Innovative Design Quarterly 304

UNIQUE APPLICATIONS IN ARCHITECTURE & LIGHT

ISSUE 304 • 2015

6 B Cellars Winery 18 Legoland Discovery Center 30 Red Bull Music Academy Horse Ranch Turned Winery For the Kid in All of Us

Creating New Model Learning Environments

B CELLARS WINERY

an interview with Hart Howerton’s Craig Roberts & winery co-founder Duffy Keys

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6 B Cellars Winery Photo credits to Michel Vinera

16 Design Workshop 18 Legoland Discovery Center Photo credits to ŠBruce T. Martin

28 Product Showcase 30 Red Bull Music Academy Photo credits to INABA, Greg Irikura and Naho Kubota

38 Global Lighting News Making the switch

Innovative Design Quarterly Magazine, Issue Volume 304, is published quarterly by Gow Industries, Inc., PO Box 160, Elkton, SD 57026.

Postmaster: Send address changes to Innovative Design Quarterly Magazine, PO Box 160, Elkton, SD 57026 Subscription Inquiries: There is no charge for subscriptions to qualified requesters in the United States. All other annual domestic subscriptions will be charged $29 for standard delivery or $65 for air delivery. All subscriptions outside the U.S. are $65. For subscriptions, inquiries or address changes contact info@innovativedesignquarterly.com.

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Copyright Š 2015 Innovative Design Quarterly Magazine. All rights reserved. Nothing in publication may be copied or reproduced without prior written permission of the publisher. All material is compiled from sources believed to be reliable, but published without responsibility for errors or omissions. Innovative Design Quarterly and Gow Industries Inc, assume no responsibilities for unsolicited manuscripts or photos. Printed in the USA.

TA B L E O F

CONTENTS Legoland Discovery Center

B Cellars Winery

Red Bull Music Academy 5

Horse Ranch Turned Winery B Cellars Winery Photo credits to Michel Vinera

Napa Valley is home to hundreds of wineries that produce wines proven to be of equal quality as those produced in other parts of the world. There is a recent shift, however, from the more traditional distribution channels to selling directly to the consumer. Because of this, many new wineries put even more emphasis on appealing to visitors. That focus is especially true for co-founders Duffy Keys and Jim Borsack at the new B Cellars Winery, which began in 2003. The desire was to produce wines from multiple vineyards as well as develop distinct flavors using complimentary grape varieties. They brought in Kirk Venge, the son of legendary winemaker Nils Venge, as their winemaker, which has proven to be an excellent decision as he has since been voted one of the top 20 winemakers in the world.

B Cellars Winery, where the B in the name stands for brix, which according to Keys is, “the measurement of sugar at harvest time as an indicator of the ripeness and quality of the grape,� has an unusual history. It is owned by American Fidelity Insurance whose CEO has always taken a personal interest, but his interest has grown even more since the winery’s new home was completed. Keys and Borsack had no wine experience when they met at a Fourth

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We took some of our cues from the fact the property was a former horse ranch when determining what the architecture should look like, keeping that agrarian theme, modeling the buildings on a series of barns so it would look like a farm operation.�

of July barbecue in 2002. Borsack owned a chain of leather goods stores while Keys was an executive with Four Seasons Resorts and Hotels. Upon meeting, they discussed their mutual interest – Craig Roberts in entering the industry and formed B Cellars a year later. In the beginning, the winery did not have a permanent home and existing entitlements were expiring at the resort that housed their first tasting room.

The company knew it was time to make big changes and in 2012 acquired Vintage Oak Ranch, a twelve-acre horse ranch near Oakville, California. Oakville has the first American designated viticultural (study of grapes) areas. B Cellars expanded the 10,000 gallon winery use-permit the previous owners had the rights to but never built. The ranch and its 180 degree view of the heart of Napa Valley was a sweet spot for a vineyard.

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“We worked pretty hard to see that come to fruition,” Keys said.

“It’s unsettling for a business as well, not having certainty. In today’s business world you need alternatives to the alternatives.”

