyn Lazur

Meghan Moran

Mirko Wanders

Dave Bantz

Jinney Kho

Benjamin McAlister

Philippe ParĂŠ

Li Wen

Brian Fraumeni

Mindy King

Marisol Mejia

Shawn Shin

Shira Zur

Shawn Gehle

Heidi Konieczka

Chinmaya Misra

Clair Souki

IDEAS 5 EDITORIAL TEAM