form - high concept - jan/feb 2013
DESCRIPTION
For architects, interior designers, designers, engineers and others pushing and challenging architecture and design. Industry Partners: AIA Los Angeles, IIDA Southern California, ASID Los Angeles and USGBC Los Angeles. Distributed regionally, nationally and online.TRANSCRIPT
A PUBLICATION OF BALCONY MEDIA, INC.
JAN
UA
RY
/FE
BR
UA
RY
20
13 61 86345 97698
69
U . S . $ 6 . 9 5 / C A N A D A $ 8 . 9 5
PIO
NE
ER
ING
DE
SIG
N
HIGH CONCEPT
True luxury is knowing you’ re doing something good.
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True luxury is knowing you’ re doing something good.
FU
LL
ER
TO
N W
ES
T H
OL
LYW
OO
D
SA
N D
IEG
O S
AN
FR
AN
CIS
CO
HA
WA
II
Westside G
erman Shepherd Rescue
architect: R
A-D
A
product: Ke
rlite (th
in p
rofile
)
series: Oa
ks
color: Fossil &
Ra
in
sizes: 20”x 40”
Pe
rfec
t for re
mo
de
ling
— N
o te
ar d
ow
n, n
o m
ess,
no
lan
dfill o
f existin
g m
ate
rials
Thin profile, large format, porcelain tile —
continues to take the architectural, design and construction industries by storm
. SpecCeramics w
as one of the first to recognize the industry changing value of this innovative product. Ideal for interior,
exterior, floor and facade use in new constructions this am
azing tile is invaluable for upgrades, rem
odeling and renovations. This true porcelain, lightweight, easier to
install material just 3.5m
m thick com
es in up to 3 ! feet by 10 foot slabs!
SpecCeramics represents over 30 thin tile collections from
the top manufacturers in the U
SA and the World and w
e stock m
any collections as part of our Quick Ship Program
.N
ew, W
est Hollyw
ood Design Library N
ow O
pen! — Yes, SpecCeram
ics now has a new
Design Library in the PD
C Pacific D
esign Center, Blue Building — a great place to find inspiration, outstanding products and expert guidance.
Call us today for more inform
ation or come visit one of our D
esign Libraries to experience this amazing product in
person. Call us at 1-800-449-spec (7732) to request a sample.
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S.indd 111/13/12 7:54 AM
JANUARY/FEBRUARY 2013
DEPAR
TMEN
TS
6 ED
ITOR
’S NO
TE
8
6 QU
ESTION
S
Scott Joh
nson
reflects on th
e d
ichotom
y betw
een p
rocess
an
d p
roduct
10 SH
OW
RO
OM
High-end kitchen solutions
12 G
REEN
WO
RK
S
N
oll + Tam
design for a green future w
ith the El Cerrito Recycling C
enter
14 M
AK
ING
THE G
RA
DE
New
solutions for sustainable farming
16 W
OR
KB
OO
K
D
esigns inspired by the richness
of w
ood
36 U
NB
UILT
Michael Rotondi and the speed of
visual thinking
AIA
DESIG
N A
WA
RD
S 2012
FEATUR
ES26
SCION
OF IN
NO
VATIO
N
G
raft’s “distinct ambiguity” has
created a bold brand identity
B
Y A
LEXI D
RO
SU
30 H
IS MIN
D’S EYE
The architectural art of capturing
a landscape
BY
JAC
K SK
ELLEY
16
10
26
30
26
Great Leaders / G
reat Builders / Great People
Visit ww
w.m
attconstruction.com Talk 562.903.2277
Building another Los A
ngeles treasure.
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Novem
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ber 2012.indd 110/1/2012 6:39:01 PM
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FORM
: pioneering design
IND
USTR
Y PAR
TNER
S/REA
DER
SHIP
COVER
: The Kicking Horse Residence designed by Bohlin C
ywinski Jackson.
Photography by Mathew
Millm
an.
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ECT
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ELO
S AN
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IEGO
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OD
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SC
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ITECTU
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is a netw
ork of hubs strategically sited within the
Southern Californian m
egalopolis: Los Angeles,
Burbank, and San D
iego. Together they form a critical
infrastructure for fieldw
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s in architecture and interior architecture train students as entrepreneurs, architect citizens, and cultural builders. FIELD
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U A
RE H
ERE.
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nes the local. From suburb to freew
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ake up Southern California’s unique landscape.
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ERE Y
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E.Fieldw
ork ventures into unfamiliar territory. W
oodbury School of A
rchitecture’s extensive study away and
exchange programs expose students the richness of
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in places such as R
ome, G
ermany, and Latin A
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to the challenges of rapid globalization found in China,
South Korea, and India.
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uhu.org
AR
CH
ITEC
TU
RE.W
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DB
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Y.ED
U
We often find ourselves circling back to the
same them
es or ideas. Is it a question of obsession? D
o we feel the need to continue
exploring until we com
e upon the perfect resolution? O
r are we sim
ply programm
ed to return to the site of previous successes? C
ertainly,
this
year’s A
IA/LA
Design A
wards
winners are applauded
for both takin
g steps into the uncharted and perfecting w
hat is familiar.