Enter Hart Howerton, a firm Keys already had a relationship with as they had done work for his previous employer, Four Seasons. From the company, “Hart Howerton is a group of planners, architects, landscape architects and interior designers, headquartered in New York and San Francisco with a network of regional offices throughout the United States and internationally. Our practice is Designing Complete Environments™ - exceptional buildings, communities and place - in special situations, where a unique historic or natural environment requires an especially thoughtful and innovative solution.” Their philosophy is a

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combination of long-term outlook and market-driven solutions with an interdisciplinary practice that places them among the leaders in environmentally responsive development.

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Our plans are carefully laid out with respect for the deep agricultural heritage of the land. The buildings use simple materials, including concrete and corrugated metals, in an authentic agrarian style.”

Craig Roberts’ San Francisco – Craig Roberts team certainly emulated that philosophy when converting a longtime horse ranch into B Cellars’ permanent home. A significant challenge in the project was the time allotment. “Duffy wanted to be in production selling from the premises in August/September. It was difficult getting through all the processing and permitting, but Duffy drove the program, kept it going hard.

We had a great plan check coordinator who helped facilitate the document permitting in a

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very timely manner. We had a very extensive program and a very tight budget.

There were a good deal of value engineering exercises which we all got through.

The bones were great, so the look of the project wasn’t compromised by any of the cuts,” Roberts responded when asked about challenges. He continued, “We worked with B Cellars to create a new destination winery on Oakville Cross Road. Our design for the property includes a large demonstration kitchen, a 500 square feet prep kitchen, a garden, a bocce ball court, and an outdoor patio that provides a gathering place for visitors. Our plans are carefully laid out with respect for the deep agricultural heritage of the land. The buildings use simple materials, including concrete and corrugated metals, in an authentic agrarian style.”

Roberts added, “We took some of our cues from the fact the property was a former horse ranch when determining what the architecture should look like, keeping that agrarian theme, modeling the buildings on a series of barns so it would look like a farm operation. This is on a flood plain, so we utilized the spoils from digging the wine cave and that material was spread and compacted to raise the entire campus by about five feet. The new vineyards were planted at the existing grade so the campus now sits just above the vineyard. The property is somewhat of a bowl with the campus being essentially flat with a hillside rising up behind it.”

Duffy Keys’ take was, “We’re in an area that is defined as an agricultural watershed. Napa Valley is subdivided into a number of appellations. Those horticultural areas are defined by a combination of climatic and soil factors.

Oakville, being the first viticultural area designated, makes ours a very well known and coveted address, and we are the first new winery on this road in 18 years.

Our plan and design is very much agrarian to let the buildings kind of go away into the landscape. When you approach the property and you’re coming up the main drive, you’re inspired by the individual personalities of each building.”

He went on to talk about the intended overall experience of his guests as it related to the design concept and their choice of design firm saying, “What was the guest experience going to look like? When they walk out of here, how did they feel about the way the spaces flow? How did the employees work within the spaces? How did each of the functional areas work in relation to the others? It takes you several iterations, but once you get all that down on paper you end up with a design brief to design against. It cuts down on changes. It cuts down on what I call the opinion curve.

If we had to tweak the design because

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we hadn’t contemplated Our intent was to build a something, we would always little jewel box of a winery, and update the brief to the design. a hospitality experience that is It saved us probably months in very comfortable, using one-oniterations of experiments. That is a testament to the process one service as a hallmark. The Hart Howerton goes through. wines, we believe, will stand on They listen, are able to problem their own merits.” solve, and are workaround specialists. Some firms may do – Duffy Keys great design work but may not be as great on the construction document side. Hart Howerton has such great balance in all the areas a client needs, and they keep it all in the context of your budget. ”

Existing buildings were all replaced by new construction, including a 6,000 square feet residence, primarily a home for the owner. The 5,000 square feet hospitality and tasting room has a kitchen, where chefs make hors d’oeuvres, visitors can sit at a beautiful stone counter and watch while tasting wine paired to match the food. The quality of the wine is also accentuated.

