Nick Rosas M. Arch. I Thesis by nerosas

A + D

N I C K R O S A M . A R C H . I | T H E S I C A L P O LY P O M O N S P R I N G 2 0 1

S S A 7

“…ONE THING WE DESPERATELY NEED HERE IS A SHOWCASE FOR ARCHITECTURE…WE’RE TRYING TO CREATE SOMETHING LIKE THAT HERE, SO FAR WITH LITTLE SUCCESS.” – frank gehry Experimental Architecture in Los Angeles, 1991

ACKNOWLEDGMENTS I would like to thank my family and friends for their continual support through my many years of school - particularly through times when my path was unclear. Thank you to the architecture instructors who helped provide opportunities which I never would have thought possible. My architecture mentors, who not only invested time in teaching me the profession, but pushed me to learn and grow at a pace I would not have otherwise. And thank you to my M. Arch. I peers, who made this terminal academic experience more fulfilling than any other period of my education. This project draws on experiences in construction, urban planning, architecture, and exposure to Downtown Los Angeles development. It is an amalgamation of all I have learned about the built environment, and our rapidly evolving city. nick rosas

C O N T E N T S

ABSTRACT

BACKGROUND & SITE ARCHITECTURE AND THE MUSEUM ARCHITECTURE AND LOS ANGELES MUSEUMS AND LOS ANGELES LOS ANGELES RENAISSANCE REGIONAL CONNECTOR A+D THESIS STATEMENT SITE ANALYSIS

11 12 13 14 16 18 21 22

PLACEMENT & PROGRAM PLACEMENT PROGRAM PUBLIC INTERFACE EXHIBITION EXTRACTION NEXUS BACKDROP CREATE DISCOURSE

30 32 36 40 42 44 46 48 50

CONFIGURATION/EVOLUTION STRUCTURE/SKIN GROUND CIRCULATE EVOLVE

54 55 57 58

DRAWINGS & MODEL SECTION PLAN ELEVATION MODEL

62 64 74 78

METRICS PROGRAM TOTALS PROJECT INFORMATION PROGRAM DETAIL

82 84 86

EXPERTS

REFERENCES

ABSTRACT Architecture museums are a rarity. People do not see a need for architecture museums, as they do for art - one can visit a building to experience it. There is more to architecture than meets the eye. Architecture is the integration of art and the built environment. It is a synergistic endeavor which has and continues to dictate the nature of the places which we visit, frequent and live in. Norman Foster states that “in reality, it’s an all-embracing discipline taking in science, art, maths, engineering, climate, nature, politics and economics.” The output is relatively straightforward – as Richard Rogers notes: “We – architects can affect the quality of life of the people.” Yet people do not have good understanding of what architects do. A subject so intricately tied to the fate of societies surely must have places dedicated to its examination. One such place is Los Angeles’ A+D Museum. Founded in 2001, the A+D Museum is dedicated to architecture and design. A+D is the only such museum in Los Angeles, a city that has influenced the worlds of architecture and design over the past half century as much as any other. The city’s streak of innovative and experimental architecture has helped open new avenues for the field. Los Angeles’ influence as a leader in architecture practice, theory and education make it an ideal venue to showcase architecture, and engage in dialogue regarding its role in our lives. Such is A+D’s mission. The museum however lacks the facilities and the funds to fully realize this endeavor. A+D is largely driven by Los Angeles architects, and the city’s built environment. Downtown Los Angeles is experiencing its greatest period of development in a hundred years. A once desolate city center is being transformed into something Los Angeles has been conspicuously lacking – a vibrant urban core. The sea change within the country’s second largest city places A+D in an interesting position. The topics which the museum concerns itself with – architecture, design and urbanism – are rapidly reconfiguring the museum’s home. Moreover, those who A+D affiliates itself with – architects and designers – are the drivers of much of this transformation.

A+D’s neighborhood has not gone untouched by this storm of redevelopment. The museum calls Los Angeles’ Arts District home. The institute’s desires to remain in the creative hotbed and enhance its profile can both be realized in a location in which A+D shares limelight with two established museums, and reaps the benefits of a direct interface with Los Angeles’ most important public transportation infrastructure investment. Placed directly over a subway line, A+D would live its ethos of urbanism, maximize its exposure, and strengthen its ties with the city’s urban fabric. Once uprooted by Los Angeles Metro, A+D would approach the agency as a proponent of its mission of public transit, and acquire rights to integrate a center of learning with a center of transportation. A+D’s mission is aligned with the dynamics transforming its city. Along with Los Angeles, a rebirth of the museum is necessary for A+D to execute its mission statement. The museum’s growth through integration with Los Angeles’ economy, creative community, societal shifts and evolving infrastructure is representative the synergistic processes architects regularly engage in. A+D is in the right place, at the right time - poised to impact its hometown’s trajectory. This thesis proposes A+D ride the city’s wave of revitalization, and grow in step with Los Angeles. Through this process, A+D can become a more proficient conduit of ideas that shape the future of the city.

BACKGROUND & SITE

ARCHITECTURE AND THE MUSEUM The Architecture Museum Architecture presents a means to address practical needs, and explore the limits of our creative ability. The synergy of these capabilities is of particular utility in museum design. Museums are special buildings – they tell a story of our history and future, and of that of all that surrounds us. Architecture is the means by which we weave such narratives. Art, history, science, and a myriad of specific themes have long since found their niche as the focus for museums. Architecture is underrepresented in this respect. Architecture has played a central role in the building our societies. It is the nexus between art and the built environment – it dictates the configuration of brick and mortar, and both informs and draws from artistic and cultural movements of its time. It is both infrastructure and social critique, building and art. This confluence not only renders architecture uniquely qualified as the orchestrator of museum design, but warrants the field of architecture a distinct place among the themes of the very institutions which it is so instrumental in realizing. We need more architecture museums.

Identity Since their inception, museums have served as a means to establish identity. During the Renaissance, wealthy families established an image of power through vast collections. National museums of the 18th and 19th century were crucial cultural pillars that identified and distinguished various nation-states of the period. Today, museums continue to distinguish the cities which house them. “Cities define themselves not least through their museum….the museum [is] the motropole’s most typical institution (von Naredi-Reiner).” The distinct architecture that many institutions throughout the world have embraced in recent years is an overt example of the means by which museums attempt to establish and manage their identity. Los Angeles’ identity is intricately tied to its architecture. In Los Angeles, architecture is the art of the city, and is deserving of permanent public display and continual examination. A+D is the appropriate conduit for such activity.

Museum the Educator Museums can perhaps be most clearly identified as a cultural repository (Hourston) - a physical means of documenting and preserving both human and natural history. Museums serve as a means to document human activity, as well as the phenomena we encounter within our environment and beyond. From history and art to environmental studies and astronomy, museums are generators of knowledge. In its mission statement, The Smithsonian Institution proclaims to “[shape] the future by preserving our heritage, [discover] new knowledge, and [share] our resources with the world.” The museum’s method in disseminating this knowledge has evolved over time, with “didactic, education, enlightenment and entertainment vying for supremacy” (Hourston). Museums have experienced unprecedented proliferation since the mid 20th century. They are being conceived with an increasing degree of specialization, with themes ranging from art to ethnicity to volcanoes. The expanding realm of the museum is a reflection of our ever more interconnected, rapidly-changing world, and the technology that has enabled us to realize this progression. This technology has directly manifested itself in the design of the very buildings that comprise these institutions - a progression architecture is largely responsible for. Yet architecture has received little attention from museums as curatorial subject matter.

“ WE SHAPE OUR BUILDING S, AND AFT E RWAR DS OUR BUILDING S SHAPE US.” - Wi n s ton Ch u r c h i l l On reco n s tr u c ti on of th e Common s Ch a mb e r , Lon d on - O c tob e r 1943

Education plays a central role at Los Angeles’ A+D Museum. The museum’s educational goals revolve around exposing the public to the worlds architecture and design. “Our mission is to celebrate and promote an awareness of progressive architecture and design in everyday life through exhibits, educational programs and public outreach.” -A+D mission statement

A+D continues museums’ tradition as a center for learning. It is poised to pioneer largely uncharted waters as a storefront for the architecture profession.

ARCHITECTURE AND LOS ANGELES Rewriting the Rules Through adobe, bungalows, modernism and the eclectic and innovative journey to the present – Los Angeles is among the most unique and influential architecture cities in the world. In the 1970’s, a number of architects would cultivate a new school of architecture: The Santa Monica School. Informed by the benefits of a mild climate, this architectural movement had roots that were markedly different from those of New York or even Downtown L.A.’s power base. The movement was fueled by an experimental and innovative spirit, a design-conscious client base, and innovative architects like Frank Gehry, Thom Mayne and Michael Rotundi who drove the movement each with their unique ideas on architecture. This experimental environment was largely responsible for the founding of Los Angeles’ influential Southern California Institute of Architecture (SCI-Arc). The school itself was conceived in part from discontent with conventional architectural thought. For better or worse, SCI-Arc continues its reputation as a hotbed for architectural innovation in an academic context, some 1000 feet from A+D’s current home. The Santa Monica School has helped solidify Los Angeles’ role as a world class center of innovative architectural practice and research. For over 50 years, Los Angeles has been home to a Santa Monica School pioneer, and the world’s most famous architect: Frank Gehry. He has been described as having opened new avenues of architecture, “dragging reluctant critics along them” (Jencks), perhaps none more influential than the Guggenheim Museum Bilbao.

Architecture Education and Architecture Community Los Angeles has leading role as an architecture and design engine. The city is among the leaders in the number of architecture programs accredited by the NAAB (National Architectural Accrediting Board). Among metropolitan areas, Los Angeles is second to New York City in this regard, with nine accredited programs among five schools. These programs are not only the primary path to architectural licensure, but influential think tanks of architectural research and discourse, including neighboring SCI-Arc. Los Angeles is among the leaders in architecture employment. The Los Angeles Metropolitan area, as defined by the U.S. Bureau of Labor Statistics (BLS), has the second greatest concentration of employed architects of all U.S. metropolitan areas, with 3,860 regularly employed architects. Los Angeles is also among the leaders in annual mean wages for architects - $99,470. Among major metropolitan areas, Los Angeles. Los Angeles has been and continues to be a major generator of architectural ideas, education, professionals, and works. A+D’s relationship with Los Angeles architects and its architecture students has manifested in its exhibits. Its regular schedule of symposia and social events are aimed at bringing together various designers and architects from Los Angeles and beyond. The museum considers itself a platform for discourse for this design community. With such an abundance of architectural resources surrounding it, A+D’s potential as an ambassador for the profession is great.

To execute his masterpiece, Gehry utilized cutting edge technology such as CATIA (Computer-Aided Three-Dimensional Interactive Application), software originally developed for aerospace design. Once thought unfeasible as a construction project, Bilbao’s radical forms were realized through architectural innovation. Through Bilbao, Gehry was able to make a direct connection between his novel idea of cutting-edge technical applications, museum design, and cultural and economic rejuvenation. The resultant “Bilbao Effect” has since influenced architecture world as a whole. Both Gehry’s creative prowess and vision to incorporate what once were outlandish technical means of executing architecture have enabled both architect and his adopted hometown reach nearly unparalleled levels of architectural expression and global influence. A+D’s focus on what it identifies as progressive architecture is in line with the spirit of much of Gehry’s unorthodox and aggressive approach to architecture, as well as that of a community of Los Angeles architects. The museum is able to call one of the world’s leading architecture communities home - a profound resource for the institution.

Flowing Curves - The Bilbao Effect was a direct result of integrating aggressive architectural design and innovative technological application - a Los Angeles hallmark.

