Issuu on Google+

WARREN TECHENTIN ARCHITECTURE, INC 2801 HYPERION AVE. SUITE 103 LOS ANGELES, CA 90027 323. 664. 4500 wk 323. 664. 4544 fax warren@wtarch.com w w w.wtarch.com

SELECTED PROJECTS AND DETAILS

wtarch


TABLE OF CONTENTS Los Feliz Residence Antelope Valley Residence Sleeping Black Dragon Residence Wallpaper* Residence Cage Aux Folles Montrose Residence Elysian Fields Apartments Sun Valley Residence Tallinn Street 2020 Competition

Arcturus Offices Harrison Ceiling London Olympics Kiosk Parachair Harrison Balustrade Greenwich Residence Elwood Trade Show Sara Meltzer Installation


DESIGN PHILOSOPHY Warren Techentin Architecture [WTARCH] is a building and design research practice based in Los Angeles which endeavors to bridge the space between theory and practice. The office has been as dedicated to building [in the role architecture has traditionally operated] as it has been to the ambition of doing critical, progressive work that participates in, informs, and augments the urban landscape of our cities and the complexity of contemporary life. As such, the office often operates like a laboratory: joining long standing research interests and theoretical scenarios - with the pragmatic agendas of client initiated projects and needs. Theory and practice each have and initiate their own protocols and require different approaches; marriage between the two is not often possible. Architecture is most successful and rewarding when the two come together – when the experience and performance of a building is informed by the careful integration of a set of ideas made manifest in built form. In an office environment the cohabitation of theory and practice is never easy – often feeling as if each is a mountain of activity unto itself, with perpetual concern that the one will overwhelm the other. We endeavor to bridge these mountains. MOUNTAIN 1: THEORY + APPLIED RESEARCH The air feels and breathes fresher from this mountain’s heights – there are few tethers and little client baggage to contend with. Many longstanding research ideas and notions – at all scales and applicability – continue to interface with the work and transcend the ebbs and flows of any specific client or project. These interests function as conceptual legs upon which our design process is founded and helps inform the design from the beginning of each project. These interests include topics as diverse as multifamily housing, urbanism in the flux of globalization, air, performative infrastructures, pop culture, yurts and nomadism, color, generative or autonomous form, the role of context in form, machines, steel construction, sustainability, and architecture as a participatory device in our cities. Some of these ideas find their ways into conferences and symposia at USC where Warren teaches. With the topic of air for example, in March of this year Warren revisited Reyner Banham’s Architecture or the Well Tempered Environment in a conference he organized at the school entitled r{AIR}efied futures. The conference looked at how air and air flow could be used as a generator of form. And panelists including Tom Wiscombe and Philippe Rahm described how air and thermodynamics allowed for a new conception of space and form. Air again is a topic of the essay“Treehuggers,” which Warren wrote for Kazys Varnelis’ book, Infrastructural City: Networked Ecologies in Los Angeles, and looked at the performativity of street trees and urban forests. At WTARCH the bridge between academic interest and real-world applicability is where architecture has the most to gain. Continuing with the example of air informing design, both the Hollywood Hills and the Los Feliz residences carefully articulate openings to improve indoor-outdoor relationships while an inflatable ETFE skin clads the Wallpaper* Residence allowing a more nuanced relationship to its environment. MOUNTAIN 2: PRACTICE + CLIENTS WTARCH continues to build and renovate many homes each year. But we design housing as well and Warren has taught housing at USC for over 10 years. Our love for the notions of the palimpsest and for the non-specific use of specific spaces from the days of Rossi and Rowe affects not only our attitude about housing and its form but has found its way into even our smallest projects. We marry and hybridize strange and divergent things for our clients whose own desires often supersede our own: the desire to build a music friendly house using three types of prefab construction with rich CNC milled wood paneling in Pasadena or the desire for a house in the hills north of Beijing that embraces every possible mandate for sustainability while simultaneously needing to convey the metaphor of a dragon. These strange marriages could not have been scripted better by Breton himself: oppositional hybrids between domestic and commercial landscapes, between existing and new construction, between rough and refined, between high and low, between the scripted and informal – this defines our work today. Dr. Frankenstein’s methods of combinatory procedures have been inspiring for us, and generate a certain aesthetic we try to play with and embrace. Much of this research allows us to experiment with building: with materials, systems, or structural types. And digital processes influence both the way form is conceived as well as how a project is delivered. As another example, over the last two years, a long standing interest in yurts has been translated into a number of experiments using lightgauge, bent metal rod construction. The Wallpaper* house began as a mutation of the traditional yurt for employees of the eponymous magazine. This research then continues in a kiosk in London, a tower in Helsinki, a trellis system, and in a small folly entitled Cage aux Folles which will be installed next year at the Materials & Applications gallery. Digital processes not only define a way to produce the geometry of these forms, but in conjunction with structural analysis software, has allowed us to simulate the response of the form.