Tastings are by appointment to manage the number of people coming through, as visitation is currently limited to 250 people per week. Polished concrete was used on the floor, but some portions are covered with oak and walnut of varying lengths and widths. Material for these planks was milled from trees that had to be removed on the property. The ceiling is wood with a pickled whitewash to tie in with the off-white corrugated steel finish of the walls. A roof monitor runs the length of the building to bring in ample natural light and give the entire space a more open feel. Folding manor doors connect the room with an outdoor terrace for more

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seating space and a view of the vineyards, making one feel they are actually in the middle of the vineyards. There are also two additional private tasting rooms for those wanting to have a private party, as well as administrative spaces.

The production facility is 4,600 square feet and within that is a mezzanine which houses the laboratory and the winemaker’s office. “The biggest feature of the production building was keeping a corner open by glazing the corner bay, giving you a peek into the production facility and the stainless steel fermenting tanks,” Roberts added. An additional outbuilding is a 1,800 square feet utility barn for storage and equipment.

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The wine cave, totaling 16,000 square feet, was excavated into the hillside beneath the residence by The Cave Company. There are two portals to the cave with an option to add a third at some point. “It is in a semicircle design with concentric circles connected by these three corridors leading to the outside,” Roberts states. The shape of the cave was engineered so that it supports itself, a waterproof membrane and reinforcing mesh was added before a naturalcolored concrete spray called gunite was applied to give the surface texture and protection. Any moisture wicking through is diverted to a drainage system below the cave. A glass elevator rises up from the cave to the residence above providing a view of the infinity pool and out into the valley along the way. An additional private tasting room covered with the same gunite resides in the cave, which makes for an exquisite ethereal space.

Steel beam construction was used throughout the project. The cave and all the new construction were tested only a week after the winery opened in August 2014, when a 6.0 earthquake hit the area. The earthquake broke a few bottles and the winery lost power for a day, but it suffered no further damage. “B Cellars was very fortunate to have been designed by Hart Howerton, a San Francisco-based architect, and built with the latest earthquake standards. The fact that the winery sustained no structural damage is a testament to the quality of the construction,” said Keys.

Each building was wrapped inside and out with steel for better duration and easier maintenance. Roberts said, “Originally we were going to use corrugated CorTen steel as the skin for the buildings, but we found a similar highergauge material that is pre-faux painted, so it looks like CorTen when you see it, but you don’t have that rusting effect. It is long lasting, looks terrific, and gives the impression of what we were trying to create in blending the construction into the environment. We used the same material on interiors, but instead of the CorTen-looking finish we used an off-white so it’s a little warmer. ”

The goal was to create a smaller winery that will focus on one-on-one contact with customers, relying in part on their past experiences with B Cellars. “Our intent was to build a little jewel box of a winery, and a hospitality experience that is very comfortable, using one-on-one service as a hallmark,” Keys said. “The wines, we believe, will stand on their own merits.” With approximately 400 wineries in the Napa Valley alone, B-Cellars and their new facilities are poised to carve out their piece of the market for many years to come. n

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That is a testament to the process Hart Howerton goes through. They listen, are able to problem solve, and they are workaround specialists.”

– Duffy Keys

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For the Kid in All of Us

Legoland Discovery Center Photo credits to ©Bruce T. Martin

In the late 1930s, a carpenter, whose business had failed in Denmark, named Ole Kirk Christiansen started building wooden toys. Originally he produced wooden ducks that his four boys liked, and he eventually built a business making other toys. After a fire destroyed his shop and he’d almost lost hope, he started building miniature houses and furniture. He derived the word LEGO® as a company name from two Danish words that mean ‘play well’ (the word coincidently also means ‘I put together’ in Latin or ‘I connect’ in Italian) and the LEGO® Group was born. In the mid 1940s, Christiansen purchased a new plastic molding machine and started molding little teddy bears. Then he remembered the plastic bricks he had seen made when the company demonstrated the machine to him. Originally his bricks were simply stacked to create whatever a child wanted to put together. He and his son Godfried came up with the idea of creating a system with interconnecting blocks to stimulate children’s creativity. The company took off. Decades later, the brand may have had its ups and downs, as many companies do, but they are still going strong and have one of the most innovative and automated manufacturing facilities on the planet.