I myself am
return
ing
to th
e familiar
pag
es
of
FOR
M
mag
azine
afte
r sp
end
ing
the last tw
o years explorin
g d
ifferent expressions of w
riting. During
this tim
e, I have learn
ed th
at draw
ing
upon exp
eriences outside your com
fort zo
ne
is in
credib
ly valu
able
wh
en ap
plied
to those areas that ignite your p
assion
. Th
e tw
o
wo
rk to
geth
er seam
lessly and
with
out one th
e other
would
suffer. In this issue, we ap
plaud
those willing to take a risk: the w
inners of the A
IA/LA
award
s, who continue to p
ush bound
aries in an effort to d
rive new
inn
ovatio
n, an
d G
raft architectu
re for m
eldin
g d
ifferent
discip
lines and styles to create a uniq
ue identity. W
e also reflect on Ed N
iles’ symp
ho
nies o
f steel and
metal in
his b
eloved
Malib
u an
d th
e journey that has taken Koning Eizenb
erg from Syd
ney to Santa Monica.
Alexi D
rosuEd
itor in Chief
EDITO
R’S N
OTE
Eric Roth
6
J/F.13
Johnson ResidenceC
hicago ILA
rchitect: Studio Dwell, Inc.
Mark Peters/ G
ary StoltzInteriors &
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Steven Burgert
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here...SPARK’s new Vu Thru Vent Free
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ith a refineddesign
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6.9
38
.38
46
Jan2013Form_Form
11/8/12 10:36 AM Page 1
Scott Johnson, FAIA, founder and design partner at Johnson Fain, is president of the AIA/LA.
6 QU
ESTION
S
SO, W
HA
T’S AT S
TA
KE? M
Y CU
RIO
SIT
Y IS AIM
ED AT
the recurring disconnect between architectural
criticality and
practice: the
failed interface
between the w
orlds of theory, experimentation
and the academy on the one hand and the
professional production of building designs on
the other.
While
expressing m
y ow
ninterest in theory and production in The Big Idea: Criticality and Practice in Contem
porary Architecture (2006), I adm
itted to the following:
“Maintaining these tw
o interests has not been as sim
ple as it sounds. In the university setting, there com
monly exists a clear, if seldom
discussed,
Maginot
line betw
een architects
who teach and w
rite and those who produce
buildings in their offices. I suppose this line is held in place by the m
inor agendas of both parties,
but it
conveys to
an audience
of students
and interested
parties a
typically W
estern dichotomy of thinking versus doing.
It’s a brain versus hand kind of thing. And the
dichotomy seem
s, to me, deeply useless to
any generation of architects.”M
ost of us are familiar w
ith the tacit peda- g
og
ical skirm
ishes
wag
ed
betw
een th
e thinkers and the m
akers of architecture. Over
time, the battles take on different rhetorical
exchanges, the current one growing m
ostly out of the com
pelling “p
erformative logics”
of digital param
etrics. A recent graduate
director of one of Los Angeles’s schools of
architecture stated that “theory is not just irrelevant but w
as and continues to be an
imp
ediment to a culture of innovation in
architecture.” Manuel D
eLanda, the brilliant author of Philosophy and Sim
ulation (2011) and a visiting professor at U
SC has said that “m
ost philosophers and theorists in the 20th century w
ere idealists; that is, they did not b
elieve in the existence of a material w
orld that is indep
endent of our minds. Idealism
is m
ostly useless as a theoretical apparatus for architects b
ecause it cuts them off from
the w
orld, making them
think exclusively about
phenomenological exp
erience.”W
hile this shift away from
explicit theory continues, even am
ong critically-in
clined
practition
ers, our heig
htened
interests in perform
ance, programm
ing, algorithms, engi-
neering and
material
sciences, and
other quantitatively-grounded concerns, now
appear to have overtaken our prior interest in narrative and theory, w
hich historically tended toward
qualitative content.
Speaking
at a
recent sym
posium
, Mohsen M
ostafavi, the dean of
the Harvard G
raduate School of Design, said
to the architects in the audience: “We have
been exp
loring how architecture constructs
its own know
ledge. W
hat’s interesting is that m
any of you no longer take up the project of
signification. You seem fascinated w
ith the d
esign process m
ore than its product. The
emphasis is on design as perform
ance.”K. M
ichael Hays, the author and theoretician,
noted similarly that “the idea is that author-
ship and the aesthetic go away if you can find
the right information source to respond to.
And w
hat’s happening today for me is that
architects are finding different ways to extend
the kinds of information flow
s, technologies and program
s that a building can respond to. The w
hole formal problem
starts to disappear.” Is it possible then that, in addition to the
ebb of theory and narrative, the historically enshrined dom
ain of aesthetics, its reliance on form
-making and the pedestal of authorship
are not far behind?T.S. Eliot m
ay have been the most plain-
speaking about
the link
between
critical thinking and m
aking. Criticism that accom
pa-nies
working,
he suggested,
is of “capital
importance... in the w
ork of creation itself. Probably indeed, the larger part of the labour of sifting, com
bining, constructing, expunging, correcting, testing: this frightful toil is as m
uch critical as creative.” For a year, and in “Six Q
uestions,” we’ll investigate the relationship
between TH
INKIN
G A
ND
MA
KING
, and, if fail-ing to achieve a détente betw
een the thinkers and m
akers in our profession, we’ll hope, at
least, to expand our sense of the architectural universe that accom
modates both.
