Approaching zero-waste is a matter of changing the way our culture thinks about use and reuse. It’s not an impossible task, and San Francisco is leading the march to establish a feasible means of enacting public policy, structuring programs and educating the public on what it means to be “zero-waste”. With a goal set for 2020, the Bay City hopes to keep 100% of its waste out of landfills. Mayor Ed Lee estimates that the leading waste management company “Recology” is diverting nearly 80% of trash from landfills to be recycled or turned into compost. This begins with a public policy that sets a standard and gains traction as citizens embrace the goals of the city. Support programs reinforce these guidelines that eventually become habits and a cultural response to treating our environment.
Read on after the break for more on San Francisco’s road to “zero-waste”.
Opening tonight, February 20, at 6:00pm PST at the Perry Rubenstein Gallery in Los Angeles, Iwan Baan‘s ‘The Way We Live’ exhibition features captivating large-scale images of urban, architectural, and home environments that capture Baan’s singular vision. Baan’s artistic practice examines how we live and interact with architecture, focusing on the human element, which brings buildings, intersections, and public gathering places to life. Running until April 13, this is Baan’s first solo exhibition at the gallery. More information after the break.
Taking place this coming Wednesday, February 20th, Winy Maas, a Netherlands-based architect, urbanist and co-founder of the internationally-recognized firm MVRDV, is scheduled to speak at NewSchool of Architecture and Design (NSAD) at 9:00am PST on the topic of “What’s Next?”. The free lecture includes a discussion on the recent works of MVRDV and the research institute The Why Factory, a think tank directed by Maas in collaboration with Delft University of Technology that develops scenarios and models of the city of the future. For more information, please visit here.
The San Francisco Museum of Modern Art (SFMOMA) has announced further details of its 235,000-square-foot building expansion that will support the museum’s increasing role in city life and the international art community. Designed by Norway-based practice Snøhetta, in collaboration with local firm EHDD, the 10-story concrete structure will compliment SFMOMA’s original, Mario Botta-designed, red-brick museum by offering more free-to-the-public space, expanded education programs and an abundance of flexible performance-based gallery space.
Construction will commence this Summer and is expected to reopen in early 2016.
More after the break…
SFMOMA’s new building will include seven levels dedicated to diverse art experiences and programming spaces, along with three housing enhanced support space for the museum’s operations. It will also offer approximately 130,000 square feet of indoor and outdoor gallery space, as well as nearly 15,000 square feet of art-filled free-access public space, more than doubling SFMOMA’s current capacity for the presentation of art while maintaining a sense of intimacy and connection to the museum’s urban surroundings. Other notable features include:
- A large-scale vertical garden located in a new outdoor sculpture terrace on the third floor, which will be the biggest public living wall of native plants in San Francisco.
- A versatile, double-height “white box” space on the fourth floor equipped with cutting-edge lighting and sound systems that, in tandem with the museum’s upgraded Phyllis
- Wattis Theater, will open new doors for SFMOMA’s program of live art, and also improve services for school-group tours, film screenings, and special events.
- State-of-the-art conservation studios on the seventh and eighth floors that will further SFMOMA’s progressive work in the care and interpretation of its growing collections.
- An environmentally sensitive approach on track to achieve LEED Gold certification, with 15% energy-cost reduction, 30% water-use reduction, and 20% reduction in wastewater generation.
- A new outdoor terrace on the seventh floor with incredible city views, further integrating the urban indoor/outdoor experience that SFMOMA began in 2009 with the opening of its current rooftop sculpture garden on the fifth floor.
At the same time, as previously announced, new public spaces and additional public entrances to the building (on Howard and Minna Streets) are designed to increase access and weave the museum more deeply into the neighborhood. A mid-block, street-level pedestrian promenade will open a new route of circulation in the area, enlivening the side streets and offering a pathway between SFMOMA and the Transbay Transit Center currently under construction two blocks east of the museum. Building on the popularity of the museum’s artist commissions in its admission-free atrium, an expansive free-to-access gallery on the ground floor with 25-foot-high glass walls facing Howard Street will now place art—such as Richard Serra’s enormous walk-in spiral sculpture Sequence (2006)—on view to passersby for the first time. This gallery will also feature stepped seating, offering a resting and gathering point for museum tour groups and neighborhood denizens alike.