wtarch


Los Feliz Residence 1 Los Angeles, CA ___ Status: Built

Foundations for any project in Los Angeles are expensive (sometimes approaching 20%-25% of total project costs). Seeking to eliminate these costs, this remodel used the structural lines of the existing house to organize the re-design – cantilevering whole sections of the house and building a third floor to add space without additional foundation work. Existing rooms were re-organized to define five diagrammatic domestic boxes which lent coherency to programmatic relations within: 1. life spaces (bedrooms and living rooms); 2. work spaces; 3. kitchen; 4. embedded pool bathroom; and 5. underground support spaces. Joining these volumes is a loose-slung, faceted enclosure squeezed between the boxes to create double-high space and spatial directionality while simultaneously generating the proverbial nooks and crannies for storage. From each of these boxes, openings were carefully placed and calibrated to serve as frames for views directed at several impressive large trees which surround the property, making the windows and what they framed conceptual landscapes, comprised of the living landscape. Publications: Interior Design, The Architect’s Newspaper, Apartment Therapy, 2010 Dwell on Design, Awards: AZURE magazine’s best projects of the year 2009


ALIGNMENTS OF WINDOWS AND SURROUNDING TREES


Detail 1: Arcturus Capital Offices Pasadena, CA ___ Status: Built

Seeking to align themselves with the new business models of the technology sector, Arcturus – a venture capital firm named after the dominant star of the Little Bear constellation – wanted offices which were simultaneously “business casual” yet “starched”. The striped reception desk was originally inspired by the shirts of one of the partners. But the idea of a striped desk expanded into a paean to six materials traditionally found in the investment business: wood paneling, desktop linoleum, green glass similar to old bankers’ lamps, the color of money, formica, and rubber molding. The desk becomes a centerpiece for the theme “everything old is new again,” embodying both the traditions of the industry yet pointing to this company’s innovation. Simple CNC-milled oak wall panels define the entry and are inscribed by a cluster of constellations, as well as the star Arcturus itself, and serves as a minimal diagram of the synergistic business practice of the company.


Antelope Valley Residence Lake Hughes, CA ___ Status: Design Development

Research on sectional stacking from earlier projects is re-visited in this still-in-progress design for a small unit poised above a garage and tucked into the side of a forested, north facing slope. Materials common to the region – each evoking a specific set of fond memories and sensations for the client – define the levels of the stack of plateaux. Grouped by dimension and programmatic requirements, multiple stacks comprise each story of the structure. The effect induced is an unexpected twist on scale and the perception of space within the rooms helping the clients feel slightly oversized in each room. Awards: AIA/LA, NEXT LA Merit Design Award, 2012


GROUND FLOOR

SECOND FLOOR

THIRD FLOOR


GROUND FLOOR

FRONT ELEVATION

SECOND FLOOR

THIRD FLOOR

SECTION

SECTION


DRAWERS TRUNDLE BED CABINETRY

Folding trundle beds and shifting drawers define the functional volume of the living space.


DRAWERS TRUNDLE BED CABINETRY

A system of shifting drawers and cabinetry expands and contracts the resting space.


Detail 3: Harrison Ceiling Pasadena, California ___ Status: Built

The emergence of new digital fabrication machinery has created incredible new opportunities for design and ornament. This design for a ceiling caps the seventeen foot high space of a living room in a Beaux-Arts house. The ceiling is based on a series of circles which are set at various tilts and resolutions relative to the plane of the ceiling. What began as a tiling problem for us - certainly in respect to the scale and number of elements in the ceiling - changed because of the 4’ x 8’ module of the medium density foam it was carved from. This shift in material allowed certain ‘global effects’ to emerge such as the braiding and the symmetrically placed fractalized rosettes. Various programmatic considerations within the room shifted the uniformity of the tiling in subtle ways to become asymmetrical and site specific. And various details from other parts of the house, such as the pearls, were incorporated yet aggregated in a way to encourage multiple readings.