In recent years, LEGO® Group further expanded their marketing reach by creating attractions in shopping malls, standalone discovery centers, and theme parks around the world. There are even

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LEGO® movies! These discovery centers and theme parks are no longer solely owned by LEGO® Group as they decided it was not their core business. Instead, British company Merlin Entertainments operates these attractions and has taken on the primary ownership and management role. They now operate over 100 attractions and twelve hotels in twenty four countries on four continents, including such non- LEGO® attractions like Madame Tussauds House of Wax Museum. Based in the UK, Merlin Entertainments utilizes design teams from Kay Elliot Architects in the UK for all of their new attractions, design firms local to the area are hired to work with them at each location.

When Merlin wanted to add their now 11th discovery center, this time in the Boston area, it was Darlow Christ Architects that received the call after a local general contractor recommended them to a Merlin company representative. The representative first called and told firm principal Peter Darlow who he worked for but gave no further explanation. He said he had a 44,000 square foot space and understood the firm did a lot of retail and restaurant work. Peter quipped, “In my mind I’m thinking bar or nightclub work but the representative said ‘not exactly’, then proceeded to explain what he was proposing to build, a Legoland Discovery Center. It worked out that much better when the contractor that recommended us was the one Merlin elected to use as well.”

Since their inception in 1992, Darlow Christ has grown large enough to take on major projects yet small enough that the partners remain directly involved. Merlin has generally worked with engineering and lighting design firms for their North American projects, while

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generally using local architects to manage and coordinate. “Going forward Merlin has had a change in philosophy as it looks like we are going to be working with [Merlin Entertainments] on the upcoming Legoland in Auburn Hills, MI and then we’re moving on to Houston after that” said Darlow, proving once again from a business development standpoint how good relationships result in ongoing business. When asked, jokingly, if he’d previously envisioned himself working with LEGO® as a niche, Peter chuckled and said, “No. Certainly not, but it’s a fun one.”

There are more participants involved in a project like this than in most. Merlin Entertainments has their own creative team that creates a theme book with the concept of what they want the center to look like. Kay Elliot then designs the concept floor plan. This establishes the look and feel of each of the spaces with pictorial images the local architects work from. Darlow Christ’s role began by matching those concepts into the reality of the field conditions, including code, site, structural and mechanical issues.

Peter then spoke to more of the challenges saying, “From there we took on our normal role as architects, creating the construction documents and collaborating not only with Merlin and Kay Elliott, but also with people like the MEP team from Cosentini’s Chicago office, Emphasis Lighting out of Cambridge, MN, who did some of the lighting design, and even vendors who developed some elements for Merlin, some of whom are also not from North America. Imagery for some of the walls were created by a company out of Toronto. The

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giraffe was assembled Imagery for some of the walls were created by a company out of by a company out of Toronto. The giraffe the Czech Republic. The was assembled by a company out of the stainless steel spine for Czech Republic. The stainless steel spine the giraffe was done by for the giraffe was done by a guy in Latvia. a guy in Latvia. My local My local engineer had to take the Latvian engineer had to take engineer’s calculations and adjust it to US the Latvian engineer’s standards and to stand up to northeastern calculations and adjust it to US standards weather.” – Peter Darlow and to stand up to northeastern weather.

Given this is near the bank of a river, we had to drill 14 feet to get helical piles in the ground for each of the giraffe’s feet. So many entities were involved and from so many countries, it was often difficult just working with the many time zones involved and the logistics of getting things through customs. If all that wasn’t challenging enough, our allotted time was only eight months when it is normally ten months.” Continuing from there, “Merlin re-imagined the factory tour completely for this project versus any prior. It changed from a more hands-on setup to a very high-tech interactive video presentation, which took a good deal of tweaking to get it right. The theming for a lot of the spaces changed from the original concept to the end result.”