During the past tw
o decades, I have been asked from tim
e to time to consider a candidacy as president of the
AIA
/LA. A
s it happened, those two decades paralleled our efforts to build a practice at Johnson Fain as w
ell as teaching appointm
ents, some books, lectures and a num
ber of out-of-town com
missions. I had alw
ays declined until Stuart M
agruder, the incoming president, called in the sum
mer of 2011 to inquire again. I asked m
yself if there w
as a particular and attractive challenge in the practice of architecture for which an A
IA platform
and a year’s focus m
ight, if not resolve, then bring into a brighter light. This inquiry ultimately led to a series of six
questions all cohering around the topic of THIN
KING
AN
D M
AKIN
G; and FO
RM m
agazine generously agreed to print and post the inquiry.
QU
ESTION
1. THIN
KIN
G AND
MAK
ING
18
J/F.13
4. SNAID
ERO
USA
Snaidero U
SA’s recently unveiled
IDEA
40 kitchen showcases the sub
tle
but sleek up
dates d
esigner Paolo Pininfarina m
ade to the 40-year-old
IDEA
line. Two-tone cab
inetry in high-gloss metallic lacquers, dual-level
countertops and
integrated
lights keep
the timeless cab
inetry turning
heads. snaidero-usa.com
2. AGA
While the cast-iron exterior of A
GA
’s Total Control cooker resem
bles the
company’s classic m
odels, the touch-screen control panel inside hints at
its advanced
capab
ilities. The new d
esign, availab
le in thirteen colors,
allows for its three ovens and
two hotp
lates to be op
erated ind
epen-
dently. aga-ranges.com
5. POG
GEN
POH
L Poggenpohl’s introduction of the +
Artesio kitchen collection aim
s to inte-
grate cooking and living functions into one seamless space. A
new dark
brown lam
inate, Terra, complim
ents coordinating leather banquette seat-
ing as well as a Brushed Terra Pine veneer available as paneled w
all cabine-
try. poggenpohl.com
3. VAREN
NA B
Y POLIFO
RM
Varenna by Poliform
’s new A
rtex kitchen is comprised of m
odular units in
varying sizes. Offered in a w
ide spectrum
of lacquered colors, as well as
woods ranging from
walnut to elm
, the modern system
inspires personal
expression. poliformusa.com
1. BU
LTHAU
P For its iconic b3 kitchen design, Bulthaup is now
offering Solid Walnut doors
as a distinctive finishing option. Made by sandw
iching solid material w
ith
thin layers of aluminum
, the sturdy panels lend a warm
counterpoint to the
b3’s streamlined silhouette. losangeles.bulthaup.com
6. FAGO
R
Known for its built-in induction cooktops, Fagor is expanding its presence
in the kitchen with its new
Dual-Zone W
ine Cooler. The 24-inch appliance
offers two distinct cooling zones and five glide-out racks, w
hich hold up to
forty-four bottles. fagoramerica.com
Chef’s ChoiceTasteful new
designs for the kitchen
SHOW
RO
OM
2
1
4
56
3
10
J/F.13
11
FORMmag.net
TH
E ORIG
INA
L EL CERRITO RECYCLING A
ND EN
VIRO
NM
ENTA
L Resource Center w
as born from a com
munity
need and so, in rebuilding the center, Noll +
Tam
Architects w
ere inspired by the comm
unity’s devotion to environm
ental stewardship.
“It was im
portant for us to create a strong sen
se of place for th
e comm
unity, a g
reat place for the gathering and interaction of the center’s diverse users and visitors, a dem
on-stration p
roject for zero net waste, net zero
energy use, restoration and regeneration, and m
aximizing com
munity value,” says Chris N
oll.A
s a result, the designers conceived a circu-lar canopy structure that creates a strong visual id
entity, enforces the idea of recycling and
reuse, and provides a geometry that efficiently
organizes visitor parking and traffic flow. The
pro
ject also in
clud
es a 2,200-squ
are-foo
t adm
inistrative building and a 6,400-square-
foot operations building.
The d
esign
ers incorp
orated corru
gated
steel, reclaimed w
ood and other highly sus-tainab
le and d
urable m
aterials to echo the industrial function of the facility. The “no frills” strateg
y allows for the m
aximum
use and integrity of all structures and m
aterials, and the facility is anticipated to receive LEED
Platinum
certification. Indeed, the entire building proj-ect is recyclable and can be taken apart and reconfigured to adapt to changing technology. For exam
ple, interchangeab
le mod
ular roof units in the canopy can be m
odified to meet
new or changing activities for the center.
The project, how
ever, was not w
ithout its challenges. The existing center w
as built upon a form
er dumpsite, about 60 feet of landfill of
unknown q
uality. The desig
ners needed
to develop a solution that w
ould minim
ally dis-turb potentially hazardous m
aterials. “A
n ‘inverted mom
ent frame’ w
ith deep grade beam
s was used instead of piles to support the
main shed and circular plaza structures,” says
Noll. “The m
odular office building is supported on a m
atrix of grade beams interconnected by
a thick slab-on-grade foundation.”The d
esigners also m
inimized
regrad
ing, excep
t in the case of imp
roving water flow
and directing storm
water to new
bioswales.
Other sustainab
le desig
n elements includ
e an 11,000-gallon cistern for rainw
ater collec-tion used
for flushing toilets and irrigating
land
scape. Th
e center relies on ren
ewab
le energies, including 10kW
photovoltaic panels installed on the canopy, to operate.