MUSEUMS AND LOS ANGELES Museum Authoritarian Los Angeles has 103 museums. This list includes the usual suspects: art, natural history, science, and entertainment. There are some outliers as well, with firefighting and criminology adding to the city’s ever-diverse narrative. The city is currently experiencing a bolstering of its museum portfolio. Two museums that have opened in the past year represent contrasting relationships between museum and its community. Founded in 1983, the The Museum of Contemporary Art (MOCA) has been described as “a jewel of an institution with the finest collection of modern and contemporary sculptures in the world” (Strick). Los Angeles philanthropist Eli Broad became the founding chairman of this institution. Broad has been deeply involved in Los Angeles’ civic, educational, and cultural affairs for over 30 years. MOCA has had chronic financial woes through much of its history. As a result, Broad has maintained an immense amount of influence over MOCA throughout the years. So acute were MOCA’s financial woes in 2008, the museum’s very existence was threatened. Broad played savior for the museum, expanding his influence over the institution. MOCA’s history has since been marked with high levels of contention, as Broad’s vision for the museum has clashed viciously with those of curatorial staff who have since left. Indeed, the museum experienced an identity crisis of sorts, largely a result of Mr. Broad’s administrative choices. MOCA’s heavy dependence on private donations and fiscal recklessness has repeatedly left it vulnerable to he whims of an opinionated billionaire. During MOCA’s tumultuous years, Broad had been diligently planning the creation of his very own art museum. This dream came to fruition in 2015 - almost directly across the street from MOCA. Broad financed the museum, which was completed at a cost of $140 million. Named “The Broad”, the eponymous institution houses the philanthropist’s private collection of contemporary art. It has been said that the collection suffers as a sampling of Mr. and Mrs. Broad’s personal taste – carefully selected and lacking character as a whole. Mr. Broad has been described as imperious and egomaniacal (Kennicott). Despite Mr. Broad’s lengthy history of excessive generosity to the city of Los Angeles and beyond, it can be argued that some ways, the Broad harkens back to the era of the museum a statement of individual identity, personal power and wealth – a giant jewel box of private goodies with Eli’s name on it.

A New Los Angeles Museum Model A few blocks away, in Downtown Los Angeles’ historic core, the Main Museum aspires to be the Broad’s antithesis. The Main consists of adaptive reuse of various parts of three historic buildings. The museum is scheduled to be completed in 2020. The museum’s founder, Tom Gillmore, is also its founder, architect, art collector and real estate developer. Gillmore explains: “I’m the primary initial benefactor, but this is not the Broad. I’m not a fan of naming buildings after yourself. This isn’t my museum — it’s the Main Museum. When you see the Broad you see Eli’s taste in art. When you see the Main it may have nothing to do with my own artistic sensibility. It’s designed to be autonomous, to be flexible in how it can to speak to this evolving time and place. It is its own animal, with a template that gets added onto and that will morph over time. It goes way beyond just me.” (Dambrot)

The juxtaposition between The Broad and Main is stark. The hegemony which has defined much of Downtown Los Angeles’ museum culture is allegedly being reversed at the Main. As a communicator of the built environment, an architecture museum must address issues that affect the public as a whole. To this end, the museum should embrace a democratic ethos, not an egotistic slant that the Broad is accused of. The Main Museum and A+D are similar in that both are significantly invested in the Los Angeles design community. Currently in its infancy (as well as phased construction), the Main has put forth exhibits featuring performance art of local artists. A number of A+D exhibits have featured local architects’ and designers’ work as well. A+D acknowledges the importance of its relationship with this design community, local architecture schools, as well as city officials. A+D considers itself in part a social gathering space for discourse of the dynamics that are shaping the city. In this respect, community is one of the core elements which drive both museums, particularly A+D. A+D finds itself in the midst of a city that is reinventing itself - an envious scenario for a museum so invested with the built environment.

Orthogonal Rigidity - The Broad’s geometry is representative of a benefactor who has exerted immense influence over Los Angeles’ cultural scene, and a warning of the pitfalls of financial dependence on such individuals. Gehry and Broad had a long-standing feud - a clash of Los Angeles creative and financial titans.

LOS ANGELES RENAISSANCE

Downtown Los Angeles is in the midst of profound transformation. Long a part of the city that had little draw other than 9-5 workers, downtown is quickly becoming a destination. Since 1999, the city center’s population has more than tripled, and garnered more than $24 billion in investment. Spurred on by the likes of the adaptive reuse ordinance, visionary developers, shifting cultural trends, and current economic conditions, Los Angeles has effectively turned in on itself, densifying its core. Blighted city blocks once largely vacant after work hours are steadily being brought to life with new residents and new commerce. Developers have noted that downtown is still in the early phases of a shift to a “24hour city” (Moore). Local architects note the important role denser development will play in creating a vibrant city center (Hanson, Stultz). The Regional Connector, as well as other Metro projects continue to increase commuter’s options. The Regional Connector is the cornerstone of Metro’s aggressive expansion, enhancing Downtown’s role as the region’s transportation hub. This growth in public transportation infrastructure directly complements Downtown’s densification, laying a foundation a revitalized urban center (Hanson, Moore). Measure S, which proposed a moratorium on various types of high-density buildings, would have seen Downtown Los Angeles development grind to a halt. The measure, which failed in March 2017, was vehemently opposed by a majority of the architecture, construction, and development industries industries related to A+D. This mandate was indicative of the trajectory within the city that toward densification and urbanization.

22,703

dwelling units constructed since 1999

investment in downtown los angeles: 1999-2015 commercial

$1.2b

arts & entertainment

$1.5b

civic & institutional

$4b

mixed-use

$6.8b

residential

$9.4b

figueroa corridor/expo park

$1.5b

total: $24.4 billion

downtown los angeles population growth: 1999-2015 60,000 50,000 40,000

+ 39,537

30,000

86,003

projected dtla population upon completion of current residential construction

20,000

+ 23,894

58,702

2014

2015

57,797

49,647

43,604

28,878

18,700

10,000 0

3.2m

1999

2004

2006

2008

2010

2012

square feet of office space under construction *source: DCIB 2016 Q3 report 14

new homes Downtown Los Angelesâ&#x20AC;&#x2122; population continues to grow at a steady pace, and housing demand remains high. Developers and designers are working diligently to meet this demand. Projects providing as many as 12,000 new dwelling units are currently under construction in the city center. These projects involve some of architectureâ&#x20AC;&#x2122;s most prestigious names, as well as numerous local designers.

12,303

dwelling units under construction

+ residential development under construction proposed *as of march 2017 15

LOS ANGELES INFRASTRUCTURE : REGIONAL CONNECTOR

PASADENA

+ LOS ANGELES

LONG BEACH

Slated for completion in 2021, Los Angeles Metro’s Regional connector will connect Montclair*, in San Bernardino County, with Long Beach. The new rail line eliminates the need for transfers between those traveling from the San Gabriel Valley and locations within Downtown and to the southwest. A one-seat ride will streamline countless commuters’ daily train ride. The project includes 1.9 miles of new below-grade light rail - a new subway through the heart of Downtown Los Angeles. The $1.756 billion project includes 3 new downtown stations. This project proposes a new A+D location at the line’s Little Tokyo/Arts District Station, located approximately one half mile south of Central Station, Los Angeles’ primary public transportation hub. The volume of human circulation along the Regional Connector is an asset to any institution seeking to engage the public, including A+D. The museum will be situated at the heart of a 50-mile long transit line which will link Los Angeles and San Bernardino Counties.

MONTCLAIR

The Regional Connector is but one of several ongoing Metro expansion projects. Still in its infancy, Los Angeles’ 27-year-old transit system is being aggressively expanded. The Regional Connector is a key component of this evolving system, and will be a remarkable generator of human activity for the neighborhoods through which it passes, including that of A+D (Moore). *connection with Montclair is contingent on completion of Gold Line phase 2 extension, with a projected completion in 2026

one seat through downtown los angeles DODGER STADIUM

metro gold line

union station

+ CONVENTION CENTER

regional connector a+d: proposed location

a+d: current location

BOYLE HEIGHTS

metro blue line

A+D

Described as a “response to the need for a space that would be devoted expressly to the exhibition of progressive architecture and design”, the A+D touts itself as an entity which is engaged with its community and issues concerning architecture, urbanism, and design. A+D’s programs include exhibits, mult-disciplinary projects and educational and community programming (A+D). The A+D is a non-profit 501 (c) 3 organization. It is recognized by multiple museum and architecture institutions, including the American Institute of Architects (AIA). The AIA in particular has been a staunch proponent of the A+D.

A+D’s stated mission, operation, and vision for its future consist of four critical elements: exhibition, education, dialogue and public outreach. Each of these can be accomplished through a variety of avenues.

EXHIBITION

Exhibition is at the heart of A+D’s existence. Visitors are subjected to ideas, objects and images geared at critically analysis of design and the built environment.

EDUCATION

A+D continuously holds educational programs for children of all ages.

DIALOGUE

A+D promotes the exchange of ideas. Media for this include symposia and lectures.

SOCIAL NEXUS/ PUBLIC OUTREACH

A+D relationship with local architects and designers and architecture schools is critical. The museum seeks to expand its connection with the general public.

A+D describes itself as “showcasing work for important regional, national and international designers”, and as “providing a forum for contemporary issues in architecture, urbanism, and design that are helping shape the city.” A+D considers itself an educational and social institution, offering exhibits, symposia, mutli-disciplinary projects, and educational and community programming. It places particular focus on progressive architecture and design issues, and describes its mission in part as “moving things forward”. This is manifested through history of exhibitions which examine architecture and urban design issues with current and future implications. One such example is A+D’s 2015 exhibit “Shelter: Rethinking How We Liv in Los Angeles”, which featured current and recent work of Los Angelesbased Architects.

“To celebrate and promote an awareness of progressive architecture and design in everyday life through exhibits, educational programs and public outreach.” A+D mission statement

A+D: NOMAD

A+D has had an nomadic history. Modest funding and various circumstances - including a collision with the expansion of LA Metro’s infrastructure - has seen the museum move three times in its 16-year history. The museum has found a home in Downtown Los Angeles’ Arts District, a location that administrators and board directors have described as ideal. A+D currently leases the industrial building it calls home. Financial stability and expanded facilities will enable A+D faithfully pursue its mission of education and public outreach.

A+D is established, and is located in Downtown Los Angeles’ Bradbury Building

2001

A+D moves to a temporary location on the Sunset Strip, West

A+D moves to 6032 Wilshire Blvd. on Miracle Mile , across the street from LACMA

Hollywood

2003

2006

LA Metro invokes eminent domain to expand the Metro Purple Line along Wilshire Blvd, uprooting A+D yet again.

A+D moves to 900 E 4th St., in Los Angeles’ Arts District

2015

A+D : EXISTING CONDITIONS AND OPPORTUNITIES A+D is bound by the its fiscal and resultant physical constraints. A+D is currently housed in an 8,000 square foot industrial building. A quarter of this space is sublet to a small shop. When accounting for entry space, A+D has a single space of roughly 5,000 square feet in which it can hold exhibitions, symposia and conduct education and public outreach efforts. In addition to spacial constraints, A+D’s building has minimal climate control, periodically resulting in a less than comfortable visitor experience, and limiting the museum’s ability to safely store pieces that are vulnerable to volatile climate conditions.

Adaptive Reuse: A+D is housed in an 8,000 square foot building like once used for manufacturing. The museum portion of the interior consists of single space, limiting A+D’s programming.

One quarter of the building A+D is located in is sublet to a shop, further limiting the museum’s programming options.

Many of the museum’s social events are held in its adjacent parking lot, presenting an opportunity for improved outdoor space. 20

Buildout - A+D consists of a team capable of executing compelling exhibitions. Expanded facilities are required to enable it to more fully realize its mission of education, exhibition and public outreach.

THESIS STATEMENT

PROBLEM

SOLUTION

Architecture is not well understood by the public

Los Angeles’ rich legacy and continuing tradition as a leader in architecture and design make it an appropriate host for an architecture and design museum

This thesis proposes design of a new museum building for A+D and creative office tower above Metro’s Little Tokyo/Arts District Station at the corner of Alameda St. and 1st St. in Little Tokyo

Downtown Los Angeles’ ongoing transformation makes the city an ideal environment for an architecture museum

A+D lacks the facilities required to wholly fulfill its role as a platform for progressive architecture and design

A+D needs new, expanded facilities

This museum will be include the following components.

-additional exhibition space -permanent collection galleries -archive storage space -dedicated lecture hall -educational facilities -outdoor space for social events

The adjoining creative office tower will create a direct physical connection between A+D and various creative professionals and institutions associated with design and the built environment. This connection, as well as the site’s connection with emerging transportation infrastructure and existing museums will allow for further integration of A+D into the urban fabric of Downtown Los Angeles.

CONTEXT - LITTLE TOKYO/ARTS DISTRICT Arts District Initially developed as an industrial district, Los Angeles’ Arts District has been home to artist communities for decades. The transition from industrial district to artistic enclave has been a gradual one. The transition has picked up in recent years, as several acres of land have been redeveloped into mid-rise apartment complexes. Several parcels previously housing unused commercial space have also been converted to residential development.