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The location selected is part of a 45-acre mixed-use smart growth development in East Somerville called Assembly Row, named for the former Ford manufacturing plant located there. A shopping mall came and went before this new development began. Sitting along the Mystic River, development began in 2012. It now includes premium retail outlets, restaurants, residential spaces, state-of-the-art office and research and development spaces. A 12-screen cinema and a 200-room hotel complete the area. The Discovery Center opened on Memorial Day 2014. The process involved over four months of general construction to complete the shell of the building and another four months of thematic construction.

The LEGO® Discovery Center itself utilizes 44,000 square feet, you know you are there when you see the 20-foot LEGO® giraffe standing out front. The Discovery Center is primarily located on the second level of the building with an outlet shop on the lower level. While the bulk of the square footage is on the second level, there are 6,000 square feet on the ground level as a lobby area. Upon entering, there is space for purchasing tickets. There is also a lobby area where the elevator is located that goes up to the Discovery Center.

“The way this works, after you pay for your ticket, you go through a factory tour, which is a high-tech and entertaining timed video program showing the innovative mechanized LEGO® manufacturing facility in Denmark. They give you a show on how it works, but it is also an entertainment opportunity for the kids. It is the first of several instances where the kids have a joystick and get to play a game on the screen while the movie is going on around them. It is a movie in a drum as the movie fully surrounds you. Following that is an amusement ride, which also has a time queue. They purposely only take so many through per 20 minutes and stage people in order to get them through these venues without creating long lines once people get up to the second floor.” Darlow explained and continued, “This ground floor space also houses staff offices and changing rooms and, of course, you’ve got to have a LEGO® store. When people leave, they come down the same elevator they went up, but exit out the opposite side of the car and magically find themselves in the LEGO® store.”

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Once Merlin leased the space, adjustments had to be made to the building itself to accommodate the project as there is also an AMC movie theatre on the third level. One of the issues that needed to be addressed immediately involved meeting with the base building architects, AMC architects, and Darlow Christ to devise a plan to keep sound from hundreds of kids playing in the Discovery Center from penetrating into the movie theatre and, conversely, to keep surround sound from the theatre from penetrating into the Discovery Center.

An acoustical consultant was brought in to formulate a plan to accomplish this. “Exit stairs and an elevator system exclusive to Legoland had to be put in as well as steel reinforcement in a couple places to carry the load of the rides. Mechanicals on the roof had to be brought down into the space, and all of that had to be coordinated with the movie theatre overhead.” Darlow said when talking about project challenges. He continued, “One of the attractions in the Discovery Center is a 4D theatre. We had to build that as a black box that floated in its own structure so that the vibrations from our sound system didn’t

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travel through the steel structure either up into the movie theatre or down into the retail space below. That meant a second concrete slab, neoprene blocks, and double stud walls, one floating on the wall the other floating on the base building. We have a separate play structure that required the same type of thing.”

Upon arriving on the second floor, there is a semi-interactive Miniland, where many visitors spend a considerable amount of time as there is much to look at. One of those interactions is Fenway Park Pinball, a LEGO® scaled Fenway Park with flippers to play baseball with, like the old pinball machines many of us grew up with. Skull boats can be raced on a replica of the Charles River. Visitors can watch the subways below, the planes overhead, fire trucks and many more scenes. Over three million LEGO® blocks were used just to complete Miniland, a montage of reproductions of Boston and Cambridge landmarks.

“They do this with each of their Legoland projects - build all the iconic architectural and engineering elements in the local area.” Darlow added. After this, people can go to any or all of the other areas on their own, spending all the time they wish at each one. There is even

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We had to build that as a black box [for the 4D theatre] that floated in its own structure so that the vibrations from our sound system didn’t travel through the steel structure either up into the movie theatre or down into the retail space below. That meant a second concrete slab, neoprene blocks, and double stud walls, one floating on the wall the other floating on the base building.” – Peter Darlow

a Master Model Builder or Brick Master on site teaching classes and helping to maintain the onsite structures. Darlow explained that in recent years, LEGO® Group has “developed software to map out how to create all the various sculptures used in these Discovery Centers.

When photos are fed in, the software maps out layer after layer of the blocks needed to build each one.”