“We find beauty and inspiration in solutions
that are rooted in what is practical, sim
ple, and resp
ectful of the existing context,” says Noll.
An
d, the n
ew recyclin
g center ep
itomizes
these values.
—Alexandra D
rosu
Zero-Net G
ainsEl Cerrito’s R
ecycling Center serves as a model built
to change with the future
Photos shot by David Wakely
GR
EEN W
OR
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ASSIGN
MEN
T: Generate long-term
design strategies for the arid and sem
i-arid W
est’s water-scarce future.
STUD
ENT N
AM
ES: Francis Silagon, Alexander D
eCicco, H
ugh Vanho SC
HO
OL: C
alifornia College of the A
rts—San Francisco
MA
JOR
S: 4th year Bachelors of Architecture
PRO
FESSOR
S: Katherine Rinne and David Fletcher
PRO
JECT TITLE: FresN
OW
!
PRO
JECT D
ESCR
IPTION
: FresNO
W! focuses on the Southeastern G
rowth A
rea (SEG
A), a 9,000-acre site, located in Fresno, C
alifornia, to develop a new
local, comm
unal and sustainable farming region based on the research
of four types of farming: crop farm
ing, hydro farming, decom
p farming
and energy farming. Through political interventions in Fresno, w
e would
redefine the methods of land ow
nership, water rights and usage via
applications of new policies, w
hich would be set increm
entally over the next 150 years.
DESIG
N TO
OLS: A
dobe Illustrator, Adobe Photoshop, Rhino 3D
INSPIR
ATIO
N: Socialist ideologies, resource scarcity, histories of w
ater distribution and land acquisition, dystopian m
anifestos
DE
SIG
N H
ER
OE
S: G
ordon Matta-C
lark
COMPLETED SITE STRATEGY
SITE STRATEGIES ARE IMPLEM
ENTEDINTO FRESNO CITY
ALE: 1:125,000PRIM
E AGRICULTURE
14
J/F.13
WO
RK
BO
OK
For Workbook credits, please see page 35.
Along the Grain
Adding richness through wood
Animation Studio
Location: Santa Monica, California
Designer: Gw
ynne Pugh Urban Studio w
ith Andy Waisler
Website: w
ww
.gwynnepugh.com
The adap
tive reuse project transform
ed a 1940s
bow
string truss and
brick w
arehouse into a warm
an
d co
mfo
rtable w
orkin
g en
viron
men
t that is
simp
le yet elegan
t. Wh
en d
esign
er An
dy W
aisler ap
pro
ached
the G
wyn
ne Pu
gh
Urb
an Stu
dio
to collaborate on the project, they w
orked together to m
aintain the elegance of the original building while
accomm
odating the needs of the client.In
spired
by Sw
iss architect Peter Z
um
tho
rpe,
the d
esign
ers imb
ued th
e space w
ith warm
th and
a textured
qu
ality thro
ug
h th
e use o
f materials,
specifically W
estern red
cedar, w
hile retain
ing
a m
inimalist feel.
The central feature of the space is an area known
as the “C
ub
e,” ho
usin
g h
igh
-end
techn
olo
gical
elements, includ
ing a screening room, tw
o editing
rooms and an IT room
.“The space around w
as defined by the relationship to the C
ube. It b
ecame an anchor for the vertical
circulatio
n fo
r space creatin
g a m
ore d
ynam
ic environm
ent,” says Pugh. “The Cube floats within the
space like a tem
porary ob
ject and p
eople interact
with it by sitting on its edge as a bench. It also acts
like a theatrical p
roscen
ium
arch, reflectin
g th
e com
pany’s business.”
Photography by @Fotow
orks - Benny Chan
16
J/F.13
17
FORMmag.net
Burton Snow
boards Retail Store
Location: New
York, NY
Designer: Verdego D
esignW
ebsite: ww
w.verdego.net
In order to redesign the Burton Snowboards flag-
ship
store in th
e heart of Soh
o, Verd
ego D
esign
found insp
iration where it all started
, the original
fabricatio
n sh
op
in B
urlin
gto
n, V
ermo
nt. Th
ey m
elded
elements from
the picturesq
ue ski village
with the sophistication of dow
ntown M
anhattan to translate the authenticity and
latest technology of the brand into a 4,000-square-foot retail space.
“Our store designs exem
plify the brand’s lifestyle throug
h the overall concept d
esign, the m
aterials used
throughout, feature d
isplay areas, as w
ell as connecting the design and brand to the local neigh-borhood. W
e aim to design spaces that are authen-
tic to the brand
and the consum
er,” says Principal
Tatiana Barhar.H
oused in a historic b
uilding at the intersection
of Spring and Mercer Streets, the designer stripped
100 years of paint from
iron columns and
restored the sp
ace to capture its original b
eauty then incor-porated reclaim
ed barn wood, distressed steel, and
refurbished vintage floors. An A
frame structure over
the cash register, m
ade of reclaim
ed D
ouglas Fir,
brings to mind a cabin and a vintage chairlift banded
with rough saw
n cedar evokes the Burton brand.In ord
er to underscore the evolving technology
of the Burton Snowb
oards, video installations were
integrated into vintage wood surfaces. A
yellow steel
replica of a snow
board
press loop
s videos on tw
o screens to show
the fabrication process.