UNION STATION

This influx of new residents is part of a renaissance of the Arts District. Now known as on of Los Angeles’ trendiest neighborhoods, the Arts District draws in a young population, many of whom are involved in art and various design disciplines.

101 FRE

CIVIC CENTER

EWAY

FINANCIAL DISTRICT

In addition to a creative population, the district is home to no less than 10 art galleries and the influential SCI-Arc. Currently located 1000 feet from the SCI-Arc, A+D is a few minutes’ walk from one of the country’s most innovative architecture schools.

The new A+D site places the museum at the border of the Arts District and Little Tokyo Little Tokyo Described as Downtown Los Angeles’ first sevenday trade area, Little Tokyo has been a bustling district that served as a model for developers - an example of a Downtown district that could sustain a livable environment (Moore). Today, Little Tokyo is experiencing extensive gentrification, primarily development of multifamily residential mid rises. The district continues its history of commercial success and visitorship from outside - both assets to an establishment like A+D seeking expand its influence.

SCI-ARC

GELES

LOS AN

BOYLE HEIGHTS

RIVER

ER is to be located at the confluence of these A+D IV R S distinct Los Angeles districts. The location is an LE

E NG

SA LO

effective gateway to either neighborhood.

+ 0

2000’

arts district

+ 22

little tokyo a+d: proposed a+d: existing

CONTEXT - CULTURAL HUB/PUBLIC SPACE

TEM

PLE

The A+D site is across the street from two existing museums - The Geffen Contemporary at MOCA, and the Japanese National American Museum. The presence of three neighboring museums would constitute a revitalized cultural hub within the city. The Geffen Contemporary is of particular cultural significance, as it is part of Los Angeles’ only artist-founded museum in Los Angeles.

ST.

Directly to the west of the proposed A+D site is Japanese Village Plaza, an outdoor shopping plaza that draws significant foot traffic through the area. The plaza includes 18 shops which primarily consist of clothing stores.

Metro’s Gold Line Station is to be removed and replaced by the Little Tokyo/Arts District Station. To replace the existing station, the City of Los Angeles has proposed “Alameda Esplanade” a pedestrian and cyclist right of way that will connect the newly expanded cultural hub with Union Station, a half mile north.

4 2

1S TS T.

+ D

500’

The blocks surrounding the A+D site primarily consist of low-density retail, mid-rise office buildings, and low-rise apartment buildings. Many of the apartment buildings in the neighborhood were constructed in the past 10 years, and are indicative of an Arts/Little Tokyo District that is still in the process of transforming from an industrial district to a residential community.

ST .

a+d museum

existing museum public open space alameda esplanade

geffen contemporary at moca

japanese national american museum

japanese village plaza

alameda esplanade

1ST ST.

ALAMEDA ST.

CENTRAL A VE.

The site shares the block with various retail that lines the eastern front of Central Ave. The remainder of the southern portion of the city block is occupied by Office Depot and retail parking.

CONTEXT - LITTLE TOKYO/ARTS DISTRICT STATION A+D is to rest directly above Metro’s Little Tokyo/Arts District Station, along the Regional Connector. The station will be the first stop south of Union Station, and will be 40 feet below street level. A wye, splitting the tracks which will lead to Union Station and Boyle Heights respectively, is below the Alameda/1st. St. intersection. The Little Tokyo/Arts District Station is the effective connecting point between Downtown Los Angeles, East Los Angeles, and the vast suburban regions that lie to the northwest. A+D would be in the direct path of what is likely to become Los Angeles’ most ridden transit rail line. Currently, Metro’s Red and Blue lines have the highest ridership, with an average weekday ridership of 143,000 and 74,000 respectively. The Regional Connector will be linking these lines.

to union station

A+D’s link with the regional connector provides a high degree exposure for the museum. Those passing through Little Tokyo/Arts District station would become aware of A+D, as it would be listed among the destinations at the Little Tokyo/Arts District Stop. A+D’s profile would be dramatically bolstered by virtue of its connection with this critical cog in Los Angeles’ public transportation system.

5 to civic center

2 6

to boyle heights

st.

central ave

alameda st.

Little Tokyo/Arts District Station will replace Metro Gold Line’s existing Little Tokyo Station. The light rail line, which is currently located at street level, will be replaced by the Regional Connector’s below-grade rail. Alameda Esplanade - the pedestrian/cyclist right of way, is to be situated in place of Little Tokyo Station. Metro’s reconfiguration of this site enhances its walkability, playing directly to the advantage of A+D, its fellow museums, and the surrounding neighborhood, setting the stage for a vibrant cultural hub.

A+D MUSEUM

tra

A transit-adjacent home provides a+d an opportunity to become recognizable landmark, an integral part of los angeles’ urban fabric

a+d museum/1st/central station

transit rail line wye

alameda esplanade

geffen contemporary at moca

japanese national american museum

japanese village plaza

SITE LA Infrastructure - the A+D site currently consists of a 40’-0” deep pit in which construction crews are building the Regional Connector’s Little Tokyo/Arts District Station. The project also includes a Metro auxiliary power facility and an LADWP metering room. LA Metro projects operations to commence in 2021.

1st St. extends northwest through Little Tokyo to the civic center, forming an axis which intersects the A+D site, and affords the museum unobstructed views towards the civic center (left). Two existing museums and a shopping plaza make the A+D site one with great potential, some thing Metro acknowledges (right).

The existing Little Tokyo/ Arts District station, located northwest of the A+D site, will be removed. The rail line will be moved 40 feet below grade, and replaced with Alameda Esplanade, a pedestrian bike promenade that will greet the museum from the northeast.

The A+D site yields what are currently unobstructed views of Downtown Los Angeles, setting the city a as a backdrop for the museum.

Directly north of and across 1st St from A+D are two existing museums - Geffen Contemporary at MOCA, and the Japanese National American Museum. a public promenade ushers visitors through from the museums to the 1st St./Central intersection. This space presents A+D and the transit station an opportunity to expand upon and revitalize what is an underutilized urban space.

200 feet northwest of A+D, Japanese Village Plaza is an iconic urban element of Little Tokyo. The shopping plaza presents opportunities for alternate pedestrian connection to A+D (left). Southeast of A+D, the Alameda/2nd St. intersection is a gateway to the Arts District - current home of A+D, and that of a various creative establishments. The site provides the museum with a high degree of exposure, yet places it within walking distance of the neighborhood it identifies with. 27

PLACEMENT & PROGRAM

PLACEMENT regional connector Transit lines from Union Station and East Los Angeles converge at Little Tokyo/Arts District Station. This is to be the regional connectorâ&#x20AC;&#x2122;s first stop south of Union Station.

ALA

transit access LA Metroâ&#x20AC;&#x2122;s planned single station pavilion is split in two as a means of facilitating access to the A+D building.

a+d + office A+D is placed directly over the east Metro pavilion, an office tower is situated directly over the museum. The west Metro pavilion remains untouched, itself a marker for the transit station.

levitate/excavate A+D rests 18’-0” above ground level. Beneath the museum, a lightwell reaches 13’-0” below street level toward the transit station. These elements create visual connections between public space, public transit and A+D.

nexus The building’s geometry is manipulated at the interface of museum and office tower, creating a means of access to A+D’s roof, which functions as a flexible gathering space for museum visitors, museum staff, and office workers.

expanded cultural hub Public open space extends from the Japanese National American Museum and Geffen Contemporary across 1st St. to A+D’s plaza. A Los Angeles cultural hub is given new life. A+D’s roof terrace overlooks these spaces, as well as the rest of Downtown Los Angeles. Public and private open space respectively extend below and beneath the city’s architecture/design museum.

ASSEMBLY

CREATION

A 17-level creative office tower provides 152,000 SF of office space for various creative Los Angeles professionals. 12’-0” to 20’-0” floor-to floor heights create high ceiling conditions currently popular fo. The office space serves demand for such spaces in a rapidly evolving part of Los Angeles.

NEXUS

Common space connecting museum and creative Los Angeles professionals. This is manifested in the form of a roof terrace which extends from the innards of the office tower out along the museum roof line. Unobstructed views of Downtown Los Angeles are can be enjoyed to the north, south and west.

EXHIBITION/EDUCATION

The A+D Museum’s new home is a 4-level 49,000 SF Museum that includes 4 gallery spaces, a lecture hall, and educational facilities. Through these facilities, A+D fully realizes its mission of education and outreach.

INTEGRATION

Metro’s 1st/Central Station resides directly below A+D. The station and transit line serve as a conduit for those working in and visiting A+D and adjacent offices. A direct interface of the museum and a primary infrastructural and circulatory element of Los Angeles is achieved.

1 5

3 4

to civic center

1 plaza 2 a+d vestibule 3 office lobby 4 metro pavilion (east) 5 metro pavilion (west)

to east los angeles

to union station

PROGRAM - OVERVIEW

Main Exhibition Hall A large-volume primary gallery space serves as the Museum’s anchor. A double-height space capable of accommodating large exhibit installations is a key component of an architecture museum. Gallery Space Multiple exhibition spaces will enable A+D to host multiple exhibitions simultaneously. As one gallery exhibition space is renovated, the others continue. These extra spaces allow for general flexibility, as the museum may choose to use the spaces for any purpose it sees fit. Permanent Collection Space A permanent collection gives the museum a sense of grounding. The permanent collection would play a supplementary role to the temporary exhibits. A+D has indicated the museum would be interested in a collection of original artifacts - models, sketches, etc. by architects and designers. Such collections would likely be Los Angeles-centric. Archive Space Archive space is required to maintain a permanent collection. As noted by a museum architect, on-site archives are preferable for logistical reasons.

Lecture Hall A+D places great emphasis on open dialogue regarding issues of architecture and design. Though it regularly hosts symposia, the museum currently lacks dedicated space for presentations. A+D notes the importance of having a space for designers to verbally share ideas. The A+D lecture hall is a space for such exchanges, whether they be formal or impromptu. Education Center/Digital Library A+D affirms the importance of education in its mission statement. The museum offers continually offers workshops for children of all ages. The education center would include classroom and lecture space to accommodate various education and outreach programs. An adjacent digital library would provide instant access to indexed media of all A+D’s permanent collection and exhibition history for visitors of all ages. Creative Office Space A legion of creative professionals is brought to A+D’s doorstep, with the placement of the creative office tower above it, yielding endless possibilities of exchange and collaboration between museum and designers. Outdoor Space Adjacent outdoor space serves as a meeting place for museum visitors and staff, as well as the community of creative office professionals who call the office tower their place of work. This outdoor space is intended to be used for a wide range of events.

PROGRAM, ETC.

A+D’s primary programmatic element is its gallery space. This includes four gallery spaces. Education facilities are of comparable importance. To this end, an education center and 153seat lecture hall play crucial roles in the museum. Amenities including a shop, cafe, lobby, and ground level vestibule round out the museum’s program. The museum’s program is but a part of an integrated ecosystem of architecture and design spaces. Abutting the museum from above and to its south are spaces which complement the museum’s mission, and create connections with various creative forces within the city.

A+D & AIA

design community

A+D has a close relationship with AIA Los Angeles. The two entities had plans to join forces and form the Center for Architecture and Urban Los Angeles (CALA), using New York’s Center for Architecture as its model. CALA’s mission was largely in line with that of A+D, as it focused on education, outreach, and bringing various professionals, elected officials, and the general public together to “advance the quality of the Los Angeles built environment.” Plans for the collaboration fell through in 2016. The relationship between AIA and A+D however remains strong.

152,000 SF of office space are available for occupancy by various entities associated with Los Angeles design and A+D’s mission. A direct connection with organizations like USGBC and ASLA, and the ability to gather in a social atmosphere on a daily basis is a scenario that A+D views as beneficial for all parties. Office space would be available for a any number of design and architecture firms. The A+D building thus lays a framework for a vertical design community that integrates museum with various professionals who are helping shape the future of Los Angeles.