There is one caveat; people over 16 can only visit if they bring a child with them. If you’re a LEGO® enthusiast but don’t have children, don’t fret; the Discovery Center hosts themed adult-only nights for Boston’s more mature LEGO® lovers. Nate Boroyon, news writer for BostInno, commented on the model he built during his visit saying, “Me, personally? I built a spacious, one-bedroom, 314-square-foot LEGO® Studio. Sure, it’s a pain to rebuild it, the plumbing is dodgy, and the insulation could be better. But I make do.”

Other attractions include a 4D cinema, LEGO® Racers: Build & Test, where one can build cars and try them out on the test track, the Professor Brick-a-Brack factory tour, two interactive rides and, of course, a birthday room. Yet another attraction is the earthquake room where one can construct a building and watch it shake until it falls apart. Toys like LEGO®s result in a creative learning experience not just for children and their parents, but also for designers looking to construct these discovery centers. n

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Creating New Model Learning Environments Red Bull Music Academy

Photo credits to INABA, Greg Irikura and Naho Kubota

As the Chelsea neighborhood continues its transformation, another vacant building is being repurposed. This time it is energy drink company Red Bull who continues their expansion by adding another music academy. The Red Bull Music Academy began in 1998 when the company asked a consultancy in Germany called Yadastar to start a music program. That program has been traversing the globe since - from Berlin to Cape Town, São Paulo, Barcelona, London, and Toronto. Recently one of their largest and most permanent settings was added in New York City’s former printing district in Chelsea. A corporate group within Red Bull creates the programming and operates each academy while the various global groups operate the actual spaces once each academy closes. Red Bull North America operates, develops the ongoing programming, and keeps offices in the new Manhattan space.

The actual academy is a traveling five-week event. Two groups of 30 selected participants that include producers, vocalists, DJs, instrumentalists, and all-round musical mavericks from around the world, come together for recording sessions. Lectures by musical luminaries, collaborations and performances in the host city’s best clubs and music halls are all part of the experience. Lecturers in New York ranged from influential minimalist composer Philip Glass to

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“

Red Bull was, of course, interested in the look of the space and the materials we would use, but they were also interested in what would be the ideal space for people to meet.” – Jeffrey Inaba punk rock legend Debbie Harry. If you can imagine a place that is equal parts science lab, the Hanging Gardens of Babylon and Kraftwerk’s home studio, you begin to get the idea. Once the event concludes, the space continues its use as an online radio station - RBMA Radio. Thousands of interviews, mixes, feature documentaries, and artist-curated playlists can be listened to. Live recordings from some of the best festivals and clubs in the world are featured. The accompanying outdoor concert series during the academy was so successful it has become an annual event.

INABA and firm founder Jeffrey Inaba were commissioned by Red Bull Music Academy to transform four floors of the vacant building at 218 W 18th Street in Chelsea into a model learning environment. Inaba is also the founding director of C-LAB (Columbia Laboratory for Architectural Broadcasting) at Columbia University’s School of Architecture, a group that studies untapped relationships between architecture and technology. He is a frequent public speaker and enjoys writing and editing publications about design. INABA reestablished a prior relationship with SLAB Architecture.

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Involvement in C-LAB may have been how Red Bull found INABA, given the group’s purpose is to actively think out new ideas in culture and technology and how those issues affect architectural design. This fits in with what the academy tries to do, which is to promote discussion and encourage collaboration while being compelled by the ideas behind what is being made.

SLAB Architecture has established themselves in both design and construction. They have a prior working relationship with INABA, so it was natural for that partnership to develop for this project. SLAB has also worked with Tillotson Design Associates before, which made choosing a lighting designer easy as well. While Tillotson is becoming increasingly known for their innovative lighting design, they boast a diverse staff.

Jill Leckner of SLAB mentions that working in New York City is different than other cities, “One consideration Red Bull had to make for the budget in this project that they may not have to in other cities that host the Academy is the use of union labor. The benefit is that the expertise [of union workers] is generally worth the added expense versus using non-union workers, and if need be, to complete a project, they have the ability to call in extra people.”

