IDEAS 8 2016 / 2017 PROJECTS CULTURE CONVERSATIONS TECHNOLOGY
“LESS IS MORE” - MIES VAN DER ROHE “LESS IS A BORE” - ROBERT VENTURI “YES IS MORE” - BJARKE INGELS If architecture and design are a reflection - an expression - of the times of their creation, then one can chart the major thresholds of Western civilization over the last 100 years through the above three quotes. Rising from the ashes of the first World War, Mies’ quote reflected the European need to cleanse itself from the excesses of the past – excesses that were interpreted to have caused the most brutal war the world had seen to that date. Editing down design to its essentials was seen as an expression of the new machine age, where modernization was equated with a moral quest to strip us of all extraneous, bourgeois materialism. Of course the opposite happened as modernism was co-opted by capitalism for the expressed purpose of delivering it to the masses. Venturi’s quote captures the spirit of this as the ever-growing masses needed the opposite of less to satisfy their insatiable appetite to consume. Looking back, the rise of post-modernism can be seen as a reflection of the need to “sell” the austere planning principles of modernism as the rise of Wall Street and the financial sector sought to replace industry as the new economic driver. We replaced making with dividends to drive the market and packaging became the tool by which to do so. It is no coincidence that post-modernism (or at least the American version of it) was focused on the skins and styles of buildings – the Portland State Office Building and the AT&T building being apt examples – the neutral open floor plates of modernism dressed in a pastiche garb so as not to be boring to the masses. This was the contradiction that postmodernism brought to an increasingly complex world. Ingels’ quote is an apt reflection of today’s global times, where complexity has been superseded by simply doing more – being more. Everything is asked to be more than the one thing that it traditionally has been asked to do – all supercharged by the internet and its plethora of data, information, and images. The smartphone is more than just a phone; it is an entry to the accumulated knowledge of our entire civilization. Cars are as much technology as machine nowadays – horsepower not only produced by the engine but harnessed and released by the chip – with driverless cars, technology takes an increased role in personal transport. Words like “sharing” have been redefined for they also indicate the rise and establishment of a type of economy, not just a behavioral pattern of practice that had no direct economic benefit. Fashion has been playing with this for a while where jackets are shirts, are jumpers all at once – a hybridity that has become ubiquitous. Even the rise and the rights of the transgender population can be seen as a start of an acceptance of blurred definitions from the more traditional definitions of gender. This all could be read as the next level of the PROMISE of capitalism – one can and should expect to have it all. And if one doesn’t, one can expect to be “left behind” – thereby creating angst and ADHD behavior in much of our contemporary society (or revolt as reflected in the latest trajectory of political movements, populism, tribalism, nationalism,
etc.). And in it’s late – or early(?) - phase, this latest edition of capitalism indicates the next evolution of MORE. Less is no longer more or a bore, but YES is much MORE: more promises and more expectations of the accumulation of stuff both in the physical, metaphysical, and economic sense. The steep rise in self-storage real estate in the last 20 years is proof that this expectation is being met and exceeded. This is perhaps the biggest promise of present day capitalism - maybe all capitalism - for without the promise of MORE, capitalism would cease to exist; the machine grinds to a halt. In our design period, accumulation without criticality, engagement without empathy, and action without meaning could result in our diversity being the source of our failure. If we do not exercise these modifiers on accumulation, then imbalance, like income disparity, will blow back (as our recent presidential election has demonstrated), and MORE will not be more, but less. This issue of IDEAS _ 8 attempts to demonstrate what can happen when such modifiers of accumulation are applied to Gensler. As the Southwest region is comprised of approximately 1,000 employees, we can be seen as a microcosm of this contemporary condition of MORE. We are diverse and too big to be exclusive to one voice lest we exclude many patches of our design tapestry. But MORE does not mean simply reproducing everything; the editing of early modernism still has relevance. The pages of this new format are now bigger and more numerous, but the content has also broadened. In addition to some of our best graphic design stories of yet to be built work, we’ve added our cultural events and touchstones, selected email dialogues, explorations of technology, and simply beautiful images by our staff to round out the presentation of our design culture. And in this editorial trajectory, we hope to reflect how each has informed and fed the other in a rich feedback loop of design. It is no accident that when the numeral “8” is turned sideways, it can be read as the infinity symbol. But in the spirit of truths being paradoxes, the pages are still limited. This is due not only to the realities of our publishing budget, but is an attempt to critically edit this celebration of our engagement with design and our empathy for engaging varying points of view, lest we become no more than an accumulation of echo chambers like how the larger world appears to be presently organizing itself without such modifiers. What we, the editorial team of IDEAS _ 8 hope for in this world of MORE is that more meaning and inspiration also comes with the package, and that with our new format, this condition of MORE is presented in a manner where IDEAS _ 8 reflects and promotes the richness that occurs when one seeks it with intent. By Li Wen
IN LIVING CULTURE 004
In an age where cities are increasingly crowded with individual landmarks jousting for momentary attention, this project proposes the creation of a “collective monument” for an open society, which values change over time and sees the future as evolving. In Living Culture proposes a national museum precinct in Sejong City, whose overall identity is stronger than any of the buildings that comprise it, and whose planning principles flexibly, yet thoroughly, integrate future development and renewable ecological practices to form an ever-changing cultural landscape. Unlike other monuments that announce their contents superficially, In Living Culture withholds its experiences and pleasures in an infill of trees within which open spaces are discovered and buildings are discretely nestled. Utilizing strong topographic form and the quilted composition of trees across the entire site (based upon the traditional Jogakbo), its singular identity re-presents the existing, forested hills dotting the outskirts of Sejong City and ties to History Park. Together, these adjacent landforms constitute a raised, green center, wrapped like a Bojagi—a gift to the City—recognizable from many points within its master plan.
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In Living Culture is a place where visitors will (inter)actively learn about change—both cultural and ecological. Forestry is used as the vehicle to bind built and landscape form and illustrate the idea of renewability of resources. The transformation of trees into various site structures—boardwalks, building elements and even artwork—will visibly alter the experience of the site over time, differing from one visit to the next. An additional programmatic element, the Mill Shop, is introduced as a demonstration space for the public to expose the production cycle underlying a constantly changing environment, animated by the participatory processes of construction and reforestation. Cut and fill of soil on the site shall be balanced throughout the development, promoting topographic change with each new building.
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The jogakbo’s network of pathways and roads connect the plan directly to neighboring roads and pathways, providing a flow of visitors and resources to and through the site. At the northwest, the terraced landform provides an iconic, singular image to the city. At its south end, the site slopes downwards toward the river, a man-made extension of the natural embankment. The lowered northeast corner and eastern edge of the landform welcomes people from Central Park, while its steeper, western slope rises in elevation to tie experientially to adjacent History Park, with ramped paths terracing down to the canal-side parkland.
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FIGUEROA ROOM CURTAIN THE THE THE THE MODULE MODULE MODULE MODULE MODULE 1 Module Module Module 1 Module 1 1 1 0% OPACITY
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intented anAngeles architectural TheInstallation hanging panel developed Installation Installation in Installation Figueroa in system Figueroa in Figueroa Conference inwas Figueroa Conference Conference Room Conference Room /Originally Room Gensler / Room Gensler / Gensler Los/ Gensler Angeles Losas Los Angeles Los Angeles to screen daylight and brightly colored glass walls in the Figueroa Conference Room at Gensler Los Angeles.
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statement seen prominently from the street, the decision to use red glass walls proved to be less than optimal from an experiential standpoint.
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By playing with concepts surrounding opacity, pattern and texture, we developed a system with customizable modules that lessen the intensity of the red light transmitted into the room.
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The modules link together with integral tabs and are assembled without any special tools or fasteners.
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Gensler reached out to FilzFelt to help bring this curtain concept to fruition. The result was a modular panel system that affords an opportunity to add texture and color, while the perforations and patterns offer a dappling effect across the space. Wool-felt panels perforated in patterns inspired by nearby Maguire gardens reduce the glare to just a dapple. Because the panels are customizable, they can grow from small privacy screens to full-room dividers. Panels measureing 6 and 6 1/4 inches - offered in 63 standards plus custom hues - easily attach to a track system or can be hung from Velcro or grommet fasteners. What started out as a fixed panel system morphed into a flexible, modular system that could serve multiple functions, depending on the need: privacy screens, shade systems, room dividers, acoustical dampeners, and accesories such as table runners and table mats.
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THE FUTURE OF DRIVERLESS CARS 024
Source: Email Authors: Elizabeth Wendell, Li Wen, Muhi Bahri, Julian Ma When: Monday, January 04, 2016, 9:40 AM
Muhi Bahri: There has been much discussion lately on the topic of driverless cars. I’m not completely convinced it’s a moral issue (we give irresponsible people the power over life and death all the time as it says at the end of the article) but more the liability issue. Elizabeth Wendell: I think our understanding of a car is still deeply embedded with the idea of personal freedom and control. When we get in an elevator, we don’t really think about the ethics of collision-avoidance because those machines just work how they do, and we don’t control them. When they malfunction, there are lawsuits, we study it, improve the design, and keep going. Li Wen: Elizabeth, I agree that we have already handed over much of our lives and trust over to machines/automation; your elevator example is one. I would name the ATM as another and what can be more delicate than handing over our money to a machine? But these are all fairly straightforward actions and the point of accountability is clear. Death or not, the responsibility lies with the bank or in your case with the building owner and elevator manufacturer.
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Li Wen: But the myriad factors affecting various moving objects is quite a bit more complex when referring to a “car” it would be like putting an elevator cab through an obstacle course. In addition on a conceptual level, it can potentially shift the responsibility/accountability from the “car owner” to various sources. That is a boon for the legal industry to sort out. The ability to escape responsibility/accountability and shift it to another party is where the potential danger lies. When one can gain the benefit but not directly suffer the risks, that can lead to irresponsibility.
Elizabeth Wendell: Something to look forward to! I imagine vehicles would become far more specialized. When the possibilities are so endless, why would you want to own a car when any type of car, would be available at a fraction of a price?
Lastly, and with my evil side thinking, driverless cars can be seen as yet another way to squeeze productivity out of the individual so we can co-opt yet another space to work; yes, possibly relax, but probably work more. History will show that every technological advancement, automation, the computer, etc., which was initially hailed as giving us more time has actually been better at taking away more of our time and have only enabled us to be better accumulators of capital.
So what happens when sharing increases at a daily rate so that nobody ultimately has to be responsible for anything? Not a value I would advocate for.
Julian Ma: I find myself wondering, “Will I even want to own a car?” Making a car “driverless” entirely reorients my perception of the object, one where holding a title for it is probably no longer necessary. In this case the inevitable legalities may be less vague; in the event of an accident, either the manufacturer of the vehicle is at fault, or I am for my willingness to use the product. This is obviously an oversimplification, but it may be worth speculating what happens to accountability when consumers no longer own their vehicles. The romanticism of driving will surely be lost, but the “Fast and the Furious” franchise will finally die.
Li Wen: Because owning encourages one to have the responsibility, or at least a vested interest, to take care of it, and on another level, is more sustainable. The same can be said for buying vs. renting one’s dwelling. Homeowners are more likely to take care of their place than a renter. Our state of public space would tell us the same.
Muhi Bahri: I definitely agree with the sustainability aspect of ownership. However, I disagree that driverless cars perpetuate this model. Since no one is leasing the vehicle for an extended period of time, it becomes more of an armature that diversifies the transportation infrastructure. These cars won’t have to park with each individual use, as they’ll just run off to the next nearest service request, so there would be a substantial decrease in the amount of urban fabric that is dedicated to parking. A driverless car won’t slow down to rubberneck at a happenstance on the side of the road, it won’t be confused as to which exit to take and cut across at the last second, so traffic will be alleviated not just from a volume standpoint, but from a flow standpoint as well. Li Wen: I guess one question I would have: if one is willing to climb into a car with others like Uber Pool, why not then just take a bus or subway which are vehicles that are better at consolidating space? Why not fix what we have as opposed to overlay yet another system?
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Julian Ma: I’m not sure public transportation and driverless technology need to be mutually exclusive. The infancy of the tech has started in cars, but surely it can expand later to driverless trains and buses. I would argue that the automation of vehicles is an attempt to fix what we have; until the hover car comes along, the infrastructure (i.e. roads, tunnels, bridges) will still be very much in place.
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Muhi Bahri: I think another big thing is the public’s perception and lack of faith in the existing public transportation system, especially in Los Angeles. People trust Google and Uber more than their own government, and I would like to think this system would grow into trains and buses. Maybe it will be something more like, LA Metro: Powered by Google.
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PINEWOOD DERBY Gensler’s annual summer tradition gathers the LA office staff for an evening of competition and creativity. Staff members design and build derby cars in our own model shop to compete in several categories: // // // //
Grand Prize (Fastest car) Best Design (Best looking) Most Resourceful (Best use of Model Shop) Most Creative (Best Concept)
This yearly event has been a fantastic showcase of the many skills and technologies the LA office has to offer. Most importantly, it gives us a chance to come together as family and celebrate the great talent at Gensler LA.
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MARTIN EXPO TOWN CENTER Martin Expo Town Center is a mixed-use project pedestrian passage through the site. While the planned for West Los Angeles adjacent to the program is a mix of typologies, the architectural Expo/Bundy Station – a new transit stop along approach creates a coherent singular language phase 2 of the Expo Line, dubbed the subway that incorporates terracing to mitigate scale and to the beach. The project is transit and building mass around the open and engaging plaza. pedestrian focused and anticipates a shift in One of the first transit-oriented developments of West Los Angeles towards multi-modal access and its kind, the project will act as a benchmark for connectivity. Quite ironically, this transitthose that follow along the Expo Line corridor. oriented development will replace the existing A strong stance on sustainability was taken early Cadillac dealership with a mix of creative office, on in the project. The sustainable strategies market rate rental apartments, 20% affordable include rooftop solar, energy and water reduction housing, a small market, restaurants, an auto strategies, life cycle analysis for major building showroom, and street retail. The program is systems, cutting edge transit hub technologies, organized around a half acre public plaza that and a diverse set of alternate modes of site is an amenity for residents, office workers, accessibility. VINE WALL LEVEL 2 RESPITE COURTYARD - ‘ CALAIS’ BIKE PARKING and the RESIDENTIAL surrounding neighborhood, allowing for LOBBY
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Source: Email Authors: Melanie Freeland, Dave Bantz, Ian Macduff, Tom Perkins When: Thursday, November 19, 2015, 11:09 AM Melanie Freeland: Now this is nuts. I imagine they will be able to find the petition signatures for a measure like this which is the truly scary part. [LA Times: Activists seek ballot measure for moratorium on L.A. ‘mega projects’ - refer to QR code] Dave Bantz: “We find it deeply puzzling that the AIDS Healthcare Foundation is straying so far from its core mission, spending its resources on a misguided political battle that’s entirely inconsistent with what the community wants,” she said. Totally agree. Miki Jackson from the AIDS Healthcare Foundation doesn’t even live in Hollywood. She lives in Highland Park! Mitch O’Farrell needs to step up. I like what he’s saying, but he needs to be LOUDER! “This ballot measure is bad for L.A., and bad for the economy,” he said. “It’s bad for transitoriented neighborhoods. It will also cost thousands of good-paying jobs.” Great talk last night, Melanie. Lots of vocal participation and passionate dialogue. It’s an issue everyone can relate to, and one on which the office should have a strong and clear point of view…
Ian Macduff: So sorry I missed this. Tom Perkins: I saw that this morning too. It is another potential example of a highly vocal minority dictating public policy. This is where we need real city leadership and institutions like the AIA and regional planning groups to be heavily involved. Ian Macduff: I grew up in a suburb, but am delighted by the increasing densification of my neighborhood, (Melrose/La Brea, i.e. Hollywood adjacent) precisely because it supports so much amenity, markets or ‘way of life.’ I can walk to almost anything I need, shops, supermarkets, farmers markets, museums, cinemas, restaurants, bars, theaters, parks, pools, etc. All this in LA, not usually known for being walkable. But it’s the very thing that defines a community in my view. Puzzled by the AIDS Healthcare Foundation involvement in this discussion though. So sorry I missed last night’s conversation.