Sleeping Black Dragon Residence Beijing, China ___ Status: Design Development

The client-developer expressed interest in a circular house. The circle has had a great tradition in Chinese architecture. It’s shape is efficient and creates a compact, energy efficient house with less surface area exposed to the elements. As we developed the circular scheme, we liked how the plans worked, and the mobius-like interior flows and movements it generated. We also liked how the rooms related to each other - offering both privacy for a potentially multi-generational clientele - yet allowing a casual connection between the various programs. Window and door openings were cut and shaped to take advantage of potential indoor –outdoor relationships as well as the views, adjacent exterior spaces, and the fall of the hillside slopes. As necessary for their orientation wood shading systems have been integrated to provide a sense of scale and rhythm. The client was also interested in embracing aspects of traditional architecture. We investigated the modern transformation, hybridization, and application of traditional materials, colors, and textures common to Northern China: all of which are ecologically sensitive and responsive to the light and weather of the Jinhai Lake region as well. The house is built with a concrete core; a hammered bronze exterior wall with wood and glass inserts; and high-performance roofing.


SKYLIGHTS

PRECEDENTS

ROOF BRONZE PLATE COVERING WOOD FRAME

CONCRETE INTERACTIVE MEDIA SCREEN INTERIOR LAYOUT FOUNDATION

MATERIAL STUDIES Fire: Color accents at both balconies and in other locations in the house are red or other similarly bright color. Wood: In addition to the primary structure of the outer wall being made of wood, wood is used for its warmth and its natural effect. Windows on both the inside and outside are clad in wood. Additionally, interior beams are exposed in several locations to offer a sense warmth and serenety Earth: The house is concrete at its core and the ground floor is to be clad in stone tiles. Water: The glass is all reflective and slightly mirrored to help the glass appear like liquid pools and to help reflect the sky and lake within its surface. Metal: We were inspired by the Bronze Temple from our visit to the Summer Palace as well as old fashined teapots. the house is clad in bronze plates which have been hammered through a computer algorythm.

OLD

NEW

INSTALLED


SECTIONS


UPPER FLOOR

GROUND FLOOR


Detail 4: Competition Entry for Olympics Kiosk London, England ___ Status: 2011 Competition Submission

Drawing on sources of British design as varied as lamps, bird cages, green houses, athletic equipment and other traditional forms from British furniture design, this proposal is a “mash-up” – like the method in popular music – of gestures, spaces, and programs into a form that invites visitors to wander in and around the booth and offers a varied set of experiences and spectacles depending on your position in the square. A giant Urban Sofa was incorporated at the base as an essential feature to the required programs, counterbalancing media and retail by nurturing a communal physical experience amongst visitors. The structure is comprised of a series of steel rods bent with a computer controlled manufacturing process. Steel imparts the small structure with strength, economy, and an ease of recycling. The surface is finished with a metallic, “Olympic white” paint.


Wallpaper* Residence Sun Valley, Idaho ___ Status: Design Development

Stemming from childhood vacation memories in post-hippie California spent in convivial A-frames, tents, yurts, and modern bungalows, the design begins with the ‘great room’, a casual space where everyone sleeps, eats, plays games, and hangs out together in one room, though sometimes on different levels. The design explores an interest in the tradition of fabric walls typical of tent structures such as traditional Mongolian yurts which assure a close relationship with the weather and the natural systems of the world just outside but can be regulated through layering and the peeling back of layers. Set in Sun Valley, Idaho – a place where luxury yurt expeditions have a keen following - this vacation home begins by using layers of high performance ETFE insulated skin as an enclosure with a final skin of Merimekko fabric lining the inside.

Awards: AIA/LA, NEXT LA Citation Design Award, 2012. Exhibition: The Architecture Foundation, London, UK, July-Sept, 2011 Publishing: Wallpaper* Magazine, July 2011