Adjacent office space presents an opportunity to bring AIA and A+D together. The offices for both entities would reside directly above the building’s primary gathering point which serves as a nexus for museum staff, creative professionals, and the general public. 35

PUBLIC INTERFACE A+D rests 18 feet above street level, public space permeates below. A glass-encased A+D vestibule and adjacent Metro 1st/Central Station Pavilion are all that lie beneath the majority of A+D, creating largely uninterrupted visual connections beneath the museum, from north of 1st St. to the A+D Plaza south of the building. A 13’-0” deep pit draws light down to the transit station that lies 40 feet below street level, creating a unique condition within the station, distinguishing it as the A+D “stop”.

a+d vestibule level: area: ceiling height:

CEN

TRA

L AV

4 2

T 1S

1 2 3 4 5

ALAM

EDA S

A+D plaza transit pit transit access a+d vestibule office lobby

ground 1,240 sf 17’-0”

EXHIBITION Flexible gallery space is critical to an architecture/ design museum. An architecture show is like a play - it must tell stories and capture the attention of a diverse public immediately (Feireiss). A+D’s main exhibition hall is dedicated to showcasing a wide variety works - it is the museum’s primary curatorial element, the main attraction. Flexible gallery space is critical to an architecture/design museum. Architecture exhibits include installations which often require significant space. Such installations enable visitors to develop an awareness of architecture, and to become interested in spatial issues based on their own physical experience. A 29’-0” ceiling height and 7,800 square feet of exhibit space give A+D a great deal of curatorial flexibility, enabling the museum to include exhibit pieces of significant size. An adjacent mezzanine level allows for alternate views of these works, defining the main exhibition hall as the museum’s linchpin.

main exhibition hall level: m3 area: 7,778 sf ceiling height: 19’-0” to 29’-0”

29’-0” ceiling height

level m3 mezzanine

atrium

61’-0” x 55’-0” clear

stairwell

lift

EXTRACTION An architecture museum’s curatorial portfolio includes installations which must be constructed on-site. Construction of immersive architectural exhibits can entail materials, scaffolding and set pieces of significant dimensions. The museum’s imagination must not be limited to the dimensions of a conventional freight elevator. A+D moves its largest set pieces in a manner similar to the means by which visitors access the museum: through the public open space directly beneath it. A hydraulic-operated lift extends from the third floor to the public plaza below. The lift consists of four hydraulic cylinders secured to a structural steel frame that extends from level 2 through level 3. The cylinders are attached to a steel platform which hoists various curatorial materials and equipment into the gallery space. As is typical among industrial lifts, it is projected that A+D’s lift can hoist upwards of 25,000 pounds. A+D is invested in exhibition of creative works from various fields. Museum officials acknowledge the important role of auto design in the Greater Los Angeles Area. The city is home to one of the greatest concentrations of auto design firms in the world. The lift’s dimensions address this. With a platform clearance measuring roughly 18’-0” x 16’-0”, A+D can accommodate most automobiles into its primary curatorial space. As such, the lift is a means of connecting A+D with Los Angeles’ creative works, extracting pieces of various shapes and sizes directly from the streetscape.

main exhibition hall lift level: m3, m2, ground area (clear): 294 sf load capacity: 25,000 lb.

hydraulic lift system

structural steel truss system

level m3 (main exhibition hall) 33’-0”

level m2 lobby/cafe 18’-0”

ground level (public open space) 0’-0”

Public open space serves as a logistic facility for A+D, as set pieces and various equipment are extracted directly from the plaza beneath the museum.

15’-11” clear 18’-6” clear

The lift platform is lowered from level M3 (Exhibition Hall) or M2 (Lobby) to the ground level plaza below the museum.

Set pieces and various equipment are loaded onto the platform. Ample plaza space allows for direct and convenient access of trucks and loading equipment of any size.

Set pieces and equipment are hoisted 33 feet up to level M3, and moved through the utility door directly into the Main Exhibition Hall gallery space.

NEXUS Among the primary goals of the A+D building is facilitating ongoing interaction and collaboration between the museum and design professionals . The respective tenants that occupy the office space - architects, engineers, landscape architects, etc. - work with each other every day. As A+D sees it, the ability for all parties to gather in a social atmosphere is a “win-win”. A+D’s roof terrace addresses this. Museum and office converge at a gathering place appropriate for Los Angeles - an outdoor roof terrace. The museum’s interior space reaches its end at the top of the atrium, ushering visitors into common lounge space, accessible by office workers. A 12-panel glass folding wall provides options for manipulation of this space. Here, indoor and outdoor are blurred as large volume is carved from the office tower. As one leaves the confines of the building’s interior, a bar, sprawling canopy and planters greet the visitor - a rooftop landscape 83 feet above street level. The space culminates with an amphitheater that cascades down toward the building’s northwest extremity. This destination serves as an alternative lecture space, lunch spot, and vista. A nexus that interlaces museum and office, this space is a fundamental component of the A+D building, and a physical manifestation of its mission statement.

roof terrace level: area:

museum roof 8,070 sf

elevator/core (office access) diner access canopy bar lounge folding wall

planter

terrace

atrium (a+d access) amphitheater

BACKDROP A building extensively involved with Los Angeles design should afford its visitors views of the city. The A+D building includes two nodes which call for large groups’ extended sedentary condition: the A+D lecture hall and the roof terrace amphitheater. The downtown skyline serves as the backdrop for these gathering spaces.

roof terrace: 83’-0”

amphitheater: 75’-6”

stacked gathering nodes

lecture hall: 53’-0”

alameda

central

A+D

The roof terrace amphitheater resides directly above the A+D lecture hall. The two lecture spaces are both oriented northwest, roughly aligned with 1st St.

CREATE Demand for creative office is projected increase in coming years. An influx of startups in Los Angeles is expected to drive this trend. Los Angeles added 2.3 million SF of office space since the second quarter of 2013, with a projected increase of 4.8 million SF in the next five years (Altemus). The office tower brings museum and architect/designer together, creating opportunities for continual exchange and collaboration. High ceilings and shared exterior communal spaces are popular features for creative professionals, and comprise the tower’s office spaces. The office spaces include multiple terraces which wrap the office tower, and link adjacent building levels. Office workers are provided with convenient access to panoramic views and connections with neighboring firms via this system of volumetric subtractions.

creative office level: area: clg. height:

volumetric subtractions dot the office tower, revealing connective spaces of leisure which complement the museum roof terrace.

m2 -17 148,317 sf 11”-0 to 19’-0”

creative office space

16 ’-0” floor to floor height

20 ’-0” floor to floor height

elevator lobby access

ceramic facade double height enclosed terrace space glazing

15’-0” floor to floor height

20’

enclosed terrace space creative office space

DISCOURSE Exchange of ideas is of great importance for A+D. Lecture space is a component of many museums. For A+D, it is particularly crucial that the museum have space dedicated to brining its various visitors and affiliates together to exchange ideas that shape the built environment. The Lecture Hall is thus one of the key programmatic components of the museum. This space can be used for a variety of presentations, lectures, symposia, and ceremonies. The lecture space resides above the Main Exhibition Hall, and below the roof terrace amphitheater, carving space for itself on the museum’s fourth floor. Abutting the lecture floor is a 12’-0” high window which spans nearly 50 feet, setting Downtown Los Angeles as the backdrop for presentations.

lecture hall level: area: clg. height: seats:

m4 2,809 sf 18’0” to 21’-0 153

CONFIGURATION/EVOLUTION

STRUCTURE, SKIN The A+D building consists of a structural system comprised of structural steel braces, and three primary envelope materials. These systems are integrated such that they envelop and expose one another at various points within and around the building. Through this weaving of material, elements of contrast and transparency are achieved.

ceramic baguette facade Mounted 4’-0” from the tower’s curtain wall, the terracotta facade creates depth in the building’s facade. Structural elements, mullions, and the buildings innards are partially veiled by the floating screen. The extrusions provide some shading for the interior.

curtain wall Consisting of glazing and mullions, the tower’s envelope is the office spaces’ weather proofing system. In conjunction with the ceramic facade, the tower’s exterior is light in appearance.

precast concrete panel A+D is clad in concrete. The perceived (and actual) weight of this cladding system contrasts with that of the tower’s facade. A sense of weight and grounding is achieved, establishing the museum’s role as the project’s anchor.

structure The building’s bones consist of a series of steel bracing, trusses, and concrete columns. These elements are unveiled from behind terracotta and concrete throughout, providing observers with hints at the nature of these core building components.

GROUND spanning metro

The regional connector passes directly beneath A+D, intersecting the building’s geometry and structural grid at an angle. The dual rail lines themselves must be kept free of obstructions, creating two voids which must be averted by all structural components.

1st s

cantilevered building corner

central av e.

A+D’s foundation includes a structural grid which runs along the centerline of the Little Tokyo/Arts District Station platform. Here, five columns embed themselves in the heart of the Metro station, inextricably linking A+D with Los Angeles’ core component of public transportation infrastructure.

a+d building footprint

alameda st.

station platform regional connector path

levels 3 - 17

The structural grid continues uninterrupted through the remainder of the building.

level 2

The structural system spans the rail line below, resulting in a cantilever condition at the building’s northeast corner (Alameda and 1st). A truss mitigates this condition, and spans the length of the level 2 museum perimeter.

1st

st.

ground level

Various columns bifurcate into dual slanted columns, enhancing the museum’s relationship with the streetscape. The top end of these columns aligning with the level 2 truss system above.

alam

eda

st.

station platform

Five columns aligned to the platform centerline tie the museum’s structural and programmatic DNA to that of the Metro station. Structural grid line “C” is formed, transferring loads from up to 300 feet above. 55

CIRCULATE The office tower consists of two structural cores, designed to resist lateral loads. These cores house 6 passenger and service elevators ,transporting people through museum and office space. An adjacent museum service elevator moves archive pieces and equipment from the loading dock, located 20’-0” below street level, to A+D’s archives, on level 8.

roof access

Two elevators extend from the transit station platform to street level, one of which continues to A+D’s lobby, on level M2. In total, nine elevators and one specialized lift move people and objects through the A+D building, from 40 feet below street level to roof level, some 300 feet above.

a+d archive

al a .

st.

a+d lobby

ntr

a ed am al

roof terrace level

street level 1st st.

core 1 core 2

metro access metro/a+d access

freight elevator (archives/museum service)

service/loading dock

transit station platform

EVOLVE A Downtown Los Angeles developer described the A+D site as one which will experience massive densification in the immediate wake of the regional connector. The neighborhood has changed dramatically over the past several years - the Regional Connector is sure to perpetuate this trend. The A+D museum and office tower were designed to address the urban context of the site, this includes the inevitable scenario of the adjacent big-box retail and accompanying parking lot being replaced with denser development. A+Dâ&#x20AC;&#x2122;s plaza space is intended to draw pedestrians through the city block. In the scenario illustrated to the right, a mixed use development upwards of 700,000 square feet complements the A+D building. A pedestrian path continues through the city block to Second Street, and to the Arts District to the south - Little Tokyo and the Arts District have a new pedestrian connection, with A+D at its heart. To the north, similar alterations to a couple city blocks could extend this path directly to City Hall, 1/3 mile to the northwest.

to civic center

Los Angeles is changing before our eyes. 20 years ago, there was little reason for most to visit downtown. Blight defined the streets, and night life was unheard of. The massive influx of capital - financial, infrastructural and human - into downtown since the turn of the century has begun to transform the city center from a place that happened to be the central business district of the nationâ&#x20AC;&#x2122;s second largest city, into a place that may one day may be worthy of representing the metropolis as its urban center. A+D describes its interest in urbanism as one of evolving spaces. Surely, A+D is in the right place at the right time. Not long ago, A+D was contemplating a joint venture that was modeled after the New York Center for Architecture. In some ways, Los Angeles is learning from cities Like New York. It is incumbent upon architects and designers - the very people that drive A+D - to lend their expertise in creating a Downtown Los Angeles that people will want to live in, and be proud to call their home. The shift is at hand. This is an exciting time for Los Angeles.

alameda st.

central

ave.