Scan QR Code with Phone to
View Related Online Content! “ACTIVISTS SEEK BALLOT
MEASURE FOR MORATORIUM ON L.A. MEGA PROJECTS”
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HAZEN’S LA CITY CENTER 044
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The shape of the two Residential Towers bookend the property, while the façade’s textures and balconies distinguish unique districts within each tower, as a “City in the Sky.” The project’s planning embraces the pedestrian edges of the South Park neighborhood, while the large roof gardens and terraces create a much-needed urban oasis for residents and guests. The City D BLV PIC LYM in the Sky is the urban density of greater WO Los Angeles while also being a part of this density.
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The programmatic stacking, as shown, includes two levels of subterranean parking and five levels of above ground podium parking fulfilling the need for 900 parking stalls. A grand hotel lobby flanks the intersection of 11th and Figueroa with various public and guest amenities included on the upper levels. The hotel, slated to be operated by the W, will contain 300 guestrooms while the two residential towers provide 650 luxury condo units. The total area in the project is in excess of 1.1 million square feet. Situated in a prime location, the development has the unique opportunity to redefine the urban edge of the LA sports and entertainment district. The complex creates a distinctive identity that immediately projects out from the background of Los Angeles.
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RENDERING VS REALITY THE PROLIFERATION OF DIGITAL PHOTOGRAPHY AND DIGITAL EDITING TOOLS HAS MADE THE
PHOTOGRAPHIC AND ILLUSTRATION PROCESSES MORE ALIGNED AND LESS DISTINCT. THERE HAS
BEEN A BLURRING AND SHARING OF EDITING PROCESSES TO THE POINT WHERE ARCHITECTURAL
PHOTOGRAPHS APPEAR MORE SYNTHETIC AND ARCHITECTURAL RENDERINGS MORE PHOTOGRAPHIC. IN SOME CASES IT IS DIFFICULT TO DISCERN THE DIFFERENCE BETWEEN THE TWO. WITH
HDR PHOTOGRAPHY AND PHOTOSHOP, THE ARCHITECTURAL PHOTO IS MORE OF A CONSTRUCTED
REALITY THAN A PERFECTLY STAGED MOMENT IN TIME À LA JULIUS SHULMAN. BOTH MEDIUMS APPEAR MORE CINEMATIC THAN LITERAL.
THIS CONDITION REMINDS ONE OF THE STAGED HYPER-REALISM IN JEFF WALL’S LARGE SCALE PHOTOGRAPHS; THE PHOTOREALISTIC PAINTINGS OF CHUCK CLOSE THAT USE LARGE SCALE
PHOTOS AS A SOURCE; THE POST-MODERNIST PAINTINGS OF MARK TANSEY LAYERED WITH ART,
HISTORICAL REFERENCES, AND CONTRADICTIONS; AND THE ALLEGORICAL REALISM IN GUSTAVE COURBET’S ‘THE ARTIST STUDIO’ AND THE ARCHITECTURAL VISUALIZATIONS OF MIR. IN THESE IMAGES NARRATIVE AND AMBIGUITY SUPPLANT REALISM.
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In ‘A way of looking at things’ Peter Zumthor writes about the need to create “open patches” in architectural drawings. “If the naturalism and graphic virtuosity of architectural portrayals are too great, if they lack ‘open patches’ where our imagination and curiosity about the reality of the drawing can penetrate the image, the portrayal itself becomes the object of our desire, and our longing for the reality wanes because there is little or nothing in the representation that points to the intended reality beyond it.” Zumthor goes on to write that “the drawing itself must take on the quality of the soughtfor object. It is like a sketch by a sculptor for his sculpture, not merely an illustration of an idea but an innate part of the work of creation, which ends with the constructed object.” Zumthor’s line of thinking leads to interesting questions. What is the relationship between rendering and reality in our current digitized context? Has being asked to demonstrate what a building will look like before it has been designed forced our embrace of ever greater levels of realism in our drawings and visualizations to become an unforeseen impediment to establishing such “open patches?” The use of digital representations in our workflow is inevitable, but as designers, we have to remember that these representations are just another tool - like a model, a section or an axonometric drawing. And, as with all tools, the designer, not the tool, dictates the aesthetics of the project. The approaches taken by the Norwegian visualization firm MIR and the electronic driven music of Brian Eno offer interesting ways forward. New technologies are embedded in their creative processes and both use technology to create immersive works of art or music that are conceptually clear.
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For Eno his electronically derived ambient soundscapes are “a music that is intended to induce a space to think… to swim in, to float in, to get lost inside.” For MIR, the focus is “on creating a unique overall feeling in the image, instead of forcefully instructing the viewer what to think and feel about the project.” MIR uses the term ‘natural visualization’ to describe this process and makes an analogy to ‘terroir’ in wine production to make an important point about distinctiveness. For MIR, ‘natural visualization’ means using the naturally inherent qualities in architecture and sites to express distinctiveness, to avoid the “typical.” The approach incorporates careful research and planning without resorting to photorealism. It also embraces specificity while creating an ambiance that allows the viewer to get lost inside the image, for their imagination to wander. The photographic and the illustrative blur to creative immersive works. Perhaps, contrary to logic, digitization allows for an unexpected freedom, a freedom from photographic realism, a freedom to intentionally create more ambiguous images. Like the work of MIR or Brian Eno, these images and drawings could be free to tell a story, create an ambiance, slow the viewer down and draw the viewer into a space, and create a space to get lost in. But digitization mated with capitalism and the time/profit model that is its basis may crimp such potential freedoms. How can we as a profession and discipline form “safe” havens for the explorations of such spaces, both virtual and real, within such an economic model? Does speed make such spaces obsolete in their exchange value? One hopes not lest we live in a topical world. By Tom Perkins // Edited by Li Wen
Photograph by Nacasa & Partners
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C3 Companies spanning all creative industries have witnessed a clear paradigm shift in workplace culture and have had to adjust accordingly. With rapid deployment and dependence on technology, single, one-size-fits-all office space that promotes products, production, manufacturing, and sameness no longer fits our needs. Instead of seeking space to house workers, companies are seeking spaces that foster purpose and have the power to focus the talents and identities of numerous individuals around a common goal. The partitions have come down and the ties have loosened. Many progressive, contemporary companies recognize that human capital is their most valuable asset. A new energetic workforce, along with Gen-Xers now moving into upper and middle management, is looking for workplaces that shed the image of the large corporate monolith, while moving toward authentic, purposeful, and productive places for workers. People need personalized space to create. The C3 project is a ground-up creative office building prototype that is designed for the unpredictable, yet highly personalized, future of work.
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//WHAT’S NEX SPECULATIVE OFFICE BUILD
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TRADITIONALLY DESIRED CREATIVE OFFICE SPACE IN LA
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Industrial style-warehouse-bowstring truss buildings are a highly sought after creative office typology in the southern California marketplace, however there is a limited supply.
To address the market demand, one option might be to design a development of bowstring truss buildings aggregated across a large swath of land.
While the classic bowstring truss building offers most of the attributes desired by tenants looking for creative office space, two issues keep it from dominating the marketplace. First, there is a limited supply of authentic truss buildings, and second, many tenants need more square footage and parking than can be accommodated in the buildings.
This concept has its challenges in blossoming markets and cities due to increased land costs. Furthermore, this strategy utilizes a great deal of land and creates a strain on the environment.
064
3 The parameters and constraints guided us toward the concept of stacked bowstrings and stacked parking which are connected with bridges. The bridges create multiple opportunities for “front door� access. C3 addresses market demands while utilizing a limited amount of resources and land. Over time, C3 evolves beyond the traditional market expectation into a hyperpersonalized machine for work with purpose.
CREATIVE OFFICE DRIVERS
FRONT DOOR
INSPIRATIONAL
REPURPOSE ADAPTABLE
HACKABLE
DOMESTIC INFORMAL
DIVERSITY VARIETY
VOLUME
OPERABLE INTERACTIVE
EXPANDABLE FLEXIBLE
PERSONAL AMENITIES
065
GROW YOUR BUSINESS… ADD A MEZZANINE.
066
EXPAND HORIZONTALLY
EXPAND VERTICALLY
EXPAND WITHIN YOUR SPACE
Traditional concepts of development address a tenant’s desire for diversity and expandability by allowing for horizontal expansion or by providing a series of different size floor plates.
A more non-traditional approach to tenant expansion might include building new levels to provide square footage for a growing company.
C3 is designed to give a tenant plenty of volume for creative tenant fit-outs, but this volume also allows a tenant to grow their square footage by building out mezzanines within their existing space.
067
BRAND YOUR BUSINESS … TAKE OVER THE BALCONIES, HAVE YOUR BASE BUILDING
068
BASE BUILDING + TENANT A
OWN FRONT DOOR. BASE BUILDING + TENANT A + TENANT B
BASE BUILDING + TENANT A + TENANT B + TENANT C
069
THE STRATEGIC SECTION IS COUPLED WITH AN EFFICIENT PLAN It was important that C3 be straightforward and simple with regard to construction and cost in order to allow for maximum tenant input and development. Keeping the base building lean allows the building to be hackable, expandable, and flexible for future tenants.
Roof
level 7 level 6
level 5 level 4 level 3
level 2 level 1
Section A-A 070
Ground Floor Plan
Level 5: Typical Floor Plan 071
HYPOTHETICAL INTERIOR
C3-ANDREAS FROECH MOCK UP - LOBBY WALL PANEL #1 Material and Fabrication Method: Painted CNC Milled MDF. The pattern emulates the expanded metal mesh texture utilized on the railings of the project. This sample tests the possibilities of revealing the tool path of the mill as a design feature.
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C3-ANDREAS FROECH MOCK UP - LOBBY WALL PANEL #2 Material and Fabrication Method: Painted CNC Milled MDF. The pattern is envisioned as two pieces of metal mesh that weave together, which is not possible with the physical material. This panel sample differs from Sample #1 by studying the pattern with a smooth finish.
075
C3-ANDREAS FROECH MOCK UP - GUARDRAIL Material: Metal mesh welded to metal structure. This mock up tests the orientation of the metal mesh and visual perception. The lobby of the building is composed primarily of concrete with the railings meant to read in contrast against the gray color of the concrete.
076
C3-ANDREAS FROECH MOCK UP - LOBBY TABLE Material and fabrication: Laminated 3/4� plywood panels connected by a dovetail joint. The table is a monolithic piece that relates to other elements in the lobby. The materiality of the table reinforces the secondary geometry as it bends through the lobby space. The face of the table will also be milled with a similar pattern to the LOBBY WALL PANELS (see previous pages).
077
//WORK ON WORK// A POP UP EXHIBIT AND SEMINAR AT THE A+D MUSEUM (GENSLER LA + cityLAB-UCLA COLLABORATION)
A THREE YEAR RESEARCH PROJECT THAT CULMINATED IN AN EXHIBITION AND SYMPOSIUM AT THE A+D MUSEUM IN JULY 2016. THE MISSION STATEMENT FOR THIS VENTURE IS BELOW: THE FIRST TWO YEARS OF RESEARCH INTO THE HISTORY AND CONTEMPORARY EVOLUTION OF OFFICE WORK WILL ESTABLISH THE
GROUNDS FOR THE WORKSHOP COMPETITION CALLED X-OFFICE. OUR PRESENT FORMULATION OF THAT RESEARCH CONCERNS GEOSPATIAL
SPECIFICITY AND NOMADIC OR UNTETHERED INDIVIDUAL WORK NARRATIVES. A SPECIFICITY MODEL SUGGESTS THAT “SITE MATTERS.”
IN DOWNTOWN LA, THIS SUGGESTS NOT ONLY THE PARTICULAR PROPERTY, ITS IMMEDIATE CONTEXT, AND THE NETWORKS AND LINKAGES THAT BENEFIT IT, BUT ALSO ITS DISTRICT OR NEIGHBORHOOD. BY CONTRAST, A GEOSPATIALLY NOMADIC MODEL IMPLIES THAT WORK TRAVELS WITH THE WORKER WHO IS UNTETHERED, ENGAGED IN EPISODIC WORK SITUATIONS IN WHICH “SITE” IS FLEXIBLE AND
DYNAMIC. BOTH MODELS HAVE URBAN AND ARCHITECTURAL IMPLICATIONS FOR LOS ANGELES, WHICH WILL BE INVESTIGATED THROUGH THE WORKSHOP COMPETITION. BOTH MODELS HAVE URBAN AND ARCHITECTURAL IMPLICATIONS FOR LOS ANGELES, WHICH WILL BE
INVESTIGATED THROUGH THE WORKSHOP COMPETITION. WE EXPECT TO ASSIGN TEAMS TO ONE OF THESE MODELS; IF OTHER MODELS EMERGE PRIOR TO THE COMPETITION THESE ALSO COULD BE ASSIGNED.
BUILDING E 080
081
MAX BUILDING ENVELOPE
USER ENTRY FROM GARAGE
OUTDOOR TERRACES ON 3RD FLOOR
BLDG. C
OUTDOOR TERRACES ON 2ND FLOOR BLDG. B
PARKING STRUCTURE
BLDG. A BLDG. D
BLDG. E
VISITOR ENTRY
JEFFERSON BLVD.
ADD SF AND BUILDING IDENTITY SOLAR PATH AND VIEWS
082
083
Scottsdale Public Art and Salt River Project present Canal Convergence Art + Water + Light. Gensler Phoenix participated in this annual event that offers interactive artworks by local and international artists, hands-on activities, live music, and performances at the Scottsdale Waterfront between Scottsdale and Goldwater roads. During Canal Convergence 2016, attendees enjoyed 12 large-scale artworks positioned both in the Arizona Canal and along its banks. Additional attractions include an “Artist@Work� demonstration area, free workshops with dance collective Pilobolus, family-friendly hands-on activities, art-making stations, and live performances throughout all four days.