Photography by Augusta Q
uirk
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18
J/F.13
Kicking H
orse Residence
Location: Golden, B
ritish Columbia
Designer: B
ohlin Cywinski Jackson
Website: w
ww
.bcj.com
The client wanted
to create a year-round fam
ily retreat th
at con
nected
with
the lan
dscap
e and
utilized local m
aterials as much as p
ossible in the
expressio
n o
f the b
uild
ing
. Fortu
nately fo
r the
designer, the Louisiana Pacific Mill is a lifeline to the
local area provid
ing an op
portunity to reflect the
natural diversity of the material.
“The clien
t expressed
an in
terest in th
e warm
m
odernism
of Scandinavian d
esign, so we looked
for opp
ortunities to create a strong connection to the extraord
inary mountain view
s, centered on a
large com
munal sp
ace with the w
armth of a fire,
and a playful expression of spaces for the individual w
indow seats and bunks,” says Principal Ray C
alabro. Th
e living
and
din
ing
spaces ap
pear to
float
above the forest floor w
hile the sleeping areas are
anchored in the earth, emp
hasizing the warm
th and rustic q
ualities of a cabin
. Furtherm
ore, exp
osed D
ouglas Fir glulam b
eams in the b
edrooms contrast
with the sm
ooth plyw
ood panels of the living and
dining rooms.
The designer was challenged to m
aintain a sense of openness w
hile creating privacy for the client. In order to address this issue, the designer deliberately p
ositio
ned
the tw
o m
ain vo
lum
es of th
e ho
use
toward
the northeast views of the river valley and
southwest view
s of the mountain, creating a natural
screen. The exterior is clad in b
oth clear and d
ark stained rough saw
n cedar siding in contrast to the w
inter landscape.
Photography by Matthew
Millm
an
480.298.1616 proximitykitchen.com
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XIM
ITY PRINC
IPLE
All proxim
ity basin accessories (see website for m
ore options) are rem
ovable and multi-functional; inserts are safe for:
freezer – fridge – wet prep – cooktop/oven – dishw
asher.
Proximity-layout_ad-3.indd 1
12/14/12 9:32 AM
20 J/F.13
HU
GE
Location: Los Angeles, CAD
esigner: Abramson Teiger Architects
Website: w
ww
.abramsonteiger.com
In order to capture the unique office culture of the global digital agency—
mainly a high-tech com
pany w
ith a fun loving, d
og friend
ly environment—
the d
esign
er chose to com
bin
e crisp w
hite elem
ents
with w
eathered, reclaimed w
ood. “W
e divided the floor plate into large op
en work
areas separated by meeting room
s. These meeting
spaces w
ere articulated in natural recycled
wood
, offering a nurturing w
arm area for creative thinking,”
says Managing Principal D
ouglas Teiger.The m
aterials were selected carefully to reinforce
the balance b
etween the high-tech w
orld and fun-loving personalities, w
hile also being environmentally
friendly. The d
esigners chose Fantoni desks, m
ade
by a 100-year-old factory that grows their ow
n trees and recycles w
aste material into new
products. The Basix International: Prim
a Decora counter top
s are m
ade of recycled content, while low
/no VOC
paint,
Energy Star ap
pliances and
faucets with low
-flow
aerators help minim
ize the company’s environm
ental im
pact. U
sing reclaimed
wood
allowed
Ab
ramson
Teiger to ch
oose from various d
ifferent b
uildin
g types. “For exam
ple, in the kitchen we used reclaim
ed w
ood (Terramai W
eathered Peroba) that had b
een co
lorfu
lly pain
ted in
its previo
us life as a b
arn cladding in Brazil,” adds Teiger.
The designers used wood strategically to delineate
formal an
d in
formal m
eeting
spaces th
roug
hou
t th
e 20,000-square-foot office. Th
e meetin
g areas
also were delib
erately placed on the interior sp
ace allo
win
g lig
ht fro
m th
e perim
eter to p
enetrate
through and transforming the tw
o-level traditional office into a light-filled w
orking environment.
Photography by Lindsay Stuart-Doig
LOS A
NG
ELES CH
APTER
RECOGNITION
KNOWLEDGE
NETWORKING
RESOURCES
www.usgbc-la.org
USGBC
22 J/F.13
Morley B
uilders Office
Location: Santa Monica, CA
Designer: H
OK
Website: w
ww
.hok.com
Wh
en M
orley Builders d
ecided
to upd
ate their
office sp
ace they ch
ose to
reno
vate a 70s era building in Santa M
onica, bringing it up to LEED G
old standards, rather than build on a new
site. “N
ow on the heels of our 65th anniversary, I can’t
think of a better w
ay to renew our com
mitm
ent to the city, com
munity, our em
ployees and our clients than to create an efficient, environm
entally conscious sp
ace that w
e can all b
e pro
ud
of,” says M
ark Benjam
in, president and CEO
of Morley Builders.
To acco
mp
lish th
is go
al, they tu
rned
to H
OK,
with w
hom they had just com
pleted a design/build p
roject and d
eveloped
a trusting relationship. The
app
roximately 26,000-sq
uare-foot space p
rovides
an open, light and airy office environment m
eant to p
romote collab
oration. The space also w
as used as a kind of building laboratory highlighting m
aterials used
by th
e comp
any in
its projects, in
cludin
g a
wood
framed
roof, structu
ral steel seismic b
race fram
es and roof diaphragm connectors.