“SFMOMA has had a tremendous impact on the economic and cultural vitality of the South of Market neighborhood and the city,” says San Francisco’s District 6 Supervisor Jane Kim. “Even though this area is one of the city’s oldest, in many ways it’s still the freshest, where much of the most dramatic change is happening. The museum’s expanded home in this cultural center will provide even greater public access and support to emerging and established artists as a hub of creativity and international art destination. I look forward to seeing the district grow and evolve even further as SFMOMA’s future takes shape.”
News via SFMOMA
Two dynamic post-graduate programs offered by the Southern California Institute of Architecture (SCI-Arc) in Los Angeles have been charged with examining core contemporary issues facing architecture today. Spanning topics from advanced manufacturing methodologies and new building systems, to urban planning and design challenges faced globally, these post-professional tracks allow students to rethink architecture and design through the creative lens of the SCI-Arc community.
The architecture school’s Emerging Systems, Technologies & Media (ESTm) and Future Initiatives (SCIFI) programs are conceived as intensive one-year (three semesters) post-professional degrees in architecture, functioning as think tanks and research engines within the larger framework of the school.
Taking place at SCI-Arc‘s campus in downtown Los Angeles March 29-July 7, Pacific Standard Time Presents: Modern Architecture in L.A.: A Confederacy of Heretics: The Architecture Gallery, Venice, 1979 exhibition. The exhibition examines the pivotal role played by the temporary gallery held in the home of architect Thom Mayne for several weeks in 1979. An immersive showcase of spectacular models, drawings and media will be mounted in two spaces located on the SCI-Arc campus, the main gallery and the Kappe Library Gallery. More information on the exhibition after the break.
Iwan Baan‘s name may ring a bell for all those following Hurricane Sandy’s devastation across New York City and New Jersey’s coast. The photographer’s iconic photograph made headlines when it was featured on New York magazine’s front page days after the storm, showing lower Manhattan in complete darkness, set against its vibrant counterpart uptown, as the United States’ east coast was recovering from the extensive damage left in Sandy’s wake. The image not only brings to mind the absolute helplessness that New York City faced during the storm, but also lends a hand in a social commentary that is notably pervasive in Baan’s work.
Starting February 20th, 2013, The Perry Rubenstein Gallery in Los Angeles will feature the Baan’s work in his first, two-month exhibition entitled The Way We Live, honing in on the images that encapsulate the world of architecture, urbanism and human engagement.
More on Iwan Baan: The Way We Live after the break.
As most New Yorkers know, people are willing to shell out a hefty sum to live in a place where work and play are right around the corner from each other. But as the article by Ken Layne in The Awl points out, the west coast is a somewhat different place. UNLIKE New York City, which is crowded with restaurants, bars, and entertainment, as well as offices, design firms and businesses; Silicon Valley, which caters to programmers and tech companies that hire at $100k a year, offers few of the amenities that a nearby town like San Francisco does. So, Layne concludes, residents are willing to spend hours of their day making their way into the fortressed office parks of Silicon Valley, flanked by parking lots and boulevards, just to have a cultural reprieve to call home.
Mexican architect Fernando Romero will be speaking tomorrow evening, January 16, at NewSchool of Architecture and Design in San Diego on the topic of “You are the Context” as part of the school’s lecture series. Free and open to the public, the event focuses on how we must reconsider the definition of context as it pertains to architecture as the global reach of projects increases through digital communication. Named to Fast Company’s Co.Design “Designers Shaping the Future” 2012, his recent Soumaya Museum in Mexico City is described by CNN’s Great Buildings series as “jaw-dropping.” For more information, please visit here.