A W +
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L A R I T
T
T G
E H
+ R T 085
AR ON VR
VR IMAGE OF GENSLER LOS ANGELES AS SEEN IN A NON-VR WORLD
086
Virtual Reality is all anyone seems to want to talk about these days and the discussion about it changing the very fabric of our personal and professional lives seems endless. But let’s reality check this purportedly new reality for just a second. Is it really going to change our perception of the world and our experiences of daily life by just strapping on a headset? Or is this yet another technology flash-in-the-pan? With Augmented Reality (AR) and Virtual reality (VR) we’re talking about enhancing the way we consume information and interact with it. And it’s not a wholly new concept. It’s an idea from the past that only exists today because of technological evolutions in supporting components - batteries, displays, sensors. Think about it like the evolution of music: we went from music performed live to music recorded on a wax cylinder, then vinyl record, tape, CD, and now digital file. Each progressive step made the experience of enjoying music more accessible and, quite simply, more easily consumed. With these advanced visualization techniques (AR/VR), there needs to be this same type of progression and, for right now, it’s not quite there. The evolution, however, has been swift and is getting even faster.
Between viable and successful, there is a landscape riddled with potential obstacles. A few of the biggest: Space: True VR requires a dedicated amount of “free” space so you’re not walking into furniture while you’re engrossed in the fantasy being presented to your eyes. Much recent content has focused on how virtual reality will change design forever only to read through a detailed description of things not practically aligned with something easy to integrate into current design practices. The idea of an office floor full of designers looking like mimes with invisible tools holding invisible objects and making expressive gestures is interesting as a concept but it’s challenged at the practical level. No one wants to dedicate a whole room to an activity that will only use the space a small fraction of time compared to other more traditional uses. VR technology needs to adapt to the space or the space needs to be designed to work seamlessly with the technology.
the process any easier or simpler than the point and click tools we’ve been using for decades. We are at the beginning of a long virtual journey that, by all current indications, will have significant tangible effects on the future of our profession. It’s an exciting new facet of our profession that is opening doors to great new opportunities. By Alan Robles
Scan QR Code with Phone to
View the Gensler Los Angeles office in Virtual Reality!
Integration: The real work of next gen AR and VR needs to address making the technology an easily accessible part of our daily lives. It’s still far simpler to use a mouse to point at a chair, click it, and move it on a screen than it is to go through the full scale reaching and grabbing motions required of VR to do the same task. Even VR controllers designed for virtual interaction don’t make
087
CALDERA 24 HOUR COMPETITION: Constantly evolving, Caldera is a hotel and agricultutral research facility that will host the adventurous pioneer and the space age jetsetter. The surface of the moon is a treacherous place - brutal temperature swings, a complete lack of oxygen, corrosive radiation, and micrometeroites that limit the exposure of most materials. For these reasons, Caldera takes advantage of existing lava tubes below the moon’s surface. 3D printed from Lunacrete, arches will form a diagrid to support the outer walls and the suspended modules below.
090
091
DESIGN UNDERGROUND A FORUM TO SHARE INDIVIDUALS’ WORK, BOTH IN AND OUT OF THE OFFICE
094
095
HARD ROCK RIVIERA CANCUN The story of Hard Rock Riviera Cancun started in the winter of 2014, when a group of designers were presented with a pristine site south of the city of Cancun: a kilometer long strip of land nestled between a tropical wetland and the azure waters of the Caribbean Sea. A true tabula rasa, this was every designer’s dream and the utmost challenge, sparking more than two years of learning and discovery. This unique land was to become home to an 1,800room resort, where every room overlooked the ocean and upon arrival, the visitors would experience not a stay, but a journey.
098
NOISE NOISE COMPOSITION COMPOSITION
SWIRL TIDE
HARMONY
SWIRL
HARMONY
VIBE
TIDE
SURFACE
FLUIDITY
FLUIDITY
VIBE
CRESCENDO
SOUND
WATER WATER
SURFACE
CRESCENDO
SOUND WAVE
WAVE
NATURAL NATURAL OCCURENCES
OCCURRENCES
MOVEMENT MOVEMENT
DESIGN DESIGN DRIVERS DRIVERS
BEAT BEAT
NEW VS. VS. OLD OLD NEW
CULTURE CULTURE
TEXTILES TEXTILES CRAFT
CRAFT
AUTHENTICITY
AUTHENTICITY
FASHION
FASHION
COLOR PALETTE
COLOR PALLETE PATTERN
PATTERN
RHYTHM RHYTHM
LIGHT & SHADOW LIGHT & SHADOW REPETITION
REPETITION
CADENCE PULSE
CADENCE
PULSE
The Site Southeastern Mexico offers an abundance of vegetation, flat land, and dazzling sunlight. Once a year comes the hurricane season, pushing the architecture inland and above. In addition, the wetland is home to its native, protected species. These factors characterize this narrow, one kilometer long strip of land. As a response, the building meanders through the site, its curving footprint taking full advantage of the length to maximize ocean vistas and beachfront access. Design Drivers In addition to the project’s unique location, another layer is added – the hotel brand. Water, Sound, Rhythm, and Culture come together as the main design drivers, influencing the project’s massing, program, and materiality.
099
PERMEABLE POOL DECK AREA PERMEABLE POOL PERMEABLE DECK AREA POOL DECK AREA 17,196 m2 17,196 m2 17,196 m2
LAGOON
LAGOON
LAGOON
LAGOON
LAGOON
PERMEABLE POOL DECK AREA PERMEABLE POOL DECK AREA PERMEABLE POOL DECK AREA 17,196 m2 17,196 m2 17,196 m2
1. SITE 1. SITE 1. SITE
1
3. WAVE 3.BUILDING WAVE 3. WAVE BUILDING BUILDING
2. ROOM 2. DISTRIBUTION ROOM 2. ROOM DISTRIBUTION DISTRIBUTION
2
SITE
1. SITE 1. SITE 1. SITE
LAGOON
3
ROOM DISTRIBUTION
2. ROOM 2. DISTRIBUTION ROOM2.DISTRIBUTION ROOM DISTRIBUTION
4. MASSING 4. MASSING 4.ADJUSTMENT MASSING ADJUSTMENT ADJUSTMENT
4
MASSING ADJUSTMENT 1
4. MASSING 4. MASSING ADJUSTMENT 4. MASSING ADJUSTMENT ADJUSTMENT
5. MASSING 5. MASSING 5.ADJUSTMENT MASSING ADJUSTMENT ADJUSTMENT
5
WAVE BUILDING
3. WAVE 3.BUILDING WAVE 3. BUILDING WAVE BUILDING
6. LAGOON 6. LAGOON SHAPING 6. LAGOON SHAPING SHAPING LAGOON SHAPING 6
MASSING ADJUSTMENT 2
5. MASSING 5. MASSING ADJUSTMENT 5. MASSING ADJUSTMENT ADJUSTMENT
6. LAGOON 6. LAGOON SHAPING 6. LAGOON SHAPINGSHAPING
H A R D HRAORH CDA K RRHO DOCRTKO EH LC O K� TRHEIO LV TI� E RL IA�V IC REA I RVNAI CE CU R AA NNCCAUNNC U N
1 5 D E1C5E M D1 EB5 CE DER EMC2BE0EM 1R 5B E2 R0 1
H A R D HRAOR CDK RHHOAOCRTKDE H LR O� TCREKI LVHI� EORTIAEVLICEA � RN RAC I VCUIAN ENR CA UCNA N C U N
1 5 D E1C5E M D EB CE1ER5M D 2B 0EE 1C R 5E M 2 0B 1E
R RAMP RETAIL Not Enclosed Not Enclosed RETAIL 377 m² 4056 SF
R CA
H AT TP
RETAIL 37 m² 401 SF
BAR/LOUNGE 180 m² 1942 SF
CAFFETTO 271 m² 2913 SF
SHARED MEDITERRANEAN & FRENCH KITCHEN 265 m² 2849 SF
FRENCH 345 m² 3713 SF ICECREAM+DELI 156 m² 1683 SF
CAFFETTO KITCHEN 132 m² 1416 SF
MEDITERRANEAN 506 m² 5442 SF
BELL & BAGGAGE 142 m² 1532 SF
MARKET 1344 m² 14463 SF PERUVIAN 592 m² 6377 SF
MEMORABILIA 81 m² 867 SF
DISCO OPEN TO BELOW
? ? ?
BELL & BAGGAGE 142 m² 1532 SF
LEGENDARY SALES OFFICE CONNECTION 97 m² 1045 SF
ROCK SHOP 275 m² 2963 SF
LOBBY BOH 53 m² 570 SF MAIN LOBBY AREA 1166 m² 12548 SF
SHARED TORO & PERUVIAN KITCHEN 528 m² 5687 SF VIP CHECK-IN / LOUNGE 204 m² 2197 SF
LEGENDARY POOL TORO 683 m² 7354 SF
MOON BAR 309 m² 3331 SF
ADULT POOL
CRYSTAL LAGOON
BUILDABLE ZONE
ZOFEMAT ZONE
PROPERTY LINE
HIGH TIDE LINE
100
LOBBY BAR - SUN BAR 433 m² 4661 SF
LEGEND CLUB
SWIMMING
SEE THE SHOW
WATER SPORTS
BALLROOM
LOBBY/AIC/CIRCULATION CLUB SWIMMING
SWIMMING
SEE THE SHOW
SEE THE SHOW WATER SPORTS RETAIL BALLROOM SPA EVENING - ONLY F&B
WATER SPORTS
FITNESS ALL-DAY F&B LOBBY/AIC/CIRCULATION BAR
FITNESS
LEGEND SWIMMING
SEE THE SHOW
WATER SPORTS
BALLROOM
LOBBY/AIC/CIRCULATION
SPA FITNESS
FITNESS
CLUB
BALLROOM CLUB
SPA
LEGEND
LEGEND
SPA
RETAIL
RETAIL
EVENING - ONLY F&B
EVENING - ONLY F&B
ALL-DAY F&B
ALL-DAY F&B
BAR
BAR
LOBBY/AIC/CIRCULATION RETAIL EVENING - ONLY F&B ALL-DAY F&B BAR
TO MAIN GATE BANQUET KITCHEN 386 m² 4157 SF
FIRE STAIR 101 m² 1083 SF
GREEN ROOM 37 m² 398 SF
JANITOR 7 m² 77 SF
CUTLERY & CHINA STORAGE 266 m² 2863 SF BEVERAGE STORAGE WARE WASHING BEVERAGE STATION 19 m² 29 m² 29 m² BALLROOM SERVICE BAR 201 SF 316 SF 19 m² 316 SF 203 SF
AV STORAGE BANQUET STORAGE 15 m² 22 m² 158 SF 240 SF
MEETING
DROP OFF
? ? ?
RAMP
MUST CAFE 153 m² 1652 SF
RETAIL 86 m² 926 SF
CAR T
ARCADE 90 m² 973 SF
PATH
BAR/LOUNGE 116 m² 1254 SF
BAR/LOUNGE 87 m² 931 SF
ZEN KITCHEN 183 m² 1973 SF
ZEN 1665 m² 17924 SF
720m² CHILLERS OVER IPANEMA KITCHEN 154 m² 1658 SF
SPA CONNECTION 97 m² 1045 SF IPANEMA 1393 m² 14992 SF
PIZETTO 260 m² 2803 SF
FUNCTION TERRACE
SEE THE SHOW 718 m² 7725 SF
WEDDING HALL OPEN TO BELOW
ZEN POOL
101
exclusive legendary loud adult activities see + be seen loud adult activities see + be seen
kids water play interactive
exclusive legendary
acoustic serene beach scene
kids water play interactive
acoustic serene beach scene
loud adult activities
exclusive legendary
beach bar
relaxed family deck
open ocean vis
beach bar
relaxed family deck
open ocean vis
kids water play interactive
see + be seen
ADULT
acoustic
ACTIVITY + NOISE LEVEL DIAGRAM
beach bar
serene beach scene
relaxed family deck
ADULT
bar
LEGENDARY
loud VISTA
open ocean vista teen hangout
music restaurant amphitheater
VISTA
LEGENDARY
ACTIVITY + NOISE LEVEL DIAGRAM ADULT
LEGENDARY
VISTA
ACTIVITY
ACTIVITY + NOISE LEVEL DIAGRAM
active + loud interactive + energetic
loud adult activities
bar loud music restaurant amphitheater
active + loud active + loud casual + acoustic interactive + energetic interactive + energetic
mellow
relaxing + serene casual + acoustic casual + acoustic quiet
see + be seen loud loud adult activities
adult activities
see + be seen see + be
seen
acoustic
acoustic
quiet
kids water play serene interactive
beach scene
mellow
mellow relaxing + serene relaxing quiet + serene
kids water play interactive
acoustic
LAGOON SIDE EQUALIZER VIBE LAGOON SIDE EQUALIZER VIBE
serene beach scene
serene beach scene
kids water play interactive
beach bar relaxed
beach bar exclusive legendary
relaxed family deck
exclusive legendary beach bar open ocean vista
exclusive legendary
teenfamily hangout
deck
open ocean vis
relaxed family deck
open ocean vis
LAGOON SIDE EQUALIZER VIBE
The Experience The journey starts long before the entrance. The visitors arrive by the elevated bridge, surrounded by dense mangroves, with the building’s silhouette towering over the horizon. Shortly after, the lobby reveals itself. Once inside, the visitors are presented EKd WZKz dK͗ dŽĚŽƐ ůŽƐ ƉůĂŶŽƐ͕ ƉůŝĞŐŽƐ͕ ĞƐƉĞĐŝĨŝĐĂĐŝŽŶĞƐ͕ ĐĂƚĄůŽŐŽƐ͕ ŵĞŵŽƌŝĂƐ ĚĞ ĐĄůĐƵůŽ LJ ĚŽĐƵŵĞŶƚŽƐ ĚŝƐƉŽŶŝďůĞƐ Ă ĞƐƚĞ ƉƌŽLJĞĐƚŽ ƐŽŶ ƉĂƌƚĞ ŝŶƚĞŐƌĂů͘ Ɛ ƌĞƐƉŽŶƐĂďŝůŝĚĂĚ ĚĞ ůĂƐ ŽŶƚƌĂƚŝƐƚĂƐ Ğů ƌĞǀŝƐĂƌůĂ͕ ƉĂƌĂ ůŽƐ ƉƌŽĐĞƐŽƐ ĚĞ ůŝĐŝƚĂĐŝſŶ͕ ŶĞŐŽĐŝĂĐŝſŶ LJ ĐŽŶƐƚƌƵĐĐŝſŶ͘ ĞďĞƌĄŶ ŶŽƚŝĨŝĐĂƌ ƉƌĞǀŝĂŵĞŶƚĞ Ă ůĂ ƉƌĞƐĞŶƚĂĐŝſŶ ĚĞ ĐŽƚŝnjĂĐŝŽŶĞƐ LJ ĚĞů ƉƌŽĐĞƐŽ ĐŽŶƐƚƌƵĐƚŝǀŽ Ăů ƌƋƵŝƚĞĐƚŽ ƌĞƐƉŽŶƐĂďůĞ ĚĞů ƉƌŽLJĞĐƚŽ͕ ƚŽĚŽ ůŽ ƌ with vast ocean views, juxtaposed with ƉƌŽƉƵĞƐƚĂƐ LJͬŽ ƌĞĂůŝnjĂƌ ƚƌĂďĂũŽƐ ĚĞ ĐŽŶƐƚƌƵĐĐŝſŶ ƐŝŶ ƌĞƋƵĞƌŝŵŝĞŶƚŽƐ ĂĚŝĐŝŽŶĂůĞƐ ĚĞ ŝŶĨŽƌŵĂĐŝſŶ Ž ĚĞ ƌĞĐƵƌƐŽƐ͘ textured walls and intricate ceilings. Arriving at one’s room offers tranquility and privacy, framing the view and EKd WZKz dK͗ dŽĚŽƐ ůŽƐ ƉůĂŶŽƐ͕ ƉůŝĞŐŽƐ͕ ĞƐƉĞĐŝĨŝĐĂĐŝŽŶĞƐ͕ ĐĂƚĄůŽŐŽƐ͕ ŵĞŵŽƌŝĂƐ ĚĞ ĐĄůĐƵůŽ LJ ĚŽĐƵŵĞŶƚŽƐ ĚŝƐƉŽŶŝďůĞƐ Ă ĞƐƚĞ ƉƌŽLJĞĐƚŽ ƐŽŶ ƉĂƌƚĞ ŝŶƚĞŐƌĂů͘ Ɛ ƌĞƐƉŽŶƐĂďŝůŝĚĂĚ ĚĞ ůĂƐ ŽŶƚƌĂƚŝƐƚĂƐ Ğů ƌĞǀŝƐĂƌůĂ͕ ƉĂƌĂ ůŽƐ ƉƌŽĐĞƐŽƐ ĚĞ ůŝĐŝƚĂĐŝſŶ͕ ŶĞŐŽĐŝĂĐŝſŶ LJ ĐŽŶƐƚƌƵĐĐŝſŶ͘ ĞďĞƌĄŶ ŶŽƚŝĨŝĐĂƌ ƉƌĞǀŝĂŵĞŶƚĞ Ă ůĂ ƉƌĞƐĞŶƚĂĐŝſŶ ĚĞ ĐŽƚŝnjĂĐŝŽŶĞƐ LJ ĚĞů ƉƌŽĐĞƐŽ ĐŽŶƐƚƌƵĐƚŝǀŽ Ăů ƌƋƵŝƚĞĐƚŽ ƌĞƐƉŽŶƐĂďůĞ ĚĞů ƉƌŽLJĞĐƚŽ͕ ƚŽĚŽ ůŽ ƌ ƉƌŽƉƵĞƐƚĂƐ LJͬŽ ƌĞĂůŝnjĂƌ ƚƌĂďĂũŽƐ ĚĞ ĐŽŶƐƚƌƵĐĐŝſŶ ƐŝŶ ƌĞƋƵĞƌŝŵŝĞŶƚŽƐ ĂĚŝĐŝŽŶĂůĞƐ ĚĞ ŝŶĨŽƌŵĂĐŝſŶ Ž ĚĞ ƌĞĐƵƌƐŽƐ͘ offering the feeling of a cabana in the sky.