The building’s original roof w
as an old panelized
system attached to tilt up concrete w
alls. In order to m
eet current seismic standards, they strengthened
the roof using new or upgraded glulam
beams and
Douglas fir p
urlins that were left exp
osed to reveal th
e richn
ess of the w
ood. A
previous ow
ner h
ad p
ainted some of the larger b
eams w
hite and black.
Rather th
an strip
pin
g th
em, th
ey opted
to pain
t them
in a faux wood finish. A
ttractive olive paneling w
as used to decorate various spaces, including the
large pivoting door that separates the lobby from a
multi-p
urpose conference room
, while an installed
wood joist trellis serves a visual reference point.
Photography by Scott McD
onald
MA
ST
ER
OF
INT
ER
IOR
AR
CH
ITE
CT
UR
E
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achelor’s degree required. Internships and job placem
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ith its Interior Design C
ertificate. No degree required;
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or call (310) 825-9061.
13465-12
13465_make_good.indd 1
10/4/12 11:47 AM
24 J/F.13
Crossing boundaries is at the core of G
raft’s design philosophy so it’s no surprise that the collective continues to provoke w
ith different combinations of
creative experimentation. Founding m
ember C
hristoph K
orner discusses the past, present and future of Graft.
How
did
Graft start?
It started in 1998 in Los Angeles. A
t that time,
all of the founders [Lars Krückeberg, Wolfram
Pu
tz, Tho
mas W
illemeit, G
rego
r Ho
heisel,
and Korner] were either studying or had just
graduated. During that tim
e period, we w
ere living together, talking about the future, and w
e decided let’s start an office together. We
were young and m
otivated; we trusted each
oth
er. The first step
was estab
lishin
g th
e nam
e. We did not w
ant it to reflect the names
of the peop
le. We w
ere drin
king w
ine and
we rem
embered this story about w
ine. Wine
culture is a very ancient, aristocratic culture in Europe, but they started experim
enting with
native Am
erican grap
e roots [and inad
ver-tently] brought a parasite over that attacked the roots of the grap
e plants in Europ
e. The only solution w
as to graft a European scion
OPPO
SITE: The W
New
Yo
rk ho
tel pro
vided
Graft an
op
po
rtun
ity to co
mb
ine th
e “sim
plicity o
f the classics” w
ith a fresh
, futu
ristic loo
k.
SCION
OF
INN
OVATIO
N
GRAFT
to an
Am
erican ro
ot. W
e loved th
at story
because w
e were Europ
ean tran
splants in
Am
erica, and we liked the idea of com
bining tw
o things to create one.
Did
the firm
have a sp
ecific mission
state-m
ent wh
en it w
as establish
ed?
We did have a m
ission statement, m
ore about o
ur d
esign
app
roach
than
ou
r com
pan
y goals. W
e were taking our European roots and
applying them to a free space; it’s an incred-
ible freedom to take inspiration and apply it
to architecture. It was the good old A
merican
dream that you can m
ake it if you are moti-
vated. We had
a larger intellectual freedom
than w
e had in Germ
any. Our belief w
as that a cro
ss breed
is gen
etically stron
ger, an
d one of our first p
rojects was called
“Genetic
Bastard”. In this [research] project, w
e played
27 FORMmag.net
26 J/F.13
training the next generation. For others, it’s creating at least one project that w
ill change the w
ay architects look at architecture. Also,
we w
ant to leave the world b
ehind a better
place than when w
e were born. W
e can now
do a lot of non-profit projects in order to help, like the reb
uilding of the Low
er 9th W
ard. A
lot of families have m
oved back, it’s a part of establishing a com
munity again.
How
imp
ortant is it to d
evelop a strateg
y or g
oals?You need
to have high g
oals to get som
e-w
here. Lofty g
oals drive us forw
ard. Some
goals you never reach but that’s fine. I think
in the end we strongly believe in serendipity,
which is one of our favorite w
ords. We believe
that by being clear and formulating our goals
with the concept of style and visual language.
A design w
as developed as a m
ixture of the g
enetic codes of p
ure, contemp
orary style, creating a crossbreed.
How
did
this m
ission evolve?
The first year, we w
ere more concerned about
surviving. W
hen
we realized, “Th
is thin
g is
wo
rking,” w
e started th
inkin
g w
here w
e w
anted to be in five years, in 10 years. It was
a little different for each one of us. We [also]
knew that if w
e wanted to be here in 20 and
30 years, we needed to be over a certain size.
We w
ere willing to grow
. [Today,] we all agree
that we w
ant to have an impact on this w
orld, w
hich can mean different things. M
y personal ap
proach is through teaching, that is how
I see m
y impact on the architecture w
orld, by
we are preparing ourselves to jum
p on them
wh
en th
e opp
ortunity arises. A
t the sam
e tim
e, we d
on’t w
ant to
force o
urselves b
y targ
eting
them
specifically.
How
imp
ortan
t is it to d
evelop
a specific
identity or b
rand
for a firm?