1st st.

to arts district

DRAWINGS & MODEL

253' - 0" LEVEL 17 MECHANICAL LEVEL 16 239' 265' - 0" ROOF 225' 253' -- 0" 0" LEVEL 17 MECHANICAL 239' - 0" ROOF 265' - 0" LEVEL 16 253' - 0" 15 225' - 0" LEVEL 17 211' 0" 239' - 0" ROOF 16 LEVEL 253' LEVEL 17 225' - 0" LEVEL 15 239' - 0" 14 211' - 0" LEVEL 16 197' 0" 225' - 0" LEVEL LEVEL 17 15 239' 211' - 0" LEVEL 16 LEVEL 14 225' 0" MECHANICAL LEVEL 13 197' - 0" LEVEL 15 265' 183' -- 0" 211' 0" LEVEL LEVEL 16 14 225' -- 0" 197' 0" LEVEL 15 LEVEL 13 ROOF 211' - 0" 183' -- 0" 0" MECHANICAL LEVEL 14 253' 197' 265' - 0" LEVEL 12 LEVEL 15 13 165' - 0" 211' 183' - 0" LEVEL 14 LEVEL 17 197' ROOF- 0" 239' 0" LEVEL 13 12 LEVEL 11 253' -- 0" 183' 165' 153' -- 0" 0" LEVEL 14 197' - 0" LEVEL 13 LEVEL 16 12 LEVEL 183' -- 0" LEVEL 17 LEVEL 11 165' 0" 225' ---0" LEVEL 10 239' 0" 153' 0" LEVEL 12 139' - 0" LEVEL 13 165' 0" LEVEL 11 183' - 0" 153' - 0" LEVEL 15 LEVEL LEVEL16 10 LEVEL 12 211' 0" LEVEL 9 225' ---0" 139' 0" 165' LEVEL 11 125' -- 0" 0" 153' LEVEL 10 LEVEL 12 139' 0" LEVEL 11 LEVEL 14 165' -- 0" LEVEL 9 LEVEL 15 153' 0" 197' ---- 0" LEVEL 8 125' 0" 211' 0" LEVEL 10 111'--0" 0" 139' LEVEL 11 9 153' - 0" 125' LEVEL 10 LEVEL 13 LEVEL 8 LEVEL 14 LEVEL 7 139' 0" 183' -- 0" 0" 197' 111' LEVEL 9 99' - -0"0" 125' - 0" LEVEL LEVEL10 8 139' --0" LEVEL 97 111' 0" LEVEL LEVEL 13 125' 0" 99' --0" 183' - 0" LEVEL 12 MUSEUM LEVEL 8 ROOF 165' 0" 83' -- -0" 111' 0" LEVEL LEVEL 97 99' --0" 125' LEVEL0"8 MUSEUM LEVEL 11 111' - 0" LEVEL 7 ROOF 83' 0" 153' 0" LEVEL 12 99' ---0" 165' 0" LEVEL 8 ROOF MUSEUM LEVEL M4 LEVEL 7 111' - 0" 83' -- 0" 63' 99' 0"10 LEVEL LEVEL 11 139' 0" MUSEUM 153' - 0" ROOF LEVEL 7 83' - 0"M4 63' - 0"M3 MEZZANINE 99' LEVEL MUSEUM ROOF 48' 0" LEVEL 9M4 LEVEL 83' - 0"10 LEVEL 125' 0" 63' ---0" 139' 0" LEVEL M3 MEZZANINE MUSEUM LEVEL M4 ROOF 48' - 0" LEVEL 83' 0"M3 63' --- 0" 33' 0" LEVEL98 LEVEL LEVEL M3 MEZZANINE 111' -0" 0" 125' LEVEL M4 48' --0" 63' - 0"M3 LEVEL 33' - 0"M3 LEVEL MEZZANINE LEVEL LEVEL 7M2 48' LEVEL 18' --- 0" 0"M4 LEVEL 8 99' 0" LEVEL M3 63' 0" 111' - 0" LEVEL M3 MEZZANINE 33' - 0" 48' - 0" M2 LEVEL LEVEL M3 18' 0" LEVEL 7 ROOF 33' - 0"M3 MUSEUM LEVEL MEZZANINE GROUND LEVEL 99' - 0" 83' 0" LEVEL M2 48' 0' - -0"0"M3 LEVEL 18' - 0" 33' - 0" LEVEL M2 LEVEL GROUND MUSEUM 18' LEVEL 0' - -0"0"M3 ROOF TRANSIT STATION OBSERVATION 83' 0" 33' LEVEL M4 LEVEL M2 LEVEL GROUND -13' - 0" 63' -- 0" 18' 0" 0' - 0" TRANSIT STATION OBSERVATION GROUND LEVEL M2 LEVEL -13' 0' - -0"-0"0" 18' M4 MEZZANINE LEVEL M3 STATION PLATFORM TRANSIT 63' - 0" STATION 48' GROUND LEVEL OBSERVATION -36' -- 0" -13' 0" 0' - 0" TRANSIT STATION OBSERVATION STATION PLATFORM GROUND LEVEL M3 LEVEL -13' - 0" LEVEL M3 MEZZANINE -36' -0" 0' 33'- --0" 0"0" 48' TRANSIT STATION OBSERVATION STATION PLATFORM -13' - 0" -36' - 0" LEVEL M3 LEVEL M2STATION TRANSIT OBSERVATION STATION PLATFORM 33' 18' 0" -13'---0" -36' 0" STATION PLATFORM -36' - 0" LEVEL M2 GROUND LEVEL 18' - 0" PLATFORM STATION 0' - 0" -36' - 0" GROUND LEVEL OBSERVATION TRANSIT STATION 0' - 0" -13' - 0"

TRANSIT STATION OBSERVATION -13' - 0" PLATFORM STATION -36' - 0"

STATION PLATFORM -36' - 0"

section a 62

50â&#x20AC;&#x2122;

MECHANICAL 265' - 0" ROOF 253' - 0" LEVEL 17 239' - 0" LEVEL 16 225' - 0" LEVEL 15 211' - 0"

LEVEL 14 197' - 0" LEVEL 13 183' - 0"

LEVEL 12 165' - 0" LEVEL 11 153' - 0" LEVEL 10 139' - 0" LEVEL 9 125' - 0" LEVEL 8 111' - 0" LEVEL 7 99' - 0"

MUSEUM ROOF 83' - 0"

LEVEL M4 63' - 0"

LEVEL M3 MEZZANINE 48' - 0"

LEVEL M3 33' - 0"

LEVEL M2 18' - 0"

GROUND LEVEL 0' - 0"

STATION PLATFORM -36' - 0"

50â&#x20AC;&#x2122;

section b 63

12 11

1st st

5 6

4 2

central a

ve.

3 8

20%

site 64

1 plaza 2 metro pavilion 3 metro station pit 4 museum roof terrace 5 amphitheater 6 a+d atrium 7 museum roof terrace canopy

8 9 10 11 12 13

RAMP DN

alameda st.

10%

tower roof terrace tower roof mechanical roof museum plaza japanese national american museum alameda esplanade

50â&#x20AC;&#x2122;

A B

1st st

3 2 central a

ve.

alameda st.

10 1

20%

RAMP DN

20%

RAMP DN

10%

50â&#x20AC;&#x2122;

1 plaza 2 metro observation station pit 3 exhibition hall lift footprint 4 metro pavilion (west) 5 a+d vestibule 6 metro pavilion (east) 7 metro stair/escalator

8 metro elevator 9 tower lobby 10 retail 11 retail service 12 mechanical access 13 service vehicle ramp 14 a+d freight elevator

ground level plan 65

A 1 B

5 3

2 3 2

4 6

3 5 4

4 A

5 6

1 2 3 4 5 6 7 8

transit station platform elevator - a+d access elevator - station pavilion access stair/elevator - west pavilion stair/elevator - east pavilion metro light rail line metro auxiliary power room building footprint

transit platform plan

9 9

MUSEUM LEVEL 2

50â&#x20AC;&#x2122;

10 66

1 B

1 DN

2 10

3 1

3 4

7 5 1

8 7

7 6

9 8

1 loading dock 2 loading dock platform 3 a+d freight elevator 4 mechanical 5 mechanical street access 6 utility 7 service vehicle ramp 8 transit station pit access 9 transit station platform (below) 10 metro elevator shaft 11 metro auxiliary power room 12 building footprint 0

service level plan

50â&#x20AC;&#x2122;

10 67

1 B

A 1

2 14 1

3 4 4

6 3 A

4 7

5 6 8

LEVEL 2

1 a+d lobby 2 reception desk 3 shop 4 cafe 5 kitchen 6 utility 7 learning center 8 office lounge 9 office lobby (below) 10 atrium 11 a+d access (vestibule below) 12 lift 13 freight elevator 14 elevator (from transit platform) 15 office space (typ.)

level m2 plan

8 10

MUSEUM LEVEL 2

50â&#x20AC;&#x2122;

10 68

1 B

B 1

4 2

6 3 A

7 8

5 6 8

1 main exhibition hall 2 lift 3 lounge 4 learning center (below) 5 atrium LEVEL 6 lecture hallMUSEUM soffit line (above) 7 freight elevator 8 office space (typ.)

3 9

level m3 plan

50â&#x20AC;&#x2122;

10 69

1 B

A UP

B 3 1

3 4

6 3 A

4 7

5 6 8

1 gallery 2 2 main exhibition hall mezzanine MUSEUM LEVEL 3 3 main exhibition hall (below) 4 atrium 5 lift (below) 6 lecture hall soffit line (above) 7 museum freight elevator 8 office - enclosed terrace 9 office space (typ.)

MEZZANINE 8

8 10

MUSEUM LEVEL 3 MEZZANINE

level m3 mezzanine plan

50â&#x20AC;&#x2122;

10 70

1 B

3 4 2

6 3 A

7 9

5 6 8

1 lecture hall 2 permanent collection 3 gallery 3 4 atrium 5 a+d freight elevator 6 office - enclosed terrace 7 office - enclosed terrace (below) 8 office - reception space 9 office space (typ.)

10 DN

level m4 plan

50â&#x20AC;&#x2122;

10 71

A 8 DN

7 5

3 A

4 11 10

5 10

1 roof terrace 2 amphitheater 3 bar 4 canopy (above) 5 folding wall 6 planter (typ.) 7 lounge MUSEUM ROOF 8 a+d access 9 atrium 10 diner 11 kitchen 12 a+d freight elevator 13 office space

MUSEUM LEVEL 3 MEZZANINE

museum roof plan

50â&#x20AC;&#x2122;

10 72

MECHANICAL 265' - 0" ROOF 253' - 0" LEVEL 17 239' - 0" LEVEL 16 225' - 0" C

LEVEL 15 211' - 0" 1

LEVEL 14 197' - 0" LEVEL 13 183' - 0"

LEVEL 12 165' - 0" LEVEL 11 153' - 0"

LEVEL 10 139' - 0" LEVEL 9 125' - 0"

3 4

LEVEL 8 111' - 0" LEVEL 7 99' - 0"

5 6

MUSEUM ROOF 83' - 0"

LEVEL M4 63' - 0"

LEVEL M3 MEZZANINE 48' - 0" 8

LEVEL M3 33' - 0"

LEVEL M2 18' - 0" 9

MUSEUM LEVEL 3 MEZZANINE GROUND LEVEL 0' - 0"

west elevation 74

50â&#x20AC;&#x2122;

MUSEUM LEVEL 3 MEZZANINE

50â&#x20AC;&#x2122;

north elevation 75

MECHANICAL 265' - 0" ROOF 253' - 0" LEVEL 17 239' - 0" LEVEL 16 225' - 0" C

LEVEL 15 211' - 0" 1

LEVEL 14 197' - 0" LEVEL 13 183' - 0"

LEVEL 12 165' - 0" LEVEL 11 153' - 0"

LEVEL 10 139' - 0" LEVEL 9 125' - 0"

3 4

LEVEL 8 111' - 0" LEVEL 7 99' - 0"

5 6

MUSEUM ROOF 83' - 0"

LEVEL M4 63' - 0"

LEVEL M3 MEZZANINE 48' - 0" 8

LEVEL M3 33' - 0"

LEVEL M2 18' - 0" 9

MUSEUM LEVEL 3 MEZZANINE GROUND LEVEL 0' - 0"

east elevation 76

50â&#x20AC;&#x2122;

MECHANICAL 265' - 0" ROOF 253' - 0" LEVEL 17 239' - 0" LEVEL 16 225' - 0" D

LEVEL 15 211' - 0"

LEVEL 14 197' - 0" LEVEL 13 183' - 0"

LEVEL 12 165' - 0" LEVEL 11 153' - 0" LEVEL 10 139' - 0" LEVEL 9 125' - 0" LEVEL 8 111' - 0" LEVEL 7 99' - 0"

MUSEUM ROOF 83' - 0"

LEVEL M4 63' - 0"

LEVEL M3 MEZZANINE 48' - 0" 8

LEVEL M3 33' - 0"