EKd WZKz dK͗ dŽĚŽƐ ůŽƐ ƉůĂŶŽƐ͕ ƉůŝĞŐŽƐ͕ ĞƐƉĞĐŝĨŝĐĂĐŝŽŶĞƐ͕ ĐĂƚĄůŽŐŽƐ͕ ŵĞŵŽƌŝĂƐ ĚĞ ĐĄůĐƵůŽ LJ ĚŽĐƵŵĞŶƚŽƐ ĚŝƐƉŽŶŝďůĞƐ Ă ĞƐƚĞ ƉƌŽLJĞĐƚŽ ƐŽŶ ƉĂƌƚĞ ŝŶƚĞŐƌĂů͘ Ɛ ƌĞƐƉŽŶƐĂďŝůŝĚĂĚ ĚĞ ůĂƐ ŽŶƚƌĂƚŝƐƚĂƐ Ğů ƌĞǀŝƐĂƌůĂ͕ ƉĂƌĂ ůŽƐ ƉƌŽĐĞƐŽƐ ĚĞ ůŝĐŝƚĂĐŝſŶ͕ ŶĞŐŽĐŝĂĐŝſŶ LJ ĐŽŶƐƚƌƵĐĐŝſŶ͘ ĞďĞƌĄŶ ŶŽƚŝĨŝĐĂƌ ƉƌĞǀŝĂŵĞŶƚĞ Ă ůĂ ƉƌĞƐĞŶƚĂĐŝſŶ ĚĞ ĐŽƚŝnjĂĐŝŽŶĞƐ LJ ĚĞů ƉƌŽĐĞƐŽ ĐŽŶƐƚƌƵĐƚŝǀŽ Ăů ƌƋƵŝƚĞĐƚŽ ƌĞƐƉŽŶƐĂďůĞ ĚĞů ƉƌŽLJĞĐƚŽ͕ ƚŽĚŽ ůŽ ƌĞĨĞƌĞŶƚĞ Ă ƉŽƐŝďůĞƐ ĚĞƐǀŝĂĐŝŽŶĞƐ͕ ĐŽŶƚƌĂĚŝĐĐŝŽŶĞƐ͕ ŽŵŝƐŝŽŶĞƐ Ž ĞƌƌŽƌĞƐ ĞŶ ĞƐƚŽƐ LJͬŽ ĞŶƚƌĞ ĞƐƚŽƐ ĚŽĐƵŵĞŶƚŽƐ͕ ƋƵĞ ƉƵĚŝĞƌĂŶ ĂĨĞĐ ƉƌŽƉƵĞƐƚĂƐ LJͬŽ ƌĞĂůŝnjĂƌ ƚƌĂďĂũŽƐ ĚĞ ĐŽŶƐƚƌƵĐĐŝſŶ ƐŝŶ ƌĞƋƵĞƌŝŵŝĞŶƚŽƐ ĂĚŝĐŝŽŶĂůĞƐ ĚĞ ŝŶĨŽƌŵĂĐŝſŶ Ž ĚĞ ƌĞĐƵƌƐŽƐ͘
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sta teen hangout
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teen hangout
bar loud music restaurant amphitheater bar loud music restaurant amphitheater
outrageous big water play heated all access terrace family pool outrageous big water play beach glamping all access terrace
heated family pool
quiet intimate adult pool
private garden wedding celbration
quiet intimate adult pool
private garden wedding celbration
beach glamping
ACTIVITY
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ACTIVITY
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bar loud music restaurant amphitheater bar loud music restaurant amphitheater teen hangout
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1 : 1,000
10
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all access terrace outrageous big water play all access terrace
heated family pool outrageous beach glamping big water play
teen hangout beach glamping
heated family pool
quiet intimate adult pool
quiet intimate adult pool
sta
private garden wedding celbration private garden wedding celbration
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Materiality Program The podium of the building is warm Most of the dining spaces are located and textured, referring to natural in the podium, connected with The elements, textiles, and patterns. Strand, a continuous circulation path, Stone, wood, patterned screen, and linking all the program elements into vegetation constantly interweave, one experience. Occasionally, The Strand providing the feeling of privacy and allows for views out, presenting a vast an authentic experience. The towers pool deck and its most important feature ĆŒÄžÄ¨ÄžĆŒÄžĹśĆšÄž Ä‚ ƉŽĆ?Ĺ?Ä?ĹŻÄžĆ? ĚĞĆ?Ç€Ĺ?Ä‚Ä?Ĺ?ŽŜĞĆ?Í• Ä?Ĺ˝ĹśĆšĆŒÄ‚ÄšĹ?Ä?Ä?Ĺ?ŽŜĞĆ?Í• ŽžĹ?Ć?Ĺ?ŽŜĞĆ? Ĺ˝ ÄžĆŒĆŒĹ˝ĆŒÄžĆ? ĞŜ ÄžĆ?ƚŽĆ? LJ͏Ž ÄžĹśĆšĆŒÄž ÄžĆ?ƚŽĆ? ĚŽÄ?ƾžĞŜƚŽĆ?Í• ƋƾĞ ƉƾĚĹ?ÄžĆŒÄ‚Ĺś ĂĨĞÄ?ĆšÄ‚ĆŒ Ä?Ĺ˝Ć?ƚŽĆ?Í• ĆšĹ?ĞžƉŽĆ? ĚĞ ÄžĹśĆšĆŒÄžĹ?Ä‚ ÍŹ ĞŊĞÄ?ĆľÄ?Ĺ?ſŜ͕ Ä?Ä‚ĹŻĹ?ĚĂĚ͕ Ć?ÄžĹ?ĆľĆŒĹ?ĚĂĚ ĚĞ Ĺ˝ Ĺ?ŜƚĞĹ?ĆŒĹ?ĚĂĚ ĚĞ ĹŻĹ˝Ć? ĆšĆŒÄ‚Ä?Ä‚ĹŠĹ˝Ć?ÍŹĹľÄ‚ĆšÄžĆŒĹ?Ä‚ĹŻÄžĆ? Ä‚ Ä?ŽƚĹ?ÇŒÄ‚ĆŒÍ• Ä?ŽŜĆ?ĆšĆŒĆľĹ?ĆŒ Äž Ĺ?ĹśĆ?ĆšÄ‚ĹŻÄ‚ĆŒÍ˜ Äž ŜŽ ĆŒÄžÄ‚ĹŻĹ?ÇŒÄ‚ĆŒ ÄžĆ?ƚĂ ŜŽƚĹ?ĨĹ?Ä?Ä‚Ä?Ĺ?ſŜ Ĺ˝Ć‰Ĺ˝ĆŒĆšĆľĹśÄ‚ĹľÄžĹśĆšÄžÍ• Ć?Äž ÄžĹśĆšÄžĹśÄšÄžĆŒÄ„ ƋƾĞ ĹŻÄ‚Ć? Ä?ŽŜĆ?ĆšĆŒĆľÄ?ĆšĹ˝ĆŒÄ‚Ć? Ä?ŽŜŽÄ?ĞŜ Ğů Ć‰ĆŒĹ˝Ç‡ÄžÄ?ƚŽ LJ ƋƾĞ Ć?Äž ĞŜÄ?ĆľÄžĹśĆšĆŒÄ‚Ĺś ĞŜ Ä?ŽŜĚĹ?Ä?Ĺ?ŽŜĞĆ? ĚĞ Ć‰ĆŒÄžĆ?ÄžĹśĆšÄ‚ĆŒ are then muted, relying on the light – the Crystal Lagoon. and shadow from the deep balconies that follow the curving, ever-changing This enormous body of water, intercepted façade. ĆŒÄžÄ¨ÄžĆŒÄžĹśĆšÄž Ä‚ ƉŽĆ?Ĺ?Ä?ĹŻÄžĆ? ĚĞĆ?Ç€Ĺ?Ä‚Ä?Ĺ?ŽŜĞĆ?Í• Ä?Ĺ˝ĹśĆšĆŒÄ‚ÄšĹ?Ä?Ä?Ĺ?ŽŜĞĆ?Í• ŽžĹ?Ć?Ĺ?ŽŜĞĆ? Ĺ˝ ÄžĆŒĆŒĹ˝ĆŒÄžĆ? ĞŜ ÄžĆ?ƚŽĆ? LJ͏Ž ÄžĹśĆšĆŒÄž ÄžĆ?ƚŽĆ? ĚŽÄ?ƾžĞŜƚŽĆ?Í• ƋƾĞ ƉƾĚĹ?ÄžĆŒÄ‚Ĺś ĂĨĞÄ?ĆšÄ‚ĆŒ Ä?Ĺ˝Ć?ƚŽĆ?Í• ĆšĹ?ĞžƉŽĆ? ĚĞ ÄžĹśĆšĆŒÄžĹ?Ä‚ ÍŹ ĞŊĞÄ?ĆľÄ?Ĺ?ſŜ͕ Ä?Ä‚ĹŻĹ?ĚĂĚ͕ Ć?ÄžĹ?ĆľĆŒĹ?ĚĂĚ ĚĞ Ĺ˝ Ĺ?ŜƚĞĹ?ĆŒĹ?ĚĂĚ ĚĞ ĹŻĹ˝Ć? ĆšĆŒÄ‚Ä?Ä‚ĹŠĹ˝Ć?ÍŹĹľÄ‚ĆšÄžĆŒĹ?Ä‚ĹŻÄžĆ? Ä‚ Ä?ŽƚĹ?ÇŒÄ‚ĆŒÍ• Ä?ŽŜĆ?ĆšĆŒĆľĹ?ĆŒ Äž Ĺ?ĹśĆ?ĆšÄ‚ĹŻÄ‚ĆŒÍ˜ Äž ŜŽ ĆŒÄžÄ‚ĹŻĹ?ÇŒÄ‚ĆŒ ÄžĆ?ƚĂ ŜŽƚĹ?ĨĹ?Ä?Ä‚Ä?Ĺ?ſŜ Ĺ˝Ć‰Ĺ˝ĆŒĆšĆľĹśÄ‚ĹľÄžĹśĆšÄžÍ• Ć?Äž ÄžĹśĆšÄžĹśÄšÄžĆŒÄ„ ƋƾĞ ĹŻÄ‚Ć? Ä?ŽŜĆ?ĆšĆŒĆľÄ?ĆšĹ˝ĆŒÄ‚Ć? Ä?ŽŜŽÄ?ĞŜ Ğů Ć‰ĆŒĹ˝Ç‡ÄžÄ?ƚŽ LJ ƋƾĞ Ć?Äž ĞŜÄ?ĆľÄžĹśĆšĆŒÄ‚Ĺś ĞŜ Ä?ŽŜĚĹ?Ä?Ĺ?ŽŜĞĆ? ĚĞ Ć‰ĆŒÄžĆ?ÄžĹśĆšÄ‚ĆŒ with private islands, docks, and bridges, is able to accommodate kayaking, paddleboarding, and swimming, while also maintaining the color of the Caribbean Sea. Two dining pavilions anchor both ends of the Lagoon, activating the pool deck and bringing the outdoor dining experience to the very edge of the water.
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VIEWS OVER CENTRAL POOL DECK
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HAUTE COUTURE Haute Couture is an annual event hosted by local chapters of the International Interior Design Association (IIDA) that fuses fashion, design, and architecture. The centerpiece of the event is a runway competition in which design firms create garments from fabrics and materials more commonly used for seating, drapery, or wall covering. Gensler placed first at the 2015 IIDA LA “Haunt Couture” fashion show as the character, “Tightrope Walker,” modeled by Perla Gallegos (at left). Gensler placed second in the 2016 IIDA Orange County “Villains” fashion show for the character, “Captain Hook.”