One thing that w
as important to us w
as that w
e didn’t want to create a signature style for
our office. It help
s with
marketin
g b
ut we
thought it was lim
iting. We q
uickly realized that it’s [difficult] to m
arket yourself to clients, so w
e decided we needed to create a brand
versus a signature style. Signature style is a recognizab
le language whereas a b
rand is a concep
tual app
roach. For examp
le, Versace is a b
rand, you know w
hat you’re going
to get—
sexy, colorful clothes—b
ut each label
[within the brand] has its ow
n style. We tried
to work in that d
irection with the help
of a good
friend w
ho called us the “young G
er-m
an rockstars” and w
e loved that. W
e were
running with it as our unofficial, official brand.
We w
ere young, w
hich
was ob
vious to cli-ents, G
ermans are reliab
le, and the rockstar
we liked because it’s a rebel im
age but works
within the constraints of the industry.
In 2009, G
raft desig
ned
the W
New
York
ho
tel in M
anh
attan, w
hich
was d
escribed
as “p
un
k min
imalism
.” Did
this lab
el help
or h
urt th
e firm?
I thin
k it help
ed u
s tremen
dou
sly. People
knew w
hat to expect from us. If they w
anted som
ething m
ore traditional, they should
n’t call us. “Punk m
inimalism
” was g
reat for us because it’s this am
biguous pairing.
Wh
en d
id you
feel that it w
as time to sh
ed
the you
ng
rockstar bran
d?
The d
iscussion
started b
ecause of clien
ts; th
e term of reb
rand
ing
would
come up. Is
the brand
still an accurate representation?
Young? Not that young anym
ore. I don’t want
to be an old rockstar—so w
e were searching
to rep
lace it. We’ve sw
itched
to G
erman
avant-gard
e with exp
erience. It’s a working
title. It’s a natural evolution that we influence
by talkin
g ab
out ou
rselves differen
tly. We
don’t want to m
ake it a big announcement.
Why is it im
portant to take you
r bran
d into
your ow
n h
and
s?It ultim
ately is your dream that you have to
realize and this vision has to be reflected in
your brand and in the structure of your office. There’s a danger in having som
eone else do that for you. For us, w
e would be w
orried that they w
ouldn’t understand us.
What if your brand isn’t appealing to others?
You have to be willing to take the risk. You have
to be passionate about it and love what you do.
Wh
at are you cu
rrently workin
g on
?The M
ake it Right Foundation in New
Orleans,
the project for the Lower 9
th Ward, is still con-
tinuing. A lot of fam
ilies have moved back and
are establishing a comm
unity again. We are
working on several D
uty Free stores in airports. In the larger context of the D
uty Free store there is a sm
aller area that focuses on local products. W
e just finished one in Frankfurt and we are
working on one in Berlin. For each place, w
e have to com
e up with a different look because it
has to reflect the local context.
LEFT, CLO
CKW
ISE FROM
TOP: The p
refabricated
units were d
esigned to p
ay homage to
the traditional N
ew O
rleans “shotgun house” at the front, transform
ing through the m
id-section until finally exp
ressing a contem
porary m
odernism
at the rear. O
PPOSITE, TO
P: Graft exp
ressed G
ermany’s
wood
lands through its rooted
“Mad
e in G
ermany” D
uty Free Installation. O
PPOSITE BELO
W: In “G
enetic Bastard”, the
founding m
emb
ers played
with the
concept of a style and
visual language.
Signature style is a recognizable language w
hereas a brand is a conceptual approach.
Virginia Miller
Momenta Virginia Miller
Oliver Heinemann
28 J/F.13
29 FORMmag.net
HIS
MIN
D’S EYE
BY JACK
SKELLEY
PHO
TOG
RAPH
Y BY K
ENN
ETH JO
HAN
SSON
Malibu architect Ed N
iles, FAIA, uses tried-and-true m
ethods to find futuristic forms
IF T
HE
RE
IS A
N A
RC
HIT
EC
TU
RA
L C
OU
NT
ER
PA
RT
to artist R
ichard
Die
be
nko
rn—
wh
ose
pain
ting
s captu
re the lig
ht an
d co
lor o
f co
astal Califo
rnia—
it is Ed N
iles. Creato
r o
f som
e of th
e mo
st dram
atic ho
uses in
Beverly H
ills and
the H
ollyw
oo
d H
ills, N
iles fashio
ns m
od
ernist g
ems o
f glass
and
steel with
vast, pan
oram
ic vistas. Like a D
ieben
korn
pain
ting
, or th
ose o
f the
oth
er abstract artists th
at the arch
itect also
reveres, a Niles h
ou
se is a three-
dim
ensio
nal can
vas floo
ded
with
the
interp
lay of lig
ht w
ithin
its surro
un
din
g
enviro
nm
ent. “Im
agin
e a pain
ting
on
the
wall, b
ut o
ne th
at is con
stantly ch
ang
ing
,” exp
lains N
iles. “The o
cean, th
e ligh
t, the
sky, the
mo
un
tains—
that d
ynam
ic is essen
tial to m
y ideas.”
No
wh
ere is that m
ore essen
tial than
in M
alibu
, wh
ere Niles h
as wo
rked fo
r 45 years an
d w
here h
e con
tinu
es to w
ork,
no
w w
ith h
is dau
gh
ter, architect Lisa
Niles-G
utierrez, fro
m h
is stud
io o
n th
e P
acific
Co
ast
Hig
hw
ay
. N
iles
ha
s an
“emo
tion
al con
nectio
n” to
Malib
u stem
min
g fro
m h
is colleg
e days at th
e
Un
iversity of So
uth
ern C
aliforn
ia’s Scho
ol
of A
rchite
cture
, wh
en
he
wo
uld
ride
the b
us to
the o
cean to
escape u
rban
Los A
ng
ele
s. “It was th
e b
eau
ty and
free
do
m th
at attracted
me
he
re,” h
e says.