LEVEL M2 18' - 0" 9

MUSEUM LEVEL 3 MEZZANINE GROUND LEVEL 0' - 0" 0

50â&#x20AC;&#x2122;

south elevation 77

MODEL

METRICS

PROGRAM METRICS - MUSEUM TYPE MUSEUM

USE/LOCATION

AREA (SF)

Vestibule Lobby/Tickets/Information Main Exhibition Hall Exhibition Gallery #2 Exhibition Gallery #3 Permanent Collection Gallery Lecture Hall Education Center/Digital Library Lounge Space Level M3 Terrace Museum Floor Area Subtotal

1240 3857 7778 2979 4708 4306 2809 2167 2871 1626 34341

Archive Space Archive Workroom Curatorial Office Curatorial Floor Area Subtotal

4,000 1,000 600 5,600

Office Space Conference Room Staff Lounge Staff Male Restroom Staff Female Restroom Administration Floor Area Subtotal

2500 1200 600 150 150 4600

Food Service Retail Service Custodial Space Utility Floor Area Subtotal

809 500 809 2118

Men's Restroom Women's Restroom Gift Shop CafÃ© Administration Floor Area Subtotal

292 319 1995 1243 3849

CURATORIAL

ADMINISTRATION

SERVICE

AMENITIES

MUSEUM NET FLOOR AREA TOTAL

50,508

CIRCULATION West Emergency Stairwell Qty. Emergency Stairwell Total Exhibition Hall Lift Qty. Exhibition Hall Lift Total Circulation Subtotal MUSEUM GROSS FLOOR AREA TOTAL

156 3 468 639 2 1,278 1,746

52,254

PROGRAM METRICS - OFFICE TOWER TYPE

USE/LOCATION

AREA (SF)

OFFICE Ground Level Level 2 Level 3 Level 4 Level 5 Level 6 Level 7 Level 8 Level 9 Level 10 Level 11 Level 12 Level 13 Level 14 Level 15 Level 16 Level 17 Office Floor Area Subtotal

0 5681 7265 5612 4645 3455 4610 12556 12556 11656 12556 12556 10921 9831 11656 10205 12556 148317

CORRIDOR/ELEVATOR LOBBY Ground Level Level 2 Level 3 Level 4 Level 5 Level 6 Level 7 Level 8 Level 9 Level 10 Level 11 Level 12 Level 13 Level 14 Level 15 Level 16 Level 17 Roof Lobby Floor Area Subtotal

508 400 659 659 659 450 900 1,011 1,011 1,011 1,011 1,011 1,011 1,011 1,011 1,011 1,011 972 15,317

LOBBY/LOUNGE/DINER/RETAIL Ground Level Lobby Ground Level Retail/Service Level 6 Lounge Level 6 Diner Level 6 Kitchen Level 6 A+D Vestibule Lobby Floor Area Subtotal

4134 1688 2977 3467 1,031 390 13,687

RESTROOM Men Women Restroom Per Floor Quantity Restroom Floor Area Subtotal

132 132 264 16 4224

181,545

UTILITY

508 400 659 659 659 450 900 1,011 1,011 1,011 1,011 1,011 1,011 1,011 1,011 1,011 1,011 972 15,317

LOBBY/LOUNGE/DINER/RETAIL Ground Level Lobby Ground Level Retail/Service Level 6 Lounge Level 6 Diner Level 6 Kitchen Level 6 A+D Vestibule Lobby Floor Area Subtotal

4134 1688 2977 3467 1,031 390 13,687

OFFICE TOWER NET FLOOR AREA TOTAL

181,545

Telecom quantity Telcom Subtotal Electrical quantity Telcom Subtotal Ground Level Utility Utiltiy Floor Area Subtotal

90 8 720 90 8 720 693 1440

Loading Dock Level Roof Level Mechanical Total

2836 830 3666

Loading Dock Utility Floor Area Subtotal

5553 5553

MECHANICAL

SERVICE

VERTICAL CIRCULATION Elevator/Stiar Core Qty. Elevator/Stair Core Subtotal Service Elevator Qty. Service Elevator Subtotal Circulation Total

868 18 15624 165 8 1320 16,944

OFFICE TOWER GROSS FLOOR AREA TOTAL

209,148

OFFICE TOWER NET FLOOR AREA TOTAL

181,545

OFFICE TOWER GROSS FLOOR AREA TOTAL

209,148

UTILITY Telecom quantity Telcom Subtotal

90 8 720

PROJECT INFORMATION

FAR CALCULATION

PROJECT INFORMATION APN: 5161018903, 5161018903, 5161018903, 5161018902, 5161018904, 5161018905 5161018906 ADDRESS: 400-422 E 1ST ST, 114 CENTRAL AVE. LOS ANGELES, 90012 CONSTRUCTION TYPE: 5-A ZONING: [Q}C2-3D-0-CD0 LOT SIZE: 1.09 ACRES MAX. BLDG. HEIGHT: UNLIMITED MAX FAR: 6:1 MIN AREA PER LOT: UNLIMITED (PER ZI-2385) MIN AREA PER D.U.: UNLIMITED (PER ZI-2385) MIN. FRONT SETBACK: NONE MIN. SIDE SETBACK: NONE MIN REAR SETBACK: NONE

JURISDICTIONAL INFORMATION PLANNING/ZONING:

-ZI-2385 GREATER DOWNTOWN HOUSING INCENTIVE AREA -ZI-2452 TRANSIT PRIORITY AREA IN THE CITY OF LOS ANGELES -ZI-2374 LOS ANGELES STATE ENTERPRISE ZONE -ADAPTIVE REUSE INCENTIVE AREAS

JURISDICTION: -COMMUNITY PLAN AREA -CENTRAL CITY AREA PLANNING COMMISSION -CENTRAL NEIGHBORHOOD COUNCIL -HISTORIC CULTURAL COUNCIL DISTRICT -CD14-JOSE HUIZAR

APPLICABLE CODES 2013 CALIFORNIA BUILDING CODE 2013 CALIFORNIA MECHANICAL CODE 2013 CALIFORNIA PLUMBING CODE 2013 CALIFORNIA FIRE CODE 2013 LOS ANGELES BUILDING CODE 2013 CITY OF LOS ANGELES ELEVATOR CODE 2013 CALIFORNIA ENERGY CODE (TITLE 24)

GREATER DOWNTOWN HOUSING INCENTIVE AREA ZI NO. 2385 The following codes were modified for all projects within the boundaries of the Greater Downtown Housing Incentive Area: - The maximum unit per lot area was eliminated; density is unlimited (within the relevant FAR) - All yard requirements were eliminated - Buildable Area is the same as Lot Area - The percentages of private and common open space were eliminated; however the total per unit open space requirement shall still be provided. - Tract and parcel maps may include land set aside for street or alley purposes within the calculation of allowable floor area of a residential or mixed use building (including Apartment Hotels) 84

AREA (SF) MUSEUM NET FLOOR AREA SUBTOTAL OFFICE TOWER NET FLOOR AREA SUBTOTAL

181,545

BUILDING TOTAL NET FLOOR AREA TOTAL

232,053

50,508

MUSEUM GROSS FLOOR AREA SUBTOTAL OFFICE TOWER GROSS FLOOR AREA SUBTOTAL

209,148

BUILDING TOTAL GROSS FLOOR AREA TOTAL

261,400

FLOOR TO AREA (FAR) CALCULATION LOT AREA ALLOWABLE FAR (ZONE: [Q}C2-3D-0-CD0) ALLOWABLE BUILDABLE AREA

47,308 6 TO 1 283,848

BUILDING TOTAL NET FLOOR AREA PROJECT SITE FAR

232,053 4.9 TO 1

52,252

RESOURCE ALLOCATION

This development cost estimate assumes LA Metro will lease the land to the developer of A+d for $1. Assisting an institution dedicated in part to analyzing and helping improve the built environment of Los Angeles could be the impetus for such a act. Effectively ceding land to a non-profit institution which Metro displaced would seem appropriate as well.

ESTIMATED DEVELOPMENT COST A+D Museum 400 E 1ST ST. LOS ANGELES, CA 90012

I. II.

Property Assemblage Costs

24,340 Sf Land

0 /Sf

Direct Costs Off-Site Improvements

32,305 Sf Land

8 /Sf

258,440

On-Site Improvements

30,305 Sf Land

$10 /SF

303,050

Parking Costs

This estimate is for construction of the museum office tower and surrounding landscaping, and does not include any construction related to the adjacent Metro station which is to reside beneath the A+D Museum.

Surface

0 Spaces

$2,500 /Space

Above-Ground Structure

0 Spaces

$20,000 /Space

$35,000 /Space 300 Sf GBA

Subterranean Building Costs

Spaces 261,400 Sf GBA

Contractor Costs + Builders Risk Ins. Direct Cost Contingency Allowance

78,420,000

16% Construction Costs

12,547,200

5% Other Direct Costs

4,576,435

Total Direct Costs III.

91,528,690

Indirect Costs Architecture, Engineering & Consulting

8% Direct Costs

7,322,295

Public Permits & Fees Institutional

1 Units

Taxes, Insurance, Legal & Accounting

40,000 /Unit

8% Direct Costs

40,000 7,322,295

Marketing & Leasing Institutional

1 Units

Developer Fee

5% Total Cost

Soft Cost Contingency Allowance

5% Direct Costs

Total Indirect Costs IV.

10,000 4,576,435 734,730 20,005,754

Financing Costs Total Financing Costs

$10,000 /Unit

Total Development Cost

15% of Direct and Indirect Costs

16,730,167 128,264,611

Page 1 of 1

A+D PROGRAM DETAIL - MUSEUM SPACE Lobby/Tickets/Information Occupant Type Occupant Load Load Factor Occupant Use

Exhibition Gallery #3 Occupant Type Occupant Load Load Factor Occupant Use

Assembly - Unconcentrated 314 15 Assembly

Area (SF) Ceiling Height Critical Adjacencies

4708 14'-0" none

Natural Lighting Artificial Lighting

Direct LED

Natural Lighting Artificial Lighting

Indirect LED

Floor Finish Wall Finish Ceiling Finish

Stone-Travertine Gypsum Board - White Paint Finish Gypsum Board - White Paint Finish

Floor Finish Wall Finish Ceiling Finish

Concrete - Epoxy Finish Gypsum Board - White Paint Finish Gypsum Board - White Paint Finish

Main Exhibition Gallery Occupant Type Occupant Load Load Factor Occupant Use

Assembly - Unconcentrated 519 15 Assembly

Permanent Collection Gallery Occupant Type Occupant Load Load Factor Occupant Use

Assembly - Unconcentrated 287 15 Assembly

Area (SF) Ceiling Height Critical Adjacencies

7778 29'-0" none

Area (SF) Ceiling Height Critical Adjacencies

4306 14'-0" none

Natural Lighting Artificial Lighting

Indirect LED

Natural Lighting Artificial Lighting

Indirect LED

Floor Finish Wall Finish Ceiling Finish

Concrete - Epoxy Finish Gypsum Board - White Paint Finish Gypsum Board - White Paint Finish

Floor Finish Wall Finish Ceiling Finish

Concrete - Epoxy Finish Gypsum Board - White Paint Finish Gypsum Board - White Paint Finish

Exhibition Gallery #2 Occupant Type Occupant Load Load Factor Occupant Use

Assembly - Unconcentrated 257 15 Assembly - Unconcentrated

Assembly - Unconcentrated 199 15 Assembly

Lecture Hall Occupant Type Occupant Load Load Factor Occupant Use

Assembly - Concentrated 401 7 Assembly

Area (SF) Ceiling Height Critical Adjacencies

2979 14'-0" none

Area (SF) Ceiling Height Critical Adjacencies

2809 18'-0", 21'-0" none

Natural Lighting Artificial Lighting

Indirect LED

Natural Lighting Artificial Lighting

Direct LED

Floor Finish Wall Finish Ceiling Finish

Concrete - Epoxy Finish Gypsum Board - White Paint Finish Gypsum Board - White Paint Finish