Photograph by Michael McLane
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Photograph by Michael McLane
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SOCIAL ARCHITECTURE 2.0
Source: Email Authors: Tanya Paz, Melanie Freeland, Marc Cucco, Dave Bantz, Kainoa Westermark, Li Wen, Tom Perkins When: Thursday, April 21, 2016, 10:47 AM Tanya Paz: [Link to “Architectural Record: Social Architecture 2.0, A letter to the editor from Gensler Co-CEO Diane Hoskins.”] http://www.architecturalrecord.com/articles/11619-social-architecture-2 Melanie Freeland: By our own Diane Hoskins. “I want to challenge today’s architects not to mimic the past efforts of social architecture. Big issues like economic opportunity, equality, climate, and health are very visible problems, but they emerge as the result of complex drivers. We don’t need to be idealists, we need to be realists. That means being a global citizen and recognizing that all projects carry an inherent social impact that will help to shape the lives and experiences of the people living in the communities where they are located. Armed with this understanding, architects should see getting involved with projects-whether they are considered “commercial” or “social”-that have a critical role to play in the future of a neighborhood, city, or country as the defining opportunities for our profession today.” Marc Cucco: I would like to see... real, definable values... In particular: a % of annual revenue allocated to socially impactful, community centered work across all regions and also a “defined, minimum set of criteria” for environmental goals of all Gensler projects. No exceptions. Dave Bantz: Good point,... If you read this a few times it’s actually... PARAPHRASED: “All projects are ‘Social Architecture’ because all projects can and do have social impacts.” Sounds like a... way of defending the fact that we don’t do much ‘Social Architecture’ by its more traditional definition. Kainoa Westermark: Marc and Mel - Research and min criteria may be the way to push clients rather than ride the tide for environmental impact, but what about other social concerns that are less quantifiable? ...And due to Gensler’s scale, we’ll always have a surplus of projects to laud as socially impactful even if it’s a small percentage of the work. We’ve discussed this at length in our Lifestyle 2 “Exchange,”.... We need to hold ourselves to a higher standard.
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Li Wen: Kainoa - agree with you that clear criteria only covers only part of this issue of social responsibility in that there are other less quantifiable aspects to consider too - like what does it mean for a building to have a responsible relationship with the street and the surrounding urban fabric? That can be evaluated only through critique, not criteria and goes to the heart of what we do. But totally agree with Marc that a defined minimum criteria would be a good basis to move forward - it at least would put a stake in the ground.... Dave - love your synopsis of Diane’s statement - spot on. Marc Cucco: I’m thinking of the 1% for Art program as an example. It just ensures that a culture investment is being made as a portion of new development. The selection of the artist and the product of the commission is an entirely separate process, generally free from a particular client. In the same way, I’d imagine Gensler is able to dedicate funds for certain advocacy projects, both cultural and social. And individuals and groups can petition at the office level for support of their project. Gensler could become an incredible patron of architects, artists and advocacy groups.... Tom Perkins: This is a great discussion. Personally I would like to shift this from social/cultural responsibility to social/cultural relevance. Social responsibility should just be the baseline professional responsibility of architects. We shouldn’t need to promote the idea that we are socially responsible, we should just be doing it. I think the public at large would agree with this. Companies like Patagonia, Subaru, etc. have made this part of their everyday way of doing business. Patagonia’s 1% for the Planet, and Subaru’s zero landfill manufacturing are great examples. But those programs wouldn’t be successful without making exceptional products. A higher standard would be social/cultural relevance. To be socially/ culturally relevant, we have to become one of the firms leading the charge on integrating issues like sustainability, technology, urban planning and design into coherent strategies and built forms. That would be an incredible goal. That said, we need to be socially responsible first. Defining what that means to us would be a great way to start judging the success of our projects and creating a dialogue within the office.
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N[STALL]
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Over the past 25 years, the rate of homelessness in Denver, Colorado, has increased by 600%. The number of available sheltered beds, on the other hand, has remained nearly stagnant. This discrepancy between growth rates has led to dramatic overcrowding on the streets and in the city’s limited shelters. Further compounding the challenge of homelessness, a 2013 “camping ban” against sleeping in Denver’s vibrant city center has forced individuals and families to sleep in unsafe, poorly lit areas of the city.
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Denver’s existing urban infrastructure to provide an easily accessible, integrated, and secure place to sleep. Through the sponsorship of a temporary shelter in an existing parking garage, the Denver community can provide refuge for an individual or family in need. FACT: Denver has over 5,812 homeless residents, and over 2,230 at risk for becoming homeless.*
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FACT: Denver has experienced a 24% increase in its homeless population in the past year.*
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In an effort to solve the homeless challenge of finding safe rest, our design solution takes advantage of both the daytime need for parking and the nighttime need for shelter. N[stall] is a modular solution that harnesses
FACT: There are only enough beds within the Denver shelters to accommodate 10% of our homeless population.*
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*Source: Metro Denver Homeless Initiative.
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“BECAUSE FINDING A PLACE TO SLEEP IS A JOB.”
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Tom, member of Denver’s homeless community
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THERE ARE 43,623 PARKING SPACES IN DENVER. THAT IS AN AVERAGE OF FIVE SPACES PER CAR.
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AFTER BUSINESS HOURS MOST OF THE PARKING STALLS THROUGHOUT DENVER REMAIN VACANT.
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USING ONLY 12% OF UNUSED STALLS CREATES SHELTER FOR OVER 5,000 HOMELESS PEOPLE.
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MUPPETTE MOBILE UNMANNED PRINTING PLATFORM 118
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3D printing provides endless opportunities to revolutionize everyday life. At present, a fully automated, mobile platform for 3D printing capable of printing objects of limitless scale does not exist. Given the global economy and the mobile lifestyle it promotes, it would stand to reason that mobile fabrication will become vital to this way of life. The goal of our research is to explore this advanced technology and discover new ways it can be utilized for the creation of architecture in remote or hazardous environments. The project is anticipated to be a multi-year investigation of the technology, culminating in the development of a working prototype that can be marketed and developed further with outside partnerships.
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MUPP A LARGE-SCALE SOLO MUPP COULD CONSTRUCT SIMPLE SHELTERS IN REMOTE LOCATIONS
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A TEAM OF BUILDER MUPPS SUPPORTED BY REFUELER MUPPS COULD WORK TOGETHER TO CONSTRUCT LARGER, MORE COMPLEX STRUCTURES
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YEAR ONE:
Proprietary Development Research: Creation of Mobile Robot
1. We will first identify a suitable robotic platform that will address many of the challenges presented by mobile 3D printing through establishing criteria to evaluate these different platforms. 2. We will then test and determine the most efficient energy source within the context of consumer electronics and apply it to the results of step one. 3. The deliverable is proof that the 3D printer robot has the movement and capabilities needed to print a scale structure (i.e. wall). We will also provide documentation in either video or print form of our process and methods.
YEAR TWO:
Product Research and Development Phase I:
Mobile Robot Prints with Foreign Material (Collaboration with Outside Parties)
1. We will build upon the robot created in Year One by investigating ways for the robot to use foreign material (i.e. locally-available construction material) to print a structure. 2. We will seek out 3D printing companies (Stratasys/Maker Bot), in addition to colleagues who have conducted research on 3D printing (USC, Sci-Arc, UPenn, Cal Poly), to efficiently optimize this robot and build upon the techniques they have studied. 3. The deliverable is a robotic platform that can now move onto a site, use material found on site (sand, etc.) to print a scale structure. Documentation in either video or print form of our process and methods will be provided.
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YEAR THREE:
Product Research and Development Phase II:
Proprietary ReMobile Robots Print in Teams 1. We will optimize the 3D printer robot created in Year One and Two and investigate ways for multiple platforms to speak to each other and work as a larger unit. This will increase efficiency and allow for automated problem solving. 2. We will study and create methods for these robots to collaborate and work as a team to move to a site, disperse, and create a simple structure as a self-sustaining system with minimal input from the outside. 3. The deliverable will be mobile robots that can be dispersed onto a site and use locally-available material to print a viable scale structure. Our process and methods will be documented and provided in either print or video form.
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Original Photograph by Whiteaster/Shutterstock.com
Original Photograph by Derek R. Audette/Shutterstock.com
Original Photograph by Euphro/Flickr.com
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ENGAGE LA: JUMP ON
ANYWHERE IN LOS ANGELES
8:30 AM
1:00 PM
BENCH & SHADE FOR MORNING COMMUTE / MORNING EXERCISE CLASS
LUNCH TIME HANG OUT / AFTER SCHOOL PLAY ZONE
Streets make up 14% of the area in Los Angeles. We all use these streets in our daily routines. With all the challenges and decisions to make in a day, we cling to our commute like a warm blanket. For many of us that commute is by car, others by train, bike, or a bus and for the very rare (but extremely lucky), it is walking. No matter the mode of transportation, when that route is disrupted, chaos ensues. Alternative routes become burdens, despite the opportunities that emerge from the unknown. What if Los Angeles had a tool that could serve as a vehicle of communication to a community and those who pass through it? Something that performs not only as a beacon of progress, but a place to laugh, share ideas, and connect civically through shared experience? Something a little more clever than the typical barricade? JUMP ON is an easily deployed inflatable that proclaims change is coming. It serves as a performative vehicle for communication between the city and the community through play. When a site is scheduled for future development, JUMP ON is loaded onto a truck, driven to the location, aired up, and immediately engages with the neighborhood. JUMP ON is a modern-day orange cone. However, Angelenos form an integral part of Jump On’s behavior, since they are able to interact with the inflatable physically as well as remotely. JUMP ON uses technology to see the city in a new way. Analyzing Twitter data, JUMP ON creates abstracted light displays in response to this input, creating light shows throughout its installation. Whether the city is elated following a Dodgers win or frustrated from the afternoon commute, JUMP ON responds, changing behavior throughout the day and night.
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HUB FOR COMMUNITY EXCHANGE AND MEETING
1 DELIVER SINGLE FLATBED DELIVERY TRUCK
1
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SINGLE FLATBED DELIVERY TRUCK
AIR INLET FOR ELECTRICAL FANS AND INTEGRATED LED WIRING
FULLY INFLATED JUMP ON CONSTRUCTED OF STRIPPED RECYCLED BILLBOARD VINYL
2 INFLATE AIR INLET FOR ELECTRICAL FANS AND INTEGRATED LED WIRING
3 JUMP ON
4 INTERACT
FULLY INFLATED JUMP ON CONSTRUCTED OF RECYCLED BILLBOARD VINYL
JUMP ON RESPONDS TO TWITTER DATA TO CREATE ABSTRACTED LIGHT DISPLAYS, CHANGING BEHAVIOR THROUGHOUT THE DAY AND NIGHT.
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CAHUENGA CROSSING
HOLLYWOOD
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Cahuenga Crossing is a vision to leverage existing underused spaces along the Cahuenga Corridor area of Hollywood. This initiative utilizes a series of tactical solutions, phased over time, which range from barren corners, to optimally located parking lots. The main strategic planning premise is to “Replace Parking with Parks” by redirecting cars from smaller parking lots into adjacent underutilized parking garages served by valet stations. This will establish a more pedestrian—oriented environment for the neighborhood while liberating some of these smaller lots, or portions thereof, to be parks. As a demonstraton of the plan’s benefits, a parklet was installed at the corner of Selma and Cahuenga in November 2015.
REPLACING PARKING WITH PARKS
HOLLYWOOD BLVD VINE ST
IVAR AVE
COSMO ST
CAHUENGA BLVD
WILCOX AVE
SCHRADER BLVD
VALET EAST
VALET WEST
SELMA BLVD
VALET SOUTH
MORNINGSIDE CT
SUNSET BLVD
130 CC CC CAHUENGA CROSSING CAHUENGA CROSSING
VALET ZONES & VEHICULAR CIRCULATION
Gensler
2015.02.10 Gensler 2015.02.01
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PERSHING SQUARE RENEW
DOWNTOWN LOS ANGELES
Before any news articles could be written or TV networks had broadcast their news... Before selfies were posted and “likes” spread across that book of faces... Before any event could raise a glass and fundraisers could collect the checks... Before this project did anything at all, it needed a name – a recognizable identity which embodied the city and the people in which it lives. It needed a brand that was true to its roots, but aspirational in thinking about the future. What will the next Pershing Square be like? What kind of transformation will take place that revitalizes this city and redevelops the community surroundings? It needs to rebuild; that’s a given. It needs to reconnect to the community. Families need to return to the park for their children to play. It needs to be a place where the Mon132
Fri business crowd comes to recharge during their lunch or simply relax in the grass before finishing their hectic day. A space that Downtowners can be proud of and purely rejoice in the fact that they have their town square back and it has never been better. This is the beginning of the brand story that Gensler’s Brand Design Studio developed after winning a competition over four other design firms. Some were surprised that we had to compete for the brand & identity scope of work when the main project started within our own walls; however, we had never worked with the developer before and the City needs to always vet a minimum of 3 consultants to make the playing field even for all involved. We were up for the challenge and felt confident in our design.
We carefully looked at all the different user groups and demographics and one thing that was made clear very early on is that this space was for everyone. It had a brand value and recognition, although tarnished slightly over the last several years. However, people knew of it and where to go to find it. Sometimes that is half the battle. We just needed to change the perception of what people imagined when talking about Pershing Square. It quickly resulted in people wanting a renewed sense of place, while not wanting to lose the deep, rich history Pershing Square offered.
Once selected, our team worked in harmony with the City of LA, other government entities, the LA community and residents, local business owners and various sub-consultants, who all have a high level of interest in this project and deeply care how we bring it back and RENEW it.
After receiving client input, City input, community and business owners’ input, it was unanimously agreed upon... PERSHING SQUARE RENEW defined what it will become next. The seed was planted and the possibilities began to grow. 133
THE LOOP LONG BEACH
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STEREO.BOT 1246 West 2nd Street, Los Angeles, 90026 CA
P: +1 (323)350.6380 E: info@stereo-bot.com
2’ - 0”
25’ - 7”
54’ - 2”
PROJECT Ocean Blvd/Pine Ave Long Beach, CA
Section 01
SCALE: 1/8” = 1’-0”
Section 01 A3
130’ - 9”
25’ - 7”
21’ - 5”
North Elevation
Scan QR Code with Phone to
View Related Online Content! “THE LOOP IN DOWNTOWN LONG BEACH, CA”
PR Oce Lon
54’ - 2”
15’ - 5”
25’ - 7”
SCALE
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East Elevation
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STEREO.BOT | Downtown Long Beach Associates
STEREO.BO 1246 West 2 Los Angeles
PROGRAM PLAN
KEY
Cafe Tables
Cafe Tables
P: +1 (323)3
% of total Bench
15%
Counter
20%
Screen Wall
15%
Archway
50%
E: info@ste
Cafe Tables
Food Truck
PROGRAM SECTIONS
STEREO.BOT | Downtown Long Beach Associates
PROJECT Ocean Blvd/ Long Beach, Archway
Screen Wall
Counter
Bench
SCALE: 1/16” = 1’-0”
Program Dia A4
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CHARLIE HEBDO PAVILION
The Charlie Hebdo Portable Pavilion will give a voice to those who do not have one. It will become a vehicle of expression where a single voice will break a void of silence. Two elliptical shapes are joined to form a figure eight; an infinite symbol representing freedom of speech as a human right, rather than a restriction or limitation. The pavilion geometry is structured around two interconnected void spaces – one that is an inaccessible “Void of Silence” and the other an accessible “Void of Speech” that becomes a platform for individuals to openly vocalize their opinions. Voices radiate from one void to the other becoming a means for freedom of speech overcoming the silence of censorship and persecution.