While this was the first project where INABA and Tillotson worked together, the relationship is continuing with other projects. Inaba added, “It was enjoyable to work with them to create these different settings, to imagine what the different qualities of light will be and the transitions between spaces, and then to see it realized in a way that we’re all happy with.”

While the project initiated with INABA in concept and design, they collaborated with SLAB who helped to further develop the design and create the construction documents.

Both groups worked with Tillotson Design Associates who created the perfect lighting for

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the project. The collaboration of the three firms was successful. The project earned multiple awards including an AIANY Design Award and an International Association of Lighting Designers Award of Excellence.

The overall project involved four floors including the cellar, the ground floor, and floors 7 and 8. This is a 12-story building where floors 2-6 have windows only on the north side while floors 7-12 also have windows on the south side, allowing for some amazing views that include the Freedom Towers off in the distance.

The recording studio in the cellar level was a primary focus of the entire project. Leckner said, “Creating the recording studio proved to be a very interesting process. We spent a lot of time and effort to find the appropriately shaped room in the cellar and find a method to isolate the space itself from any outside vibrations from sources such as subways and traffic. One of the methods to accomplish that was to pour a 10 inch concrete slab over isolation material in the floor. This was one area where acoustical engineers on Red Bull’s own team were heavily involved.”

In a normal space, sound implications are most often a cursory consideration. The opposite is true in a recording atmosphere. Not only is it necessary to prevent outside noises from entering the space, but also great pains must be taken to control sounds created within the space. To limit unwanted reflection, 90 degree angles are frowned upon. As Leckner further explained, design work also included isolating the drum room and vocal booth from the main room and isolating all of that from the control room.

Outside the studio, an egg-shaped performance space and a lounge area take up the bulk of the rest of the floor. Erin Dreyfous of Tillotson explained, “Lighting in the cellar level was meant to provide light levels that were comfortable for people to spend considerable time in, but also facilitate filming. The informal performance space outside the recording studio is all-

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“

To create different atmospheres, we really relied on lighting effects,” – Jeffrey Inaba

black and kidney-shaped. Lighting on the ceiling is staggered white dashes of light.”

Throughout the entire project, the team used dramatic walls and lighting to create unique collaborative work areas in place of the traditional classroom. Curving walls throughout the L-shaped 38,000 square feet forum give shape to the distinct spaces. On the ground level, the walls extend far into the former warehouse allowing passersby and users unrestricted views across the floor. These views reveal a cross section of the types of activity taking place including performances, private workshops, music production and broadcasting, all directed at making the statement that the space is different in its use from the shops, galleries, and cafés of the area. The arcing walls of the shaped lounge in the cellar are interrupted only to establish long views from the recording studio located at the south end to the open-air patio at the north. On one of the upper floors, the similarly rounded walls enclose eight collaborative music studio pods. Each has large windows facing onto open workrooms and the city skyline.

In an interior that is used at all hours of the day, the lighting plays a key role in setting the architectural atmosphere. The V-shape created allows for an expansive lobby and excellent use of natural light. During the day, the ground level receives generous amounts of natural light from high floor-to-ceiling windows, while at night it is illuminated by rows of warm-colored customfabricated neon fixtures. Diffused LED lighting illuminates the radio studio and a programmable LED system focuses light on rows of acrylic tubes above the bar. Curved FRG light diffusers and indirect lighting lend an intimate setting to the auditorium, while the ceiling structure supports light riggings for more theatrical effects. In smaller ancillary spaces, colored neon and grazing fixtures are employed in combination with high saturation paint. The cellar lounge has a low ceiling embedded with hundreds of linear LED fixtures to create a distributed field of light.

Ceiling and walls in the ground floor lecture hall are covered with custom GFRG panels with lighting recessed between panels. Travertine tile flooring throughout the main lobby adds to the appeal upon entering.

“We knew we wanted to create different moods for the various types of spaces, so it was a great process to work with the lighting designers to come up with custom fixtures and details for many of the spaces. To create different atmospheres, we really relied on lighting effects,” Inaba

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explained. “We worked with [Tillotson Design Associates] on this and each of the spaces has different custom lighting elements. In the main space, it’s rare these days, but those are all handfabricated neon tubes. They turn on at night and produce a very warm light that points down.