Floor Finish Wall Finish Ceiling Finish

wood - walnut Gypsum Board/Acoustic Panel Gypsum Board - White Paint Finish

A+D PROGRAM DETAIL - AMENITIES Gift Shop

Male Restroom - Public Occupant Type Occupant Load Load Factor Occupant Use

Restroom N/A N/A Assembly

Occupant Type Occupant Load Load Factor Occupant Use

Mercantile - Grade Floor Areas 67 30 Assembly

Area (SF) Ceiling Height Critical Adjacencies

1995 14'-0" Lobby, Café

Area (SF) Ceiling Height Critical Adjacencies

292 10'-0" Lobby

Natural Lighting Artificial Lighting

Direct LED

Natural Lighting Artificial Lighting

none LED

Floor Finish Wall Finish Ceiling Finish

wood - walnut Gypsum Board Gypsum Board - White Paint Finish

Floor Finish Wall Finish Ceiling Finish

Tile - Porcelain Gypsum Board - White Paint Finish Gypsum Board - White Paint Finish

Occupant Type Occupant Load Load Factor Occupant Use

Mercantile - Grade Floor Area 41 30 Assembly

Area (SF) Ceiling Height Critical Adjacencies

1243 14'-0" Lobby, Gift Shop, Restrooms (Public)

Area (SF) Ceiling Height Critical Adjacencies

319 10'-0" Lobby

Natural Lighting Artificial Lighting

Direct LED

Natural Lighting Artificial Lighting

none LED

Floor Finish Wall Finish Ceiling Finish

wood - walnut Gypsum Board/Acoustic Panel Gypsum Board - White Paint Finish

Floor Finish Wall Finish Ceiling Finish

Tile - Porcelain Gypsum Board - White Paint Finish Gypsum Board - White Paint Finish

Floor Finish Wall Finish Ceiling Finish

Concrete Gypsum Board - Egshell White Paint Finish Gypsum Board - Egshell White Paint Finish

Café

Education Center/Digital Library Occupant Type Occupant Load Load Factor Occupant Use

Library - Reading Room 43 50 Assembly

Area (SF) Ceiling Height Critical Adjacencies

2167 14'-0" none

Natural Lighting Artificial Lighting

Direct LED

Floor Finish Wall Finish Ceiling Finish

Concrete - Epoxy Finish Gypsum Board - White Paint Finish Gypsum Board - White Paint Finish

Female Restroom - Public Occupant Type Occupant Load Load Factor Occupant Use

Restroom N/A N/A Assembly

A+D PROGRAM DETAIL - CURATORIAL/ ADMINISTRATIVE Curatorial Office Occupant Type Occupant Load Load Factor Occupant Use Area (SF) Ceiling Height Critical Adjacencies

800 14'-0" Archive Workroom, Archive Storage

Natural Lighting Artificial Lighting

Indirect LED

Floor Finish Wall Finish Ceiling Finish

Concrete Gypsum Board - Egshell White Paint Finish Gypsum Board - Egshell White Paint Finish

A+D Office Space Occupant Type Occupant Load Load Factor Occupant Use

Business Areas 60 50 Assembly

Area (SF) Ceiling Height Critical Adjacencies

3000 14'-0" Staff Lounge, Staff Restrooms, Conference Room

Natural Lighting Artificial Lighting

Direct LED

Floor Finish Wall Finish Ceiling Finish

Carpet Tile Gypsum Board - Egshell White Paint Finish Gypsum Board - Egshell White Paint Finish

A+D Archive Space Occupant Type Occupant Load Load Factor Occupant Use

Business Areas 16 50 Assembly

Accessory Storage Areas Business Areas 80 50 Assembly

Area (SF) Ceiling Height Critical Adjacencies

4000 14'-0" Staff Lounge, Staff Restrooms, Conference Room

Natural Lighting Artificial Lighting

none LED

Floor Finish Wall Finish Ceiling Finish

Concrete - Epoxy Finish Gypsum Board - Egshell White Paint Finish Gypsum Board - Egshell White Paint Finish

A+D Staff Lounge Occupant Type Occupant Load Load Factor Occupant Use

Assembly 40 15 Assembly

Area (SF) Ceiling Height

600 14'-0"

Natural Lighting Artificial Lighting

Direct LED

Floor Finish Wall Finish Ceiling Finish

Carpet Tile Gypsum Board - Egshell White Paint Finish Gypsum Board - Egshell White Paint Finish

A+D Staff Restroom - Male Occupant Type Occupant Load Load Factor Occupant Use

Office N/A N/A Assembly

Area (SF) Ceiling Height Critical Adjacencies

200 10'-0" Office Space, Staff Lounge

Natural Lighting Artificial Lighting

None LED

Floor Finish Wall Finish Ceiling Finish

Tile - Porcelain Gypsum Board - Egshell White Paint Finish Gypsum Board - Egshell White Paint Finish

A+D Staff Restroom - Female Occupant Type Occupant Load Load Factor Occupant Use

Office N/A N/A Assembly

Area (SF) Ceiling Height Critical Adjacencies

200 10'-0" Office Space, Staff Lounge

Natural Lighting Artificial Lighting

None LED

Floor Finish Wall Finish Ceiling Finish

Tile - Porcelain Gypsum Board - Egshell White Paint Gypsum Board - Egshell White Paint

A+D PROGRAM DETAIL - UTILITY Loading Dock Occupant Type Occupant Load Load Factor Occupant Use

Utility Accessory Storage Area 11 500 Assembly

Occupant Type Occupant Load Load Factor Occupant Use

Equipment Room 3 300 Assembly

Area (SF) Ceiling Height Critical Adjacencies

5553 19'-0" Freight Elevator

Area (SF) Ceiling Height Critical Adjacencies

809 14'-0" Loading Dock

Natural Lighting Artificial Lighting

None LED

Natural Lighting Artificial Lighting

None LED

Floor Finish Wall Finish Ceiling Finish

Concrete Concrete Concrete

Floor Finish Wall Finish Ceiling Finish

Concrete - Epoxy Finish Gypsum Board - Egshell White Paint Gypsum Board - Egshell White Paint

Food Service Occupant Type Occupant Load Load Factor Occupant Use

Accessory Storage Areas 3 300 Assembly

Mechanical Occupant Type Occupant Load Load Factor Occupant Use

Mechanical 9 300 Assembly

Area (SF) Ceiling Height Critical Adjacencies

809 14'-0" Food Service, Retail Service, Utility

Area (SF) Ceiling Height Critical Adjacencies

2836 19'-0", 34'-0" Loading Dock

Natural Lighting Artificial Lighting

None LED

Natural Lighting Artificial Lighting

None LED

Floor Finish Wall Finish Ceiling Finish

Concrete Gypsum Board - Egshell White Paint Gypsum Board - Egshell White Paint

Floor Finish Wall Finish Ceiling Finish

Concrete Concrete Concrete

Retail Service Occupant Type Occupant Load Load Factor Occupant Use

Accessory Storage Areas 2 300 Assembly

Area (SF) Ceiling Height Critical Adjacencies

500 14'-0" none

Natural Lighting Artificial Lighting

None LED

Floor Finish Wall Finish Ceiling Finish

Concrete - Epoxy Finish Gypsum Board - Egshell White Paint Gypsum Board - Egshell White Paint

EXPERTS

EXPERT WITNESS: ERIC STULTZ Eric Stultz is the president of the board of directors for the A+D Museum. He is a Principal and Design Principal at Gensler’s Los Angeles office. The following is a paraphrased transcript of a phone interviews with Mr. Stultz, conducted January 27, and April 11, 2017.

NR: In your view, what role does A+D have within the context of Los Angeles Arch. And design?

NR: Do you see the need for a museum dedicated exclusively to architecture?

Do you see a need for a permanent collection? What would you collect?

ES: Los Angeles is one of few cities known for fashion, auto, architecture, etc. The city has a great design tradition, we should have a place to showcase this work. Urban design and the evolution of spaces is currently very important.

ES: A+D is both architecture and design, it attempt to attract a broad audience through a variety of exhibits. The world of design big environment architecture and interior design involve the most money. Graphic design, fashion etc. are much smaller.

Archives would be of use to A+D. Archival materials would be original one-of-a-kind.

It is important to have a venue for place to discuss architecture and design issues in both an academic context, and to introduce the youth of city to design. A+D focuses on progressive design, with the intent to help move things forward. It is a forward looking museum. NR: How is an architecture museum important for society as you see it? What does it provide? ES: Architects’ work is not well understood by the public. It is not considered high art, people will not invest – people view it as functional. We see it every day, and do not think of it something that needs to be represented in a museum. A+D bridges the gap between what people see and what they do not understand, exposing the things that are hidden.

NR: Should such a museum focus on Los Angeles? ES: A+D has a strong affinity for things locally driven. This is what public responds to. NR: What is A+D’s relationship with local architecture schools like? Its relationship with local architects? How important are these relationships to the museum? ES: A+D has a strong relationship with local architects - they attend many events. Discussion of current issues is important. A+D’s relationship with architecture schools is important. For example the Citylab exhibit is affiliated with UCLA. A+D works with SCI-Arc and USC as well. The 2x8 show was affiliated with the AIA, and showcased work from a student design competition. Architects drive design exhibits. Additionally, A+D has a good relationship with City of Los Angeles. What role does education play at A+D? Education is very important. There is an ongoing effort to educate the public at A+D. Every exhibit has a host of programs that go along with it. It is important to have curators walk people through exhibit materials. It is important for visitors to have things explained to them, and continually engage them.

“We want to be at the forefront of the discussions on how [downtown’s] transformation and expansion would happen.” 92

NR: Is A+D looking to move? Expand? ES: A+D’s current location is excellent. A+D would like to expand. The museum is in need of separate rooms for lectures, and would like a lecture hall. A+D aims to be more than a museum, but a social gathering space. A+D does not currently have funding for such endeavors. NR: Where would A+D move to? A high-profile location such as Grand Ave. at Bunker Hill? ES: It would be important to examine who is coming in from out of town. At such a location, A+D would be poised to become a global icon, something the museum would be interested in. For example, visitors to the Broad Museum could be exposed to A+D when they otherwise would not. However, A+D views itself as outside the establishment, separate from the likes of the cultural institutions on Grand Ave. As such, A+D is happy with its location in the Arts District.

A+D as a public gathering space….why exactly is this important for the museum?

NR: Would there be use now for A+D and AIA to have adjoining offices?

NR: Would A+D be interested in being located near/at a transit station?

ES: We are not only a public facing organization, but one that is a gathering/social space for the industry - designers, architects, contractors, engineers, etc. We are a place for them to have a dialogue, and engage in social interaction with the city as well as each other.

ES: There would be a great advantage for that, along with other institutions like USGBC and ASLA. We work with each other every day. Being able to gather in a social atmosphere - it would be a win-win.

ES: yes

NR: How important is expanding its exposure and influence is, if at all?

NR: What are the primary sources of funding for A+D?

It is necessary for fundraising. We are not an endowed museum. It is important to be able to attract the best shows and events. It is important that people be able to hear about it.

ES: Initially, 20 architects and 20 designers donated money over a two-year period. That got us into our first permanent space. Now, all the fund raising we do for events keep us going from day to day. Our expenses primarily consist of two salaries and rent.

NR: Why do you think LA is an appropriate place for the exhibition of architecture and design?

Would A+D be interested in expanding its financial portfolio?

ES: Los Angeles is recognized as one of the global leaders in design. When you think of design, you might think of Detroit. In fact, most automotive designers are in Southern California. We have a strong fashion industry. The Santa Monica School of architecture is important - we have two Pritzker Prize winners in Los Angeles. You could go on and on about the groundbreaking things going on here in terms of design.

ES: Finding people who believe in the museum and support it is important. Philanthropy in Los Angeles is not like it is in other places, i.e. New York.

NR: What is A+D’s relationship with the AIA?

NR: What is the significance of the rapid development and transformation of downtown Los Angeles to A+D? What role does this play in A+D’s mission, what role does A+D see itself playing in this ongoing transformation?

ES: Five years ago, AIA was interested in creating a institution comparable to Center for Architecture in New York. Three years ago, AIA figured out that A+D’s programs were the right complement for AIA’s goals on the social side. AIA and A+D sign a memorandum of understanding that they would do it together, and create the Center for architect in Los Angeles (CALA). AIA was close to moving in with A+D. It fell through.

A board of trustees would be steady source of income. However, the exhibits themselves have to be the engines of the financial gain for the museum.

ES: It dictated our location. A+D would not be in downtown if L.A. had it not made a U-turn at the suburbs and decided to come back in on itself and develop downtown, especially the arts district. The district has a tradition of being a seeding ground for important artists in Los Angeles. People have rediscovered the Arts District, resulting in gentrification. We are going through a transformation that we have not seen in 100 years. Being a design museum in the middle of it is very valuable.