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RED ZONE When Gensler Los Angeles made the decision to move from Santa Monica to downtown Los Angeles, it made a conscious decision to be a part of the community. The office wanted to enrich the area, to be a true Downtowner, and to be a place for thought leaders in the community to be heard. While every Gensler office has a gathering area designated as a “Red Zone,� the LA office took it a step further and created a space that is transparently visible to the neighborhood as a forum that comes to life in a variety of ways throughout the workday and work week. Before the LA office moved into the space, the building in the heart of LA’s financial district sat vacant for almost 10 years, used occasionally for filming. Now the space is
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a consistent bustle of activity, playing host to the CEOs and Presidents of major firms, authors, inventors, mayoral candidates, councilmembers, neighborhood committees, design charrettes, and even ballet performances and art exhibitions. On the average day, the event space may play host to a variety of impromptu meetings of Gensler staff and formal learning sessions focused on the architecture and design industry. By night, it could be hosting an alumni gathering for a local university, a design forum discussing an in-progress project, or even a game of trivia amongst staff.
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NATURE
VS FABRICATED
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ALTA SEA
AT THE PORT OF LOS ANGELES
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ALTASEA CAMPUS
VIEW LOOKING UP THE EAST CHANNEL
Commercial Fish Market
Warehouse #1 Signal St. WAREHOUSE 57
Plaza
WAREHOUSE 58
WAREHOUSE 59
WAREHOUSE 60
L. Aube Way
Plaza
WAREHOUSE 56 EAST CHANNEL
Warehouse
Existing Landscape New Landscape Existing Buildings
Miner St.
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New and Renovated Buildings
EnGaGEmEnt CEntEr COnCEPt
nt CEntEr COnCEPt SEA
TIDES
LAND
TRANSFORMATION (RECORD ON LAND)
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STAIRS AND PLATFORMS
CENTER ELEVATOR STRUCTURE
EXTERIOR DIAGRID
CAMPUS OVERVIEW
AltaSea is a 35-acre net-positive campus at the Port of Los Angeles, creating a place where scientists, businesses, and educators will launch a new era of exploration and discovery of Earth’s most challenging frontier, the ocean. It is designed to be an experience where future generations will be inspired by the ocean to pursue a balanced relationship between civilization and nature. This project at City Dock #1 will be part of a public linkage of open spaces and rejuvenate a historically significant part of the Port of Los Angeles, serving as an example for the future of sustainability.
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The new building at Berth 56 will serve as a Visitor Center and gateway to the campus. Its architecture will house education and exhibition programming and allow visiting school children and high school students to explore the sciences of the ocean while inspiring them to develop a new learning relationship with it. The Visitor Center’s design addresses the East Channel as a landscape, so that users moving through the building are at once experiencing the architecture and the water in various choreographed moments. The visitor trip culminates atop the Energy Harvesting Tower where one can see the entire port and understand the energy generation of the campus.
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EnGaGEmEnt CEntEr COnCEPt DiaGramS
LOOKING OUT OVER THE EAST CHANNEL
WHERE SEA MEETS Where Sea meets EARTH= Earth = FORMAL TRANSFORMATION ONland LAND Formal transformationRECORDED recorded on
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RAISE THE LAND SPATIAL CONNECTION raise the landTO toALLOW allow Spatial Connection WITH THE LEVEL AND ROOF with theSEA Sea AT at GROUND Ground level and roof.
AUDITORIUM, EXHIBITION AND auditorium, exhibition andLAB labSPACES spaces INVITE THE OCEAN invite the OceanINin
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The adaptive re-use of historical Warehouse 57 will provide the campus with a state-of-the-art Research Center for the oceanographic and marine biology programs of Southern California’s marine institutions. Continuing west, Warehouses 58-60 will form the center of a new Business Hub with spaces for Southern California’s marine-based economy. This part of the campus will act as an incubator for a growing young industry and its start-up businesses, giving them unique access to the water, the Port, and the ocean’s resources.
IN THE RESEARCH LAB
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BRIDGE PARTY
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Original Photograph by Frederika Eilers/Wikipedia.com
Source: Email Authors: Ian Macduff, Paul Andrzejczak, Elizabeth Wendell Philip Vriend, Kimbro Frutiger, Robert Garlipp, Richard Stoner, Robert Jernigan, Grant Gilliard, Robin Clooney, Li Wen, Joe Tarr When: Wednesday, November 25, 2015, 11:42 AM Ian Macduff: www.dezeen.com/tag/linked-towers
Richard Stoner: And don’t forget Minneapolis skyway system!
Paul Andrzejczak: Here’s our version. Boardwalk is nearing 100% CD’s. Enjoy.
Robert Jernigan: We appreciate everyone’s enthusiasm, but if we could reduce the e-mail chain to only those on the original To line. Thanks.
Ian Macduff: This makes real sense! Programmed bridges. Robert Garlipp: There is a long tradition of inhabited bridges. Two examples come to mind Ponte Vecchio Italy 1345; and the Merchants Bridge in Germany from 1472. (5) Elizabeth Wendell: The Ponte Vecchio one is really interesting. It’s a double bridge. The uniform building on top was a private pedestrian bridge throughout the city for the Medici so they didn’t have to mix with the masses and face the threat of assassination! Not enough has been done with the design opportunity of the spaces under bridges.
Grant Gilliard: Please add me to the “to” line. I love these. Elizabeth Wendell: I agree nice little pops of inspiration! Here’s one of my faves! (2) Paul Andrzejczak: Heatherwick! Saw this model at the Hammer. Elizabeth Wendell: ..., great minds think alike! Robert Garlipp: Here is what happens where the bridge ends.
Philip Vriend: Don’t forget Hugh Ferriss. (3)
Robin Clooney: OMG! That is awesome! Love it!!
Kimbo Frutiger: Those of us of a certain age recall when Michael Graves’ Fargo-Moorhead bridge project was architecture’s cutting edge. (4)
Elizabeth Wendell: The bridge party grows. I added Clair. I think it’s interesting how sci-fi artwork always pushes 3d cities (because flying cars!) and that translates into extreme programmed bridges!
Philip Vriend: I counter your Michael Graves with Lebbeus Woods. Paul Andrzejczak: Slightly different interpretaion, but I’ve always been a big fan of Archigram’s Plug-in City and Walking City. (1)
Elizabeth Wendell: Also space elevators. The bridge to space! A Canadian company, (good job Phil), got a patent in July of 2015 and says it can be built in 3-5 years. (if they got the funding). Supposedly the cost of building it is equivalent to 50 rocket trips into spaces, so the ROI doesn’t look so bad.
Elizabeth Wendell: Okay, sorry, two more. Look how the arm fits into the roadway. (6) And don’t forget Team 10’s proposal for Haupstadt Berlin that imagined an entire network of pedestrian bridges throughout the city.
Robert Garlipp: Just posted, new London Bridge.
Robert Garlipp: Opportunities are limitless www.vimeo.com/128988356
Li Wen: Thanks Kimbro this is a new one for me. This when SOM was at it’s best.
Ian Macduff: Love it, all! Thanks for your interest, examples, some now forgotten. Thanks for reminding me Kimbro, I was there. One of the “bridgiest” cities in the world is Hong Kong, where pedestrian bridges, shopping malls, office and hotel lobbies all merge in a delicious air conditioned ribbon. I used to be able to walk to work without touching the ground.
Joe Tarr: The SOM bridge is amazing stitched into the hillside. To this day I think Robert Maillart made some of the most beautiful bridges. I worked on a bridge/museum in Villahermosa, MX with Norten. The city floods on an annual basis and the local museum was getting tired of it. (8)
Kimbo Frutiger: Here’s a personal favorite -Myron Goldsmith’s project for a lateral suspension bridge. (7)
Scan QR Codes with Phone to View Related Online Content!
1. “WALKING CITY”
2. “THE ROLLING BRIDGE”
3. “HABITABLE BRIDGE”
4. “A BRIDGE TOO FAR”
5. “PONTE VECCHIO”
6. “FLYING BRIDGE”
7. 8. “RUCK-A“MUSEVI” CHUCKY BRIDGE” 155
THE MAXWELL ON COLLEGE COLLEGE AVENUE
The MAXWELL on College starts with understanding the student as an individual. Based on a study of personality traits, designs for the units were influenced by a dominant reflective persona, mixed with both eclectic and dynamic features. Moving outward beyond the units, the mixed-use project serves to reinforce the concept of the student journey. By placing a majority of the student-focused community amenities on the 8th floor and linking the towers with a bridge, this expressive connecting element became the social focal point of the project. This connector creates a unique environment, which provides structure, but also provides the ability for adaptation, being responsive to the ever-evolving needs of the student users.
FOREST AVENUE
The MAXWELL on College is an urban student housing community that will offer a contemporary lifestyle, promoting inclusion, health, and sustainability. Through thoughtful planning strategies and careful program disbursement, students are encouraged to travel through the different space types and are inspired to experience the community’s unique offerings. This exploration leads to maximized student engagement with the larger MAXWELL community. Two housing towers rise from a three-story elevated urban park canyon designed to create respite and engage students and the community simultaneously. The park frames a retail and academic podium that encourages interaction at the street level and choreographs movement up into the park from multiple access points. The sky bridges, outdoor study spaces, and amenity decks heighten cross-pollination through interaction and connectivity.
ASU COLLEGE AVENUE
7TH STREET
PARKING THE MAXWELL On College Amenity Park Newman Center Addition All Saints Roman Catholic Newman Center
Church ASU FULTON CENTER
UNIVERSITY DRIVE
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PROGRESSIVE DIAGRAMS OF AGGREGATED PROGRAMS
157
The Canyon
Illustrative Outdoor Kitchen with BBQ Fire Pit and Lounge Seating Seat Wall
Succulent Garden Angular Walls and Intimate Seating Reflection Fountain and Succulent Garden Small Group Gathering Deck Garden Seat Terrace Wood Terraces / Stairs
The Canyon
Outdoor Screen
Program Diagram
Pool Resort Pool Deck Theatre / Outdoor Classroom Screen Wall
THE CANYON ILLUSTRATIVE PLAN
The Maxwell on College
Park Program Legend
THE CANYON PROGRAM DIAGRAM
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Pool Deck Lounge
Small Group Gathering Deck
Large Group Gathering Space
Garden Seat Terrace
Outdoor Classroom / Theatre
Reflection Garden
Outdoor Kitchen (BBQ) / Fire Pit
Angular Walls and Intimate Seating
Garden Overlook
Succulent Garden (for viewing)
VIEWS FROM COLLEGE AVENUE AND 7TH STREET
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LK DEWA ED SI SHAD
STREET-SIDE STREET-SIDE BALCONIES BALCONIES
ST TR REET AN -LE SPA VE RE L SNTC Y TR REET AN -LE SPA VE COVERED WALKWAYS COVERED WALKWAYS REN L CY
OPEN RETAIL CONNECTIONS OPEN RETAIL CONNECTIONS PEDESTRIAN STREET SECTION AT RETAIL
PEDESTRIAN STREET SECTION AT RETAIL
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COLLEGECOLLEGE AVENUE AVENUE
EAST ELEVATION
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VIEW FROM COLLEGE AVENUE & 7TH STREET
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RTC
PARATRANSIT MOBILITY TRAINING CENTER 164
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PFRP
PERFORMATIVE FACADE RESEARCH PROJECT
The Great Green Wall (SCI-Arc + Gensler Applied Studies Collaboration) As Gensler continues to further explore the advancement of technology and materials, our interest to collaborate with various realms of the architecture and design field has dramatically increased. What began as an academic exploration into advanced architectural façades may come to fruition in the form of a full scale mockup through the collaborative work of various fabricators, material suppliers, engineers, architects, and students in a course dubbed “Mat _ Lab.”
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FACADE DESIGN
ADDITIVE_Small Scale
The result of the semester-long endeavor was the design of a series of prototypes for a pollutant barrier façade that utilized a combination of curved glazing and FRP components capable of reducing and managing fine airborne particles.
Gensler + Kreysler
The thought was that this course could act as an integrated platform that would recognize the increasing frequency of multidisciplinary design teams and the collaborative design and delivery relationships that occur between design professionals, fabricators and material providers. The ultimately coauthored design brief “The Great Green Wall” outlined a research and design effort followed by a documentation and fabrication phase.
FUTURE EXPLORATIONS
Photograph by Sierra Helvey
ADDITIVE _SMALL SCALE
EXTERIOR_Additive Circulation EXTERIOR_ Circulation EXTERIOR_Additive Additive Circulation
EXTERIOR _ADDITIVE CIRCULATION
INTERIOR_Objects INTERIOR_ INTERIOR_Objects Objects
INTERIOR _OBJECTS
INTERIOR_Circulation INTERIOR_ INTERIOR_Circulation Circulation MILLED FOAM MOLD
INTERIOR _CIRCULATION PANEL DESIGN
EXTERIOR _EXO-SKELETON
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BRAVE NEW WORLD(?) Source: Email
Authors: Brian Fraumeni, Li Wen
When: Wednesday, May 29, 2015, 6:14 AM Brian Fraumeni: Hello Li, I was not able to attend design forum; this is always the case as we have a regular weekly Wednesday call for our ITC
project development. I am interested to know if you participated in the
discussion, and also quite frankly, your personal take on this discussion.