Th
at w
inn
ing
co
mb
inatio
n
has
allow
ed an
d en
cou
raged
him
to h
atch h
is intern
ation
ally recog
nized
and
un
con
-ven
tion
al con
cepts.
Tho
ug
h N
iles’s style is ultra-co
ntem
po
-rary, h
e creates pro
totyp
e desig
ns th
e o
ld-fash
ion
ed w
ay: with
draw
ing
s and
scale mo
dels. “Th
e desig
ns co
me fro
m
30 J/F.13
31 FORMmag.net
Photo by Ike Bahadourian
draw
ing
and
thin
king
and
that evo
lves in
to m
od
el-makin
g,” h
e says. “We h
ave a m
od
el sho
p, w
here w
e wo
rk ou
t ideas.
Arch
itects, such
as Frank G
ehry u
se very so
ph
isticated p
rog
rams as a stu
dy d
evice, b
ut h
ere it’s just m
e and
my d
aug
hter. W
e are very h
and
s-on
. We m
ake the d
rawin
gs
and
turn
on
the saw
.” O
f cou
rse, Niles d
oes u
se CA
D an
d schem
atics, but as sup
port for the concep
-tual essen
ce emb
odied
in th
e site mod
el, w
hich
inclu
des su
rrou
nd
ing
top
og
raph
y. “It’s a historical p
rocess going back to cave-
man d
ays, when a rock rep
resented a b
ed,”
he explains. “It’s a m
ajor help for clients, too. There is
always a b
ase mo
del to
con
sider th
e forces
of the project. This g
ets them to the p
oint w
here we all see a direction and can refine it.”
Model m
aking is part of Niles’s prelim
inary d
esign
ph
ase, wh
ich en
com
passes ab
ou
t a quarter of the total tim
e comm
itment. It is
at this stag
e, as well, th
at Niles ad
dresses
environ
men
tal issues, and
he’ll often
take h
is mo
dels to
city bu
ildin
g an
d p
lann
ing
departments for project approvals.
“It’s a tool that tests and resolves questions very quickly,” he says. “W
e can visibly move
space around. Whereas if you had to draw
every
change, the process would m
ove too slowly.”
In addition to studying at USC
, Niles served
as professor from 1964 to 2004. It w
as in this environm
ent that he rubbed shoulders with
pro
min
ent C
aliforn
ia mo
dern
architects,
includ
ing
Greg
ory Ain
and
Craig
Ellwood
, and
subm
erged
himself in the thinking
of Rudolph Schindler and Richard N
eutra.
“All o
f these d
esign
ers were su
per-
critical to th
e evolu
tion
of arch
itecture,”
he says. “Th
eir lives were arch
itecture.
An
d d
urin
g th
is perio
d, th
ere was a lo
t o
f experim
entatio
n, b
ut if yo
u co
uld
no
t p
erfo
rm
the
b
asics o
f d
rawin
g,
you
were d
ead.”
A
ltho
ug
h
Malib
u
is th
e
ho
me
o
f m
any m
ovie stars—
even so
me o
f Niles’s
pro
jects, like the strikin
g Sid
ley and
Mo
ss h
ou
ses,
have
e
nd
ed
u
p
on
th
e
big
screen—
the arch
itect iden
tifies his o
nly
celebrity clien
t as Joh
nn
y Carso
n, fo
r w
ho
m h
e created a g
iant eq
uilateral
triang
le on
a po
int o
f land
on
the Pacific.
In ad
ditio
n to
the trian
gu
lar residen
ce,
wh
ich in
clud
es a 26-foo
t-tall ceiling
in th
e
livin
g
roo
m
to
acco
mm
od
ate
a forest o
f trees, an ad
jacent p
rop
erty h
ou
ses a tenn
is facility and
mu
seum
. C
arson’s g
iant trian
gle join
s the m
any
wed
ges, cu
bes, cylin
ders, con
centric arcs
and other bold geometric shapes that define
the architect’s houses.
“Certain form
s in our world b
etter fit the conceptual resolution of a design than oth-ers,” explains N
iles. “They all have a different lang
uage, and
each h
as its own
dem
ands
when you assem
ble them
. But they are all b
onded
by a structural id
eal and an em
o-tional id
eal. Historically, m
ost architecture did evolve out of an em
otional ideal, and the geom
etry is not based
on style, but on the
function of the space.” It is this conceptual process, w
ith a strong em
otio
nal elem
ent, th
at un
derlies N
iles’ w
ork. “I dig the concept out of the solution,” he says. “A
nd I have to dig very hard some-
times to find it.”
LEFT: The livin
g ro
om
at the M
oss Resid
ence ju
ts ou
t into
the O
cean as if settin
g sail fo
r Catalin
a.A
BOV
E: A view
from
the to
p: D
rawin
g o
f the M
oss resid
ence.
The geometry is not based on style,
but on the function of the space.
32 J/F.13
33 FORMmag.net
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bramson,
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FIRM
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| LOCATIO
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TOO
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