Do you see a need for more, or improved public spaces in Los Angeles, particularly in downtown? Is this a topic that comes up at A+D? ES: A+D does not talk about it much. Downtown is sorely lacking for parks, having great outdoor public space is important – we need more. Gensler did a study on what would happen if downtown was shut off from cars. It illustrated the virtues of reclaiming space from cars. NR: Where do you see Los Angeles as an urban center in 20 years? ES: We get the Olympics, this has a huge impact on the rest of the infrastructure that is being teased at right now. Metro expands immensely, the airport transforms completely, autonomous cars account for 90% of cars on the road. We have much more public open space as a result. Los Angeles gets dense around all public transit – if things work the right way, this is what happens. Measure S was a problem in that it would put a moratorium on construction. This was particularly problematic with regard to potential transitoriented development. Also, Los Angeles’ general plan does not recognize transit centers as places for density. NR: How does this scenario play in A+D’s mission? ES: We want to be at the forefront of the discussions on how that transformation and expansion would happen. We want people to feel we are the place to have a dialogue, and see cutting edge developments. A+D should be the interpretive center for these events. Change can be scary. As a excited as I am, the general public can be wary of it. A+D is place where people can see it, understand it, interpret it, ask questions, challenge it, and improve upon what professionals are saying it should be.

The city is not our sole source of inspiration. We are about global design moves. We are lucky to be at the center of one of the most important ones currently taking place. 93

EXPERT WITNESS: DOUG HANSON Doug Hanson has experience in realizing worldclass museums. He was Project Architect for the Museum Guggenheim Bilbao, and a programming consultant for the California Academy of Science. Mr. Hanson currently runs his architecture firm in Downtown Los Angeles, hansonLA. His office is currently working on multiple projects in Los Angeles’ Arts District. The following is a paraphrased transcript of phone interviews with Mr. Hanson, conducted December 5, 2016, and April 19, 2017.

Regarding museum programming DH: Museum programming consists of two primary elements: permanent collection display, and traveling exhibits. The act of balancing the two is important. At Bilbao, living artists’ work is displayed in rooms with curved walls, while dead artists’ work is displayed in square boxes. Living artists should have room to expand their displays, dead artists’ work consists of a catalogue. Regarding permanent collections DH: Permanent collections are important for a museum. What is a museum without a collection? Without one, a museum suffers from a lack of identity.

NR: How has Bilbao influenced architecture since its completion? How did affect Frank Gehry’s work? DH: A building itself can become a destination. The Bilbao effect was born, revitalizing the city. It changed the idea of how a building could have a bigger impact than simply housing art. Many cities tried to replicate this. Bilbao was the first time Frank’s office focused on interior spaces. It was his first shot at creating large interior spaces with articulated form. The office improved its interior spaces on subsequent projects. NR: How, if at all, has Bilbao influenced your work in Los Angeles?

Storage can be on or off site - on-site is preferable. At the California Academy of Sciences, 16 million artifacts had to be categorized planned for and accommodated through architectural programming. Programming is important and complex.

DH: Having a team with a common purpose is important. With Bilbao, everyone was pulling in the same direction - the architects, contractors, the city itself. This creates endless possibilities. In some respects, we in America are still behind in using 3D digital drawings to build. The experiences related to project delivery influenced me most.

Regarding the current Downtown Los Angeles.

NR: Of what importance are museums to Los Angeles in particular. Is there any significant distinction from the museum’s role here as opposed to other cities?

transformation

DH: Downtown is the cultural hub of Los Angeles. The Arts District and the Los Angeles River will become increasingly important in coming years. NR: What were the main lessons you learned from Bilbao, especially with respect to place making and establishing identity for a city or region? DH: It was originally a shipyard. There was originally a different site. The site selected was successful because of its connection to the river. The site became very pedestrian-friendly. The site now anchors a whole new community, spurred on by the museum.

LA has access to artists and collectors. We are not New York or Paris, but we finally have enough critical mass here in LA to build up these cultural institutions. NR: What can an architecture/design museum say about Los Angeles? What about Los Angeles interests you as an architect? DH: The building should be a part of the city’s culture, its identity. It should get a little attention. Nothing necessarily eccentric, but have a presence.

“Downtown should be the real anchor for the city.” 94

What about Los Angeles interests you as an architect? Los Angeles is a blank canvas, there are fewer rules for architecture than in other places. The creative energy of the city - auto design, fashion industry, film industry - these feed into architectural design here. Clients in general are less driven by specific formulas than in other places. A lot of clients will work with you through the design process. What do you see as your role in Los Angeles’ current renaissance? What are your primary goals as an architect within this movement? We want to do more than simply design buildings. We want to build a great community here. This includes schools, open space, pedestrian-friendly neighborhoods, green spaces, net-zero buildings. This is why I joined the AIA board of directors. As architects, we should be more influential. We do not necessarily need city planners being the driving force within the city. We should help shape policy. NR: What is AIA’s role in Los Angeles architecture? DH: Having a storefront for architecture, being attached to something that the public has access to is important. Architects are inaccessible people often do not know what they do. We architects have done a poor job of introducing ourselves to the public. The museum would be a tool to make this connection between architects and the general public. Where do you see Los Angeles, particularly downtown, as an urban center in 20 years? DH: Downtown will be the transportation hub. We should continue to get more people moving into downtown - really go for it. Cultural landmarks are here. We should be focusing on significantly increasing density, not only constructing low and mid-rise buildings. Downtown should be the real anchor for the city, in part because of the transportation connections.

EXPERT WITNESS: DERRICK MOORE Derrick Moore is as an industry leading expert on retail in Los Angeles. He has been involved with Downtown Los Angeles development for 20 years. His early work in the city involved seminal projects in and around Little Tokyo - precursors to the city’s continuing transformation. The following is a paraphrased transcript of a phone interview with Mr. Moore, conducted Mach 24, 2017.

NR: The adaptive reuse ordinance, how has it affected your work? Is there a direct link between the 1999 ordinance and revitalization continuing today? DM: We took a lot of financially obsolete buildings and brought them to a state of relevancy. Particularly with empty class B office buildings. They are now residential or creative office. NR: What role will the regional connector play in the economic vitality of DTLA, if any? DM: It will create greater accessibility and mobility for residents and those that will potentially migrate into the area. The Expo Line to the west, and Gold line to the east provide access to downtown. The Regional connector provides easier access to various lines, all going right the heart of downtown LA. NR: What are the implications for development near its stations? DM: We have witnessed the disappearance of surface parking lots. They have been replaced with mixed-use development. The best examples are the stations in Little Tokyo and the Civic Center. They are going to experience massive density through mixed-use properties; this includes the Office Depot site to the south of the Little Tokyo/ Arts District Station. The impact from the Regional Connector has been immediate. NR: Is densification a good thing for DTLA and Los Angeles in general? DM: Yes. I have been championing densification in Los Angeles for almost 20 years.

What specific role has/does/will Little Tokyo and the Arts District play in the rebirth of DTLA? DM: Little Tokyo was Downtown’s first sevenday trade area, even before the adaptive reuse ordinance. It had an older population, and was ethnocentric at the time. The Arts District as we know it did not exist then. Little Tokyo had markets, whereas much of Downtown did not. Early pioneering developers (including myself) reimagined Downtown LA for many people – showed them what could exist. We frequently pointed to Little Tokyo to show that a livable environment can exist. It had occurred before, in an ethnocentric fashion called Little Tokyo. All of this can be spread throughout Downtown. In many ways, Little Tokyo was a case study – its own ecosystem for a fullyfunctional residential and retail environment. Little Tokyo was the only neighborhood in downtown that had supermarkets, food and beverage/etc., and attracted an outside consumer. Outside Little Tokyo or Chinatown, there was no reason for anyone to come into Downtown. NR: What is Downtown Los Angeles’ outlook as you see it? Where do you think/would like to see it be in 20 years, especially in terms of development, urbanization, and densification? DM: I see slow stead growth. We currently have 7,000 units currently in the pipeline. It takes time – as many cranes as you may see in the area, it takes time for residential units to be absorbed. It takes time for certain industries to recognize benefits of this new area. Particularly tech, entertainment, music that are now finding new homes, whether it be in the Arts District or Financial District. Reimagined spaces where steel and glass structures are taking out remnants of the 80’s and 90’s, and making it more creative office friendly. This includes change in City’s policy, a nod to this shift. Over the next 20 years, I see continued growth. We are truly just at the beginning stages. We will move towards a “24-hour city”. We are far from that. We will break 100,000- 150,000 residents living in Downtown LA. With that will come more retail – retail beyond the food and beverage that currently dominates.

“We are truly just at the beginning stages. We will move towards a “24-hour city.” 95

REFERENCES

A+D, M. (2016). About A+D Architecture and Design Museum. Retrieved Nov. 16, 2016, from aplusd.org: http://aplusd.org/about/ BBC (Director). (2015). Frank Gehry: The Architect Says “Why Can’t I?” [Motion Picture]. Bennett, T. (1995). The Birth of the Museum. London: Routledge. Betsky, A. (1991). Experimental Architecture in Los Angeles. New York: Rizzoli. Binney, M. (2015, October 2). Perspective: are daring museum extensions triumphs or disasters? Retrieved from Financial Times: https://www.ft.com/ content/947472d2-0070-11e5-a908-00144feabdc0 Browne, K. (2008). Bold Visions: the Architecture of the Royal Ontario Museum. Toronto: ROM. Cotter, H. (2015, Sept. 12). Review: The Broad Is an Old-Fashioned Museum for a New Gilded Age. Retrieved Nov. 15, 2016, from The New York Times: http://www. nytimes.com/2015/09/13/arts/design/review-broad-museum-los-angeles.html?_r=0 Demand for Creative Office Space in Los Angeles My Climb to as Much as 44 Msf. Los Angeles: The Altemus Company, 17 Aug. 2016. PDF. Dambrot, S. N. (2016, October 28). It’s Opening in 2020, But You Can Preview Downtown L.A.’s Main Museum This Weekend. Retrieved Nov. 20, 2016, from kcet. org: https://www.kcet.org/shows/artbound/new-main-museum-of-los-angeles-artconstruction-beta-main-lacy-bowers Dixon, J. M. (1995). The Santa Monica School: Whats its Lasting Contribution? Progressive Architecture , 63-68. Feireiss, K. (2001). The Art of Architecture Exhibitions. Rotterdam: NAi Publishers. Griffin, Nick. Downtown LA Market Report - Third Quarter, 2016. Los Angeles: Downtown Center BID, 31 Sept. 2016. PDF. Griffin, Nick. Downtown LA Market Report - First Quarter, 2017. Los Angeles: Downtown Center BID, 31 Mar. 2016. PDF. Hanson, D. (2016, December 6), (2017, April 19). Architecture Museum and Guggenheim Bilbao. (N. Rosas, Interviewer) Hawthorne, C. (n.d.). ‘Frank Gehry’ at LACMA is well framed but still needs buildout. Retrieved from http://www.latimes.com/entertainment/arts/la-et-cm-gehrylacma-review-20150929-column.html

Hourston, L. (2004). Museum Builders II. West Sussex: Wiley-Academy. Jencks, C. (1995). Frank O. Gehry - Individual Imagination and Cultural Conservatism. New York: Academy Group LTD. Kennicott, P. (2015, September 19). The problem with The Broad is the collection itself. Retrieved November 20, 2016, from The Washington Post: https://www. washingtonpost.com/entertainment/museums/the-problem-with-the-broad-isthe-collection-itself/2015/09/13/05503400-5a4e-11e5-b38e-06883aacba64_story. html?utm_term=.c18525062618 Moore, D. (2017, March 24) . Downtown Los Angeles Development. (N. Rosas, Interviewer) Muschamp, H. (1997, Sept. 7). The Miracle In Bilbao. Retrieved Dec. 7, 2016, from New York Times: http://www.nytimes.com/1997/09/07/magazine/the-miracle-inbilbao.html Naredi-Rainer, Paul Von., and Oliver Hilger. A Design Manual Museum Buildings. Basel: Birkhauser, 2004. Print. Stultz, E. (2017, January 15), (2017, April 11). A+D Museum. (N. Rosas, Interviewer)

n i c k

r o s a s

n i c c i r o s e @ g m a i l . c o m

6 2 6 . 5 2 4 . 4 7 1 9