Was the discussion held in the jest of banter or more of a legitimate issue held by the organizers of the design forum? If you have time, I
would love to hear your take. Li Wen: Yea I was there as I was the one who
encouraged Reg and Lorenzo to do it though unfortunately Lorenzo had to be in our NB office yesterday. Reg did a great job of teeing it up, and it
was a legitimate discussion about the topic though really the “bad” part
was meant to provoke more than a value judgement as the discussion really
explored and denoted the various shades of grey in between. And those are
many but too many to give them all justice here. But topically some of them were surrounding the issues of: • Authorship/authenticity • How is
value determined in the digital age (Re: Walter Benjamin) • How is craft determined in the digital age • Can “computer agents” that we create/program ever be architects? Is this something we can see as a service/product? • Can
artificial intelligence ever be considered human and if not, is that more a bias of what we as humans define as “human” (Re: Phillip Dick) philosophical
question. • The role of the computer in making architecture Capital. • What
profession’s role is being cut out/reduced, or could be cut out/reduced, by the computer? Architect? Developer? Fabricator/
craftsperson? What can architects do to better position themselves given this reality? • What are the architect’s true skills, or new skills, in the digital age? Toolmaker/Programmer? Editor? Conceptualizer? Synthesizer? Does this clarify our
traditional role/skills or does this confuse them due to the increased complication/complexity afforded by technology? • Is the economic entry fee into the profession (hardware + software costs 10x more than pencils, triangles and a mayline) hurting
the profession both in terms of talent draw, long term debt and the cost of running an architecture business. (one of the points I brought up) Personally, I do not the think the computer is bad for architecture per se. It is a tool that without it, we would not have many of the more recent architectural masterpieces such as Bilbao. The problem I have with it is that invites the forces surrounding our profession to squeeze us due to the perception of what it promises it can do at the pace
that it promises it can do it (i.e.: photorealistic renderings in 2 days that clients think are the design or building) and
what’s worse, we as a profession perpetuate that perception by just conceding to these forces, parts of our office being a great case in point. As a result, other means and methods for studying a design are cut out of the process which I believe
is reflected in the quality or lack thereof of that product. And in order to regain that digitally, it requires HUGE loads of
capital - witness the lack, still, of digital 3-D printers in the office; yes some of that is Gensler’s own doing, but let’s
face it, a really good one costs well over 100k I like not being in debt. And this is only going to get worse as technology advances-in the end, I think this is a zero sum game. During automation in the 60’s we all thought we would have more leisure
time. During the early days of AutoCAD, we thought we would spend less time drafting and have more time to design. In both cases it has wildly become the opposite. Personally, I just want to have more time to think. Personally, one can resist some
of this, but as a profession, any profession, it is impossible if one is to be competitive in the marketplace. The argument of “democratization through increased access (provided by technology)” is a bunch of marketing b.s. to cover up the fact that where Capital’s taste goes (what to buy, what is hot
etc.) is now ever more determined by the masses (social media), but whose production is still ever more controlled by the elite who have the ever-
increasing Capital to manipulate the masses and create ever more levels of separation from the masses that they aim to control (the proliferation of
bad TV shows mated to the increased income disparity of today is proof of this). Personally, because of my inability to work on the computer, I have been given the opportunity to explore and expand at the office on what I
believe a design lead on multiple projects should be: to direct, critique, edit, clarify and conceptualize designs with my teams. My analog skills
still allow me to interface at a productive meaningful level so I personally have no issues with this and hopefully my teams don’t either. But also,
this is enough to satisfy my thirst to design (and thirst for ‘control’ as
a designer) because in part, I can come home and when I want to, continue to work on the design and development of this house I’m doing for myself,
and do it in the way I find most intimate and satisfying: drawing and model
making (analog) re-affirming to myself that architecture can still be done in this personal way but knowing all along that I could not in today’s time,
run an architecture business this way unless I was independently wealthy;
personally, I find it a shame that the technological age in 21st Century Western Capitalism has taken that option away… and it is not the computer that has done that, it is us humans’ own greed that has done that; it has
only been facilitated through capitalism and supercharged by technology.
Thus I pursue architecture as a hobby at home and as a business during the
day trying to find the art in both. Brian Fraumeni: Sounds like it was a robust conversation. • More care and understanding of medium must be taken
by and held by the designer (a.k.a. user (slave to computer?)) to claim
authorship. Authenticity debates lead to semantic disputes, regardless the
topic. • Does mechanical reproduction lessen the value of a manuscript? In terms of auction value, yes-in terms of intellectual benefit, no. What
does it mean if the mechanical reproduction is unwittingly allowed to conceptually manipulate the manuscript? I think this is where the architect
has lost control. Complete emphasis on unwittingly. • Craft may be allowed to be measured at a different scale and another dimension added to the picture plane. It is maybe more of an additive value system. More rhetoric, more semantics… • Are we spending too much (any at all) energy on an AI
discussion we are not qualified to hold? That is really biting off more
that we can chew. That is quantum mechanics, quantum computing, not our expertise…
• The architect should be trained
to think critically, choose the correct medium, be able to convey logic and craft graphically, be able to coordinate all
things considered. Is the younger generation of architect in training unaware of these principles or choosing to place their faith in technology or both? • Completely terrified by the cost of the digital tools and how our development and delivery process is beholden to $15k+ worth of hardware/software. Education debt and small scale operational risk are undeniably
changing the practice in a detrimental way. You would hope the conceptual and practical issues surrounding architect vs.
3d modeler can be resolved. Unfortunately, our current hiring practices, mentorship of young colleagues and business model do not afford that change or shift. The education model and production standards at the academic level either react to this or perpetuate it-probably both to some degree. I really appreciate you sharing your views on this. It is important.
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WALDORF ASTORIA SCREEN WALL Sited as a gateway for Beverly Hills, the Waldorf Astoria’s West Coast counterpart is poised to become a Southern California destination. Designed by Gensler and PierreYves Rochon, this new building merges modern materials with the Streamline Moderne style of Hollywood’s “Golden Age.” Paired with a rich stone palette, polished metals, and high-performance glass, these classic elements take on a distinctly modern edge appropriate to the urban context. As an integral part of the arrival sequence, the design for the screen-wall originally emerged from a play off mid-century, 1950s-era patterning found in nearby homes throughout Beverly Hills. The initial design featured overlapping circles of various sizes and the sunburst pattern, reminiscent of the client’s logo, with three screen layers (large circle layer, smaller circles layer,
and sunburst layer) each made from waterjet cut 1/4” metal paneling, powder-coated, and assembled into 16’-0” high x 8’-0” wide panels. As the design progressed, the client opted to remove the sunburst pattern. Following an extensive value engineering effort that resulted in the re-design of the Beverly Hilton conference center, the proposed metal work and supports were substituted for a GFRP applique. The extent of the patterning was also increased to cover the entire east face of the Hilton Conference Center, with visibility from Wilshire Boulevard to the north and Santa Monica Boulevard to the south.
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OVERALL ELEVATION OF SCREEN WALL
OVERALL ELEVATION OF SCREEN WALL
ISOMETRIC VIEW CUT 3 Layers of ISOMETRIC Screens - 3 Layers ofBetween screens 4 Inch Separation Layers - 4 in. separation between layers
ENLARGED ELEVATION OF SCREEN WALL SWATCH
ENLARGED ELEVATION OF SCREEN WALL
SCREEN WALL DOCUMENTATION WALDORF ASTORIA
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16 MAY 2014
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ARTS CLUB The Arts Club West Hollywood will be the American West Coast descendant of the London Arts Club, founded in 1863 with such members as Charles Dickens and Thomas Hughes. The new Arts Club West Hollywood will continue the rich tradition as a place where creative and entrepreneurial patrons can come together to meet, exchange ideas, dine, and participate in various events. This building also integrates mixed uses into a vibrant vertical campus including retail, entertainment, restaurant, and creative office. The project provides an engaging and beautiful Community Plaza with integrated landscape, and complements the diverse mix of architectural styles along Sunset Boulevard with its highly articulated exterior faรงade design that responds to programmatic and performance criteria.
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VIEW LOOKING EAST ON SUNSET BLVD
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VIEW LOOKING SOUTH ON HILLDALE AVENUE
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LEVEL 01 PLAN
NTS
SUNSET BLVD
SunSet Street level
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WC 225 SF O
Retail 1507 SF
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Zuma Access From Sunset
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Service / Egress 349 SF
Setback
Service / Egress 569 SF
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HILLDALE AVE
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WC 225 SF
Retail 1507 SF
DN
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Creative Office Space 1565 SF
Retail 1507 SF
30' - 0"
Plaza 4493 SF
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567 SF
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Club Lobby 1542 SF
Gallery Space 2271 SF
E 30' - 0"
DN
Club Access
EL. 113' - 0" 5' - 0"
EL. 100' - 7"
F
Setback
GROUND LEVEL PLAN
The arTs club wesT hollywood | 8920 sunseT blVd | JULY 24, 2015
LEVEL 06 PLAN
NTS artS club 02 - gueSt roomS
SUNSET BLVD
1
2
3
4
5
6
114' - 0" 30' - 0"
30' - 0"
30' - 0"
12' - 0"
5' - 0"
12' - 0"
Guest RM Guest RM 6' - 9" 639 SF 695 SF Guest RM Guest RM 8' - 0" 626 SF 693 SF Circulation 3296 SF
Guest RM 424 SF
Service / Egress
C
D 30' - 0"
8' - 0"
Guest RM 424 SF
Guest RM Guest RM 664 SF 725 SF Guest RM Guest RM 6' - 9" 651 SF 724 SF
E
4' - 11"
Guest RM 832 SF
140' - 0"
Guest RM 383 SF
C S S C
Reception 788 SF
Open To Below
30' - 0"
Guest RM 383 SF
30' - 0"
HILLDALE AVE
Guest RM 424 SF
5' - 0"
B 30' - 0"
Guest RM 424 SF
20' - 0"
A Guest RM 801 SF
F
6TH LEVEL PLAN
The arTs club wesT hollywood | 8920 sunseT blVd | JULY 24, 2015
LEVEL 07 PLAN
NTS
SUNSET BLVD
artS club 03
1
2
3
4
5
6
114' - 0" 12' - 0"
30' - 0"
30' - 0"
30' - 0"
12' - 0"
49' - 9"
9' - 8"
Terrace 478 SF
A 20' - 0"
Private Dining 2017 SF
Kitchen 1871 SF 30' - 0"
Circulation 1330 SF
WC 444 SF
140' - 0"
30' - 0"
C
D
E
15' - 3"
60' - 0"
Service / Egress
30' - 0"
S S C
WC 441 SF
Brasserie 4546 SF
Terrace 913 SF
C
Reception 788 SF
Open To Below
30' - 0"
HILLDALE AVE
Members Bar 2015 SF
B
F
7TH LEVEL PLAN
The arTs club wesT hollywood | 8920 sunseT blVd | JULY 24, 2015
179
PANEL OPTIMIZATION DIAGRAM A symmetrical curve is used to define the apex of each panel. This balance optimizes the system, reducing the number of unique panel types by half, while maintaining the design intent and aesthetic. Part A includes two of each panel type, while part B repeats the outermost panels in order to meet the building’s various dimensions.
PANEL OPTIMIZATION DIAGRAM
2'-6"
2'-6"
ORIGINAL CURVE (Freehand)
NEW CURVE (Symmetrical)
6" 2'-0"
B.2
PART A PART B
A.1 B.1
PART A
B.2 B.1
PART B PART A
The arTs club wesT hollywood | 8920 sunseT blVd | FEBRUARY 02, 2016 |
180
A.2
PANEL TYPOLOGIES The panel types range in height as a result of the building program and distinct floor-to-floor heights. The matrix below provides the specific quantities of each of the six panel types.
PANEL TYPOLOGIES PANEL TYPE D2 PANEL TYPE A2
PANEL TYPE D PANEL TYPE C PANEL TYPE C PANEL TYPE C PANEL TYPE B PANEL TYPE A PANEL TYPE AXONOMETRIC
PANEL TYPE SECTION
Level 8
Panel Type D D2
Panel Height 17' - 9" Varies
N 70
W 80 7
S 0
E 79 8
Panel Variations / Type 35 15
7
C
13' - 8"
32
76
24
73
35
6
C
70
40
70
58
5
C
47
87
43
87
4
B
11' - 8"
31
34
13
78
35
3&2
A A2
23' - 8" 13' - 9"
34 36
65 22
70
75 12
35 18
TOTAL
4
320
411
220
470
173
PANEL TYPE MATRIX
The arTs club wesT hollywood | 8920 sunseT blVd | FEBRUARY 02, 2016 |
181
FAÇADE DIAGRAMS The panelized façade system functions as a brise-soleil, outboard of the building’s primary enclosure. An analysis of the building program as it relates to views, privacy, and thermal conditions reveals the specific location and scale of the aperture or the façade porosity. Areas of high porosity result in a panel orientation that is normal to the building’s enclosure, thus allowing direct solar exposure and higher visibility. Areas of low porosity result in strategically rotated panels in order to direct views, provide privacy, and diminish solar gain.
BRASSERIE CLUB DINING CLUB DINING POOL DECK GUEST ROOMS BRASSERIE CLUB DINING GUEST ROOMS SP A & TREA TMENT ROOMS SPA &ZUMA TREATMENT ROOMS RESTAURANT
CLUB DINING
BOH
ZUMA RESTAURANT
CREATIVE OFFICE SPACE CREATIVE OFFICE SPACE
PLAZA & RETAIL RET PLAZA & RETAIL RET
A
B
A
North Facade Sunset Blvd
North Facade Sunset Blvd PROGRAM
B
C
South Facade
B B
C C
West Facade Hilldale Ave
C
GUEST ROOMS
GUEST ROOMS
SPA
SPA
ZUMA
ZUMA
COB
COB
GALLERY GALLERY
West Facade Hilldale Ave
CLUB DINING
BOH
POOL DECK
CLUB DINING
PLAZA
PLAZA
D
D
East Facade
South Facade
East Facade
The arTs club wesT hollywood | 8920 sunseT blVd | JULY 24, 2015
The arTs club wesT hollywood | 8920 sunseT blVd | JULY 24, 2015
West Facade South Facade CLUB DINING West Facade South Facade Hilldale Ave CLUB DINING Hilldale Ave BRASSERIE BRASSERIE
GUEST ROOMS SPA SPA
EATIVE OFFICE OFFICE SPACE SPACE EATIVE
S Facades) S& Facades) RETAIL
GALLERY GALLERY
& RETAIL
e) e)
CLUBDIDINNININGG CLUB GUEST ROOMS ZUMA ZUMA
COB COB
PLAZA PLAZA
North Facade Sunset Blvd
CLUB DINING
B B A A
ET BLVD | AUGUST 26, 2015 | T BLVD | AUGUST 26, 2015 |
C C B B
B
C
West Facade South Facade Hilldale Ave BRASSERIE
CLUB DINING
CLUB DINING GUEST ROOMS SPA & TREATMENT ROOMS High Porosity ZUMA RESTAURANT (Terraces / Outdoor Dining)
D D C D C D CREATIVE SPACE A B OFFICE C D CLUB DINING
South Facade East Facade South Facade East Facade West Facade South Facade East Facade Mid Porosity West Facade South Facade East Facade Hilldale Ave (Retail / Dining / COS Facades) Hilldale Ave North Facade & RETAIL West Facade South Facade GALLERY East Facade PLAZA CLUB DINING CLUB DINING Sunset Blvd Hilldale Ave FORMAL TEXTURE Low Porosity BRASSERIE CLUB DINING (Service / BOH / Core)
CREATIVE Low OFFICE SPACE Porosity A B
(Retail / Dining / COS Facades)
PLAZA & RETAIL North Facade Sunset Blvd Low Porosity (Service / BOH / Core)
A
West Facade GALLERY Hilldale NorthAve Facade Sunset Blvd
B
ZUMA
C COB
A
North Facade Sunset Blvd
B
A
West Facade Hilldale NorthAve Facade
B
C
South Facade West Facade
C
South Facade
C
South Facade PLAZA West Facade South Facade Hilldale Ave
THE ARTS CLUB WEST HOLLYWOOD | 8920 SUNSET BLVD | AUGUST 26, 2015 |
Low Porosity
East Fac
SPA
High Porosity
182
D
GUEST ROOMS
GUEST ROOMS SPA & TREATMENT ROOMS High Porosity High Porosity ZUMA RESTAURANT (Terraces / Outdoor Dining) Mid Porosity
BOH
West Facade West Facade Hilldale NorthAve Facade Hilldale Ave North Facade Sunset Blvd Sunset Blvd
A
BOH
DINING DINING DINING DINING GUEST ROOMS APERTURES GUEST ROOMS A & TREATMENT ROOMS A & TREATMENT ROOMS ZUMA RESTAURANT Dining)ZUMA RESTAURANT Dining)
D D
East Facade East Facade
BOH BOH
A A
North Facade North Facade Sunset Blvd Sunset Blvd
D
D
East Facade East Facade
D
D
East Facade East Fac
183
#LS3DRAW28
RETAIL STUDIO MONTH-LONG DRAWING CHALLENGE, ONE DRAWING PER DAY FOR 28 DAYS 186
187
Your turn, draw
something here.