During the day, there are cooler fluorescent lights pointed up that create more of an ambient environment in response to the daylight. In the radio booth, there is an LED programmable system over a fabric that creates a really diffused light. That whole interior space is painted pink, so we programmed the LEDs to create the same color as the painted interior which creates this continuous atmospheric effect. Downstairs in the lounge there are custom LED fixtures. It is basically like a piece of string cheese- a long, linear element and the whole thing is illuminated,” he added. “The lighting is really one of the things that I am most proud of here.“

Dreyfous said, “On the ground floor, they really allowed us to explore and think about some new and different ideas. We worked with a lot of neon because we liked that aesthetic, giving the space an artsy, modern vibe. That is what you see on the underside of all those linear fixtures

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“

Creating the recording studio proved to be a very interesting process. We spent a lot of time and effort to find the appropriately shaped room in the cellar and find a method to isolate the space itself from any outside vibrations from sources such as subways and traffic. One of the methods to accomplish that was when a 10 inch concrete slab was poured over isolation material in the floor. This was one area where acoustical engineers on Red Bull’s own team were heavily involved.” – Jill Leckner

throughout the gallery and lounge spaces as well as the canary yellow space in the vestibule, with the neons being the same yellow as the walls and ceiling for completely saturated color.”

The same idea of saturated color was used in the radio booth, only this time with a stretchable PVC ceiling fabric overlay to diffuse the lighting above.

Dreyfous continued, “We played with some colored lighting in the bar area using acrylic tubes, which we thought was a nice way to bookend the more stark white central public space with just a few moments of saturated color. Those tubes are slightly recessed into a black opaque ceiling with a lighting system above that just catches the edge of those tubes to create an interesting glowing halo effect. ”

As opposed to those below, the upper floors were designed for a change in use once the initial event ended. “Some of the spaces on floors 7 and 8 were set up for one use during the academy and somewhat repurposed for different uses once the academy was over.” Leckner said. “One structural upgrade that was done was to punch a hole into the concrete slab for a new staircase with bench seating to connect floors 7 and 8.”

Customized lighting wasn’t as important in the less public upper floors. Dreyfous said, “For the studios, we focused on the idea that the spaces would be used 24 hours. We tried to simulate that daylight feeling through the corridors by strategically locating basic fluorescent uplighting in the duct work for a more elevated light feeling with more localized lighting within the pods themselves.”

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“If you look into the future, education is not just going to be online, it’s probably going to be a combination of online experiences and then really intense short term interpersonal experiences with people in contexts like this,” Inaba speculated. “I think of this as a model for an education scenario that applies to music, but it can also apply to design, architecture, to everything.”

Since learning occurs in different kinds of contexts, the street and cellar levels are organized for a range of encounters for groups of varying sizes. The central areas accommodate big gatherings like receptions or performances. In nearby spaces people can interact for an extended period of time in a more personal setting including lounges, a radio studio, living room-like auditorium, production studio, and rehearsal room.

Inaba continued, “Red Bull was, of course, interested in the look of the space and the materials we would use, but they were also interested in what would be the ideal space for people to meet. Should there just be one kind of space? Or would it be better to have a range of spaces with different sizes and using different materials to enable different kinds, sizes, and durations of encounters. We worked with the academy group to create some spaces for people to meet, others for people to talk over ideas, and others to actually try out those ideas. This presents an interesting model for education. While the academy involves music, the model could be used in other areas as well.”

The Red Bull New York studios will be used as a space for experimentation. The programming is geared to encourage exchange and production, with the goal being to share ideas, make things, and test the results. The ground level will most often serve as an event venue for people to meet and talk. It will act as a working studio for producing content inspired by such discussions, and at times as a gallery where that work is displayed, together producing a feedback loop of trial-and-error learning.

The event that originally triggered this project may be long over, but its use will continue for years. If this project is any indication, the same appears true regarding the design relationships of INABA, SLAB and Tillotson Design Associates. n

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