Two key events are coming up at SCI-Arc this month starting with the ‘Dwayne Oyler & Jenny Wu: Lineworks’ lecture which takes place tomorrow, January 16, at the W.M. Keck Lecture Hall at 7pm PST. Established in Los Angeles in 2004, Oyler Wu Collaborative, ‘has utilized the last five years to establish a way of working that is committed to experimentation through a relentless hands-on approach to our work’. Also, starting January 18 until March 3, the ‘Marcelyn Gow + Ulrika Karlsson: AQUEOTROPE’ exhibition focuses on materializing the mathematical, the exact translation of virtual instructions in the form of drawings or codes to their material actualization, is a fundamental procedure in the production of architecture. For more information on the events, please visit here.
SFMoMA will highlight the legacy of Lebbeus Woods in an exhibition that will run from February 16 through June 2, 2013. It will include 75 works from the past 35 years of his career. Lebbeus Woods is often categorized as an architect, but always as an artist and visionary. His career has been filled with imaginative leaps through the concepts of space and form, exploring politics, society, ethics and the human condition. He was a great influence on architects, designers, filmmakers, writers and artists. The exhibition will celebrate his untimely death late last year and the breadth of influence that his work had on the art and design community.
Located on a prominent corner in West Los Angeles, the proposal for an office building by GMPA Architects is an energized, swirling 4-level structure rather than a static wedding cake style. With its riveting spiral shape,, derived from the 10’ difference in elevation, the dynamic, multi-shaped levels add visual interest and reinforce a connection to the street. More images and architects’ description after the break.
Claiming to be the most progressive, sustainable, and cost effective courthouse in the nation, NBBJ’s shortlisted proposal for the New Los Angeles Federal Courthouse serves as a model for future GSA development. The contrast between the free and informal spirit of Los Angeles with the formal structure and societal role of the Federal Courts illustrates an important duality that openly coexists throughout their phased design. At a larger scale, the structure becomes a mediator within the skyline, rising to a comfortable 256 feet tall to help transition the steep, urban high-rise topography of Bunker Hill and the mid-rise, ordered context of downtown.
Read the architects’ description after the break to learn more about this high performance, multifaceted design.
Yazdani Studio of Cannon Design and Gruen Associates have shared with us their second place proposal for the highly anticipated design-build competition for the new United States courthouse in Los Angeles, California. Envisioned as an icon within the city skyline, the triangular monolith provides a sustainable, 21st century courthouse that embodies the democratic qualities of dignity, stature, transparency, openness and accessibility.
Located at a pivotal node connecting the Los Angeles Civic Center, the Broadway Historic District and Bunker Hill, the 550,000 square foot courthouse is surrounded by a lush civic space that plays an important role in the existing cityscape.
Read the architect’s description after the break…
The McCarthy, Brooks + Scarpa, and HMC Architects team just released their proposal for the Design Excellence/design-build competition for new United States courthouse in Los Angeles. Selected to compete thru the General Services Administration two-stage Design Excellence Program, the team is challenged with the approximately 550,000 sq. ft. high-rise building located at 1st and Hill Street. Aiming to be certified LEED Patinum, the design delivers functional efficiency, security, and accessibility for the Court, the U.S. Marshal Service, and the other tenants and users. More images and architects’ description after the break.
The GSA has announced that Skidmore, Owings, & Merrill have been selected as the architects of the new Los Angeles Federal Courthouse, which will house the U.S. District Court, Central District of California, and the U.S. Marshals Service. The architects beat out 3 other shortlisted teams to win the $318 million project.
According to the GSA, ”The new 550,000-square-foot building will be a sustainable, cost-effective, state-of-the-art court facility that includes security upgrades that are not available in the current 312 North Spring Street courthouse.”
The site, located at 107 South Broadway (down the street from Morphosis’ Caltrans building, LA’s City Hall, and the Walt Disney Concert Hall) has been dormant since 2007; although a $1.1 billion design by Perkins + Will was selected soon after, it was abandoned when Congress slashed the GSA’s construction budget. The GSA considers the approval of the new redevelopment plan a “major milestone.”
More info and images, after the break…