AFTERWORD In this time of MORE, and as Gensler continues to evolve with it, the objective for IDEAS _ has grown, too so as to better document a more complete picture of our design culture. But the heart of who we are is still the work that we do. As such, the objective of our project stories
of un-built work remains the same: 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.
Ultimately, ideas are where our people and our work meet; they guide the participation and collaborative processes of our people; they are evident in the work. This journal serves as a recording of this engagement. It is also serves as a benchmark of “…this process (at Gensler) as it is conceived within a larger conceptual framework at this time, and to act as a resource of ideas, logics, and design methods to be
shared by all who have committed themselves to this ‘place.’” IDEAS _ 1, pg.3 IDEAS _ is a Southwest Region publication organized and produced by volunteers from various studios in our Los Angeles office. 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.
// Design is driven by ideas that establish an operative
logic for reference during all phases of architectural production; and this logic provides an operational framework for all team members to meaningfully contribute to the process, thereby affording the opportunity to optimize Bigness.” IDEAS _ 1, pg.1 This idea-driven design process also changes the structure of our design teams: // 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, pg.2
190
The Editorial Team
JUAN BENAVIDES
BRIAN FRAUMENI LI WEN
JACLYN LAZUR
EMMANUEL MURO ALICJA CHOLA
STEVE CHANG
BENJAMIN MCALISTER
GOLNAR IRANPOUR
MISATO HAMAZAKI
KRISTEN FRAUMENI
AMANDA MOSCHEL
191
CREDITS
©2017 All photos credited to Gensler unless otherwise noted. In Living Culture pages 4-17 Colette Smith Gregory Ingalls Hae-Sun Kim Hayley Wong Jared Shier Jean Liu Li Wen May Wang Nour El Zoghbi Roger Sherman Sung-Ze Yi Figueroa Room Curtain (“Link” FilzFelt) pages 18-23 Daniel Stromborg Marisol Mejia Sabu Song Pinewood Derby pages 30-33 Carolyn Lieberman Daniel Lee Jared Shier Jon Garcia Julia Park Tam Tran Wilson Diaz Martin Expo Town Center pages 34-41 Andy Cohen Dave Bantz Duncan Paterson Jeff Walker Li Wen Ryan Spruston Tom Perkins Tom Steidl Wilson Diaz Hazen’s LA City Center pages 44-51 Adrian Ariosa Aimee Akazawa Alicja Chola Anthony Brower Arpy Hatzikian Asami Choe Darci Wong Darlene Brown Daun Jung David Hurtado David Valdes Fong Liu Golnar Iranpour Gwen Corrie Hans Krake Jeen Seo Jeff Hall Jeffrey Fukawa Jeffrey Kim Jim Oswald Johnny Li Jorge Jocol Kapil Malik Kristen Fraumeni Lorraine Francis Melissa Lee Mike Janas
192
Obed Ortiz Olivier Sommerhalder Omid Majidineja Patrick Yu Rob Jernigan Ryan Bostic Stella Choi Tom Ito Vic Froglia Warwick Wicksman Young Lee Rendering vs. Reality The Lagos Hotel & Residences pages 52-53 Adrian Ariosa Aimee Akazawa Eric Chang Fong Liu Gabriel Ball Jeramy Yoon Jevon Carrington Juan Benavides Kap Malik Kelly Wong Kevin Rohani Kristen Fraumeni Pavlina Williams Rashana Zaklit Ryan Bostic Son Do Tom Ito Warwick Wicksman Young Lee Rendering vs. Reality COEX Mall pages 54-59 Adam Rude Ahee Park Anja Haas Benjamin Anderson Candy Choi Chinmaya Misra Crystal Peebles David Glover Dong Jun Park Duncan Paterson Frank Au Han Suh Hana Rha Hans Krake Henry Chang Hyung Jahng Hyunjoo Oh Jae Rodriguez James Kelly Jeff Walker Jeffrey Fukawa Jin Son John Cho John Emshwiller John Szlachta Lauren Mishkind Lisa Pauli Lorenzo Marasso Marisol Mejia Maysho Prashad Megan Bengtson Nancy Nam Rafael Alvarez Samantha Cabrera Sara Berryhill Sonny Putro Stephanie Lee Sunhee Kang Sunjung Shim Tina Rothermund Tom Perkins Wilson Diaz Yumi Lee
C3 pages 60-77 Adriana Phillips Alan Robles Alice Lee Amy Anderson Andrew Loreman Andy Cohen Angelica Marquez Annette Lee Anthony Brower Brian Di Maggio Christopher Loomis Colette Smith Crystal Chan Darci Wong Eric Barr Gene Watanabe Greg Kromhout Gwen Corrie Harry Spetnagel Hayley Wong Ian Macduff Jamie Vasallo Jason Trahan Jeff Anglada Jillian Rubbert Jim Oswald John Adams John Emshwiller Joshua Smith Julian Ma Julie Guir Katelynn Finn Katherine LaSerna Keith Fuchigami Kevin Kilmer KJ Lee Lindsay Slay Mariela Araya Meghan Moran Michael Cordoba Nambi Gardner Nick Christopher Oliver Romo Oliver Stark Olivier Sommerhalder Peter Barsuk Robert Garlipp Ron Williams Ronald Calvo Salazar Ryan Wynn Scott Walter Sung Ze Yi Tam Tran Thea Gonzales Tim Simons Tina Kalantary Tom Williams Wanyne Walker Wyatt Frantom Young Seop Lee Work on Work pages 78-79 Dana Cuff, cityLAB-UCLA Aaron Cayer, cityLAB-UCLA Li Wen Shawn Gehle Aaron Gensler Muhi Bahri Year 3 Research and Project Development Carla Salehian, cityLAB Shreya Malu, cityLAB Project Teams, UCLA Students Hypermobility: Andrew Akins Graeme Moody Corina Ocanto Urban Desk:
Trenman Yau Jeannette Mundy Richard Ruiz Alexa-Rae Novarro Luis Ochoa Slip City Meaghan Murray Devin Koba Kaitlin Scott Chad Diep Open Expo Mike Ying Daniella Ward David Gray Design Consultants: Agnes Freeman, Gensler Arty Maharajh, DTZ Dan Sturges, Mobility Design David Gensler, Gensler Emmanuel Soriano, Industry Partners Ian Macduff, Gensler Jane Blumenfeld, Fmr. City of LA Jeff Walker, Gensler Joan Ling, UCLA Lisa Pauli, Gensler Melanie Freeland, Gensler Mohamed Sharif, UCLA/BAD Roger Sherman, cityLAB/RSAUD Therese Kelly, Therese Kelly AUD Wayne Walker, Gensler Wyatt Frantom, Gensler Exhibition Design: Julian Ma, Gensler Michael Frederick, Gensler Serena Ye, Gensler Exhibition Realization: Alice Lee Corina Ocanto Hannah Lee Jae Chung Jen Zhong Johnny Li Josh Rubbelke Mengshi Sun My Linh Truong Natasha Valldejuly Nicolas Pappas Seokim Min Serena Ye Stella Gehle Stephen Clipp Taylor Horvat Thea Gonzales Yana Rachovska Project Sponsors: Gensler Research Program A+D Museum Special Thanks: UCLA AUD 2014 Program Theory Class Tibbie Dunbar, A+D Museum Katie Whorrall, A+D Museum Rob Jernigan, Gensler Hitoshi Abe, UCLA AUD Kimbro Frutiger, Gensler Arpy Hatzikian, Gensler Dennis Bailey, Matt Construction Playa Jefferson Building E pages 80-83 Brian Di Maggio Jared Shier Li Wen Ryan Wynn Serena Winner
AR/VR pages 86-87 Alan Robles Alex Phi Megan Lubaszka Scott DeWoody Caldera pages 88-89 Ann Hurt Ashley Morgan Ben Anderson-Nelson Brian Kato Nickelodeon pages 90-91 Darlene Brown Richa Date Steven Upchurch Tom Ito Design Underground pages 92-95 The Committee Smoking Gun pages 96-97 David Glover Emmanuel Muro Hard Rock Riviera Cancun pages 98-107 Abraham Guillen Adam Gumowski Aimee Akazawa Alex Lamm Alicja Chola Alistair Chang Alyssa Smith Andrea Przybylski Andres Escobar Antonio Caliz Ariel Quesada Arnie Untoria Asami Choe Ashley Dowell Ben Marcus Bryan Oakes Candra Mathis Carlos Gutierrez Cindy O’Bleness Claudia Dobles Daniela Montealegre Darlene Brown Daun Jung David Gonzalez Delana Noil Dena Hamed Dianne Kraus Dow Huang Elizabeth Fox Gabriel Ball Gabriela Molina Helle Hodjat Hogan Chun Jaime Calderon JeeAe Kim Jessica Gracey Jia Wang Jordan LaRue Jose Carvajal Juan Cespedes Kelly Wong Kevin Rohani Kirstie Acevedo Kristen Fraumeni Lisa Kong Lois Kim Lorraine Francis
Luis Calvo Maegan Iamjan Manmeet Issar Mason Lee Matthew Majack Matthew Pool Mauricio Zamora Melanie Murata Melissa Lee Melissa Pyell Michael Cox Michael Salvato Michelle Boll Michelle Rodriguez Michelle Shadan Mike Janas Nadim Halwani Nancy Johnson Nicholas Nicola Nicolas Pappas Noga Smerkowitz Obed Ortiz Omid Majidinejad Oscar Bogantes Paola Oliveras Puru Bhargava Randy Rush Riley Uecker Ryan Bostic Stella Choi Stephanie Oca Steven Harrell Susan Villalobos Teddy Mayer Tom Ito Warwick Wicksman Yvonne Colacion Zara Vardanyan
JUMP ON pages 126-127
RTC pages 164-165
Ashley Hudson Li Wen Melanie Freeland Rob Jernigan Shamus Halkowich Tanya Paz
Brett Robillard Chris Dos Santos Chris Fenton Chris Koch Heather Jones Hung Tran Jordan Clark Ryner Grubmueller
Haute Couture pages 108-111
Charlie Hebdo Pavilion pages 138-139
Dena Hamed Erin Lilly Helle Hodjat Liana Arshagouni Michelle Gomez Perla Gallegos KOBE, Inc. pages 112-113 Alysa Johnson Ashley Brewer Bob Marcussen Emily Gutowski Eric James James Young Justin Lam Kristi Dassonville Nancy Johnson Nicholas Acevedo Nikki Rosenberg Paul Morford Robert Garlipp N[STALL] pages 116-117 Alex Holtzer Don Sluman Julie Guirl Lauren Pogue MUPPette pages 118-125 Jared Shier Li Wen Mindy King Rob Jernigan Tam Tran
Cahuenga Crossing pages 128-131 Brian Glodney Helle Hodjat Li Wen Pershing Square Renew pages 132-133 Brian Glodney John Emshwiller Li Wen Peter Barsuk Robert Jernigan The Loop pages 134-137 Gensler: Brian Glodney Kristina Lambros Shamus Halkowich Tim Halbur StereoBot BrightView Design Group
Derek Sola Esther Garcia Jacob Rivard Kevin Tay Manny Lamarche Rory Heggie Walmir Luz AltaSea pages 144-153 Andy Cohen Daniel Lee Elizabeth Brink Joe Tarr John Martin Li Wen Marc Cucco Melanie McArtor Mengshi Sun Nambi Gardner Peter Barsuk Robert Garlipp Stefan Richter The MAXWELL on College pages 156-163 Andre Bighorse Beth Harmon-Vaughan Craig Chapple Douglas Syndor Jay Silverberg Jens Kolb John Williams Katie O’Donnell Melissa Holm Stefan Richter
PFRP (Performative Façade Research Project) pages 166-167 Gensler: Dave Bantz Elliot Freeman John Adams Paul Andrzejczak Shawn Gehle SCI-Arc: Eric Owen Moss Tom Wiscombe Enclos Corporation Kreysler & Associates Cristacurva Waldorf Astoria Beverly Hills pages 170-173 Adam Gumowski Adrian Ariosa Aimee Akazawa Alicja Chola Alison Wong Alonso Rojas Alvin Chen Alyssa Smith Andres Escobar Anthony Garcia Ariana Coughlan Arpy Hatzikian Asami Choe Aurora Carlon Bryan Oakes Candra Mathis Christina Kelly Daniel Gregory Darlene Brown David Hurtado Dena Hamed Dianne Kraus Ellie Combs EonJu Shin Eric James Fong Liu Frederick Kim Gabriel Ball Gabriell Murphy Golnar Iranpour Grant Gilliard Hans Krake Hillary Jaye Jacob Rivard Jason Opp Jeff Becker Jeffrey Fukawa Jeffrey Kim Ji A You Jim Oswald John Circenis Jonathan Scaggs Julie Acosta Julie Stites Katie Dewaal Katie Timmerman Kelly Wong Kennedy Year
193
Kevin Burke Kevin Rohani Kris McCann Kristen Fraumeni Lisa Kong Makena Hudson Manmeet Issar Manuel Lamarche Marci Loftin Maria Mak Mason Lee Matt Gammel Matthew Pool Maureen Hickey Meghan Moran Melissa Holm Melissa Lee Michael Salvato Michael Schafer Michelle Boll Michelle Harper Michelle Tello Mike Janas Mike Rucinski Morgan Wiener My Linh Truong Natasha Valldejuly Noga Smerkowitz Olivier Sommerhalder Pat Ceguera
194
Patrick Gurley Patrick Yu Pavlina Williams Randy Rush Rashana Zaklit Richa Date Rob Jernigan Robert Garlipp Ruber Garcia Ryan Lau Samantha Cabrera Scott Walter Shannon McIntyre Stacy Cannon Stella Choi Stephanie Oca Steve Hoard Steven Harrell Steven Upchurch Sven Van Assche Taylor Horvat Taylor Thornton Tim Simons Tom Ito Tom Steidl Veronika Todemann Warkwick Wicksman Young Lee
Arts Club pages 174-185 Adrian Ariosa Andy Cohen David Hurtado Garo Balmanoukian Golnar Iranpour JC Duarte Jeen Seo Ji Liu Jorge Jocol Kap Malik Matthew Pool Obed Ortiz Richa Date Robert Garlipp Steven Upchurch Tom Ito Warwick Wicksman
195
IDEAS 8 2016 / 2017 A Southwest Region publication organized and produced by
Printed in China
Los Angeles