TESTS AND ITERATIONS


STEM

OPERABLE SKYLIGHT / VENTHILATION SYSTEM

RANE

LIGHT WEIGHT ETFE OUTER MEMBRANE

TURE

1” STEEL ROD “TENT” STRUCTURE

SHELL

RAPIDLY RENEWABLE PLYWOOD INNER SHELL

STEM

360 DEGREE HIGH PERFORMANCE GLASS OPERABLE WINDOW SYSTEM

DDER

GREYWATER STORAGE BLADDER

RANE

LIGHT WEIGHT MARIMEKKO CANVAS INNER MEMBRANE


Detail 5: Para Chair Guggenheim Gallery, Chapman University ___ Status: Built

This sideways rocker was produced as part of the Chair for the Page exhibition at the Guggenheim Gallery at Chapman University – a curated collection of custom chairs exhibited in conjunction with artist-made books, giving readers a place to sit to engage with the book works more intimately. The concept behind the chair naively enough began with the realization that rocking side to side is often more soothing than back to front. Additionally inspired by upholstery, the chair is infiltrated by “ghosted� buttons which pass through the chair. Stacked plywood was used for its obvious reference to both striped upholstery and the stacked sheets of a book. Analogous to the fact that the shape of a book has nothing to do with the space of the interior, the simple child-like form of the chair tells a more complex interior spatial narrative. The chair was milled largely on a 3-axis milling machine. Machine Histories was a collaborator in the project.


Cage Aux Folles

Silverlake, California ___ Status: Bidding / Negotiation

This project for the Materials & Applications art and architecture gallery seeks to use ‘generative detailing’ to provide variation to its form - giving it various postures and porosities with which it can be occupied and used. We have explored a number of ways to ‘automate’ the process in keeping with the legacy of standardization techniques of Victorian Birdhouses and the mass produced bent wire furniture of Warren Plattner and Harry Bertoia but at the same time ensuring variability of form and use. Like them, we have kept the structural elements as continuous lines bent and interlocked into a system as opposed to individual structural members which are then unified into a field (as in the case of a dia-grid type structural system). One of the projects we have looked to as a distant cousin of the efforts we are proposing here is the Slavin house by Greg Lynn. In that project, Lynn has endeavored to use bending and crossing to help create a non-uniform truss which would support the house. The bends however are largely relegated to staying within the line of the structural span thereby relegating, as Nina Rappaport has suggested in her article in 306090 entitled “Deep Decoration”, the structure to being perceived - as far as architectural lineage - to something that is akin to applied decoration. Anders Carlson the structural engineer is a collaborator in this project.


TESTS AND ITERATIONS


22

24

23

25

28 29 30 31 32 33 34 26 27 35

36

37

38

39 40

21

41

20

42

19 18

43

17 16

44 45

15

46

14

47

13

48

12

49

11 10

50

09

51

08

52

07

53

06

54

05 04

55

03

56

02

57 01

79

80

27

26

25

24

23

28 29

30

31

32

33

78

34

35

36

37

77

58

76

75

73

74

71

72

70

38 39

22

42

A

43 44

16

30

31

32

33

34

35

36

37

13

51

04

27

26

25

24

23

72

73

71

70

28 29

30

69

31

68

32

33

66

67

34

35

36

37

UL14

74

73

72

71

70

69

68

28 29

27

26

30

31

32

33

34

35

36

37

41

B

47 48

04

71

70

69

68

67

66

64

65

35

36

37

38 39 40 41 42 43 44 45 46 47 48 49 50 51 52

07

53

06

54

05 04

55 03

56

55 03

56 02

57

72

34

09

54

01

56 02

57

VU1VU80

57 01

58

80

58 80

59

79

60

73

A

52

59 79

60

78

61

74

33

10

53

75

74

73

72

71

70

69

68

67

76

63

64

65

66

61

77

62

76

63

60

78

61

77

62 75

32

08

VU5

55

28 29

12

51

05

58

27

11

50

06

59

26

25

13

08

54

76

31

63

64

65

66

14

07

77

30

67

15

46

09

52

78

68

22

49

53

79

69

17

10

51

80

70

16

12

08

01

71

21

45

11

50

02

72

20

44

13

03

73

18

43

VU15

48

04

74

19

42

14

47

05

75

24

23

B

40

15

46

06

62

76

39

17

07

77

38

16

09

61

A66

25

24

23

49

UL6

63

64

65

66

67

22

45

10

58 59 60

A59

62 75

21

44

12

57 01

78

20

11

56 02 80

18

13

55 03

79

19 43

15

04

59

76

42

14

54

05

58

41

17

50 51

53

06

60 61

77

A

40

16

49

52

59

39

21 20 19 18

A

60

38

22

B

61

62

44 45

57 01

63

64

65

43

46

56 02

A75 74

42

47

55 03

A80

75

41

48

54

05

58

76

40

07

78

77

39

08

53

79

78

38

09

52

07

80

79

37

10

51

57 01

36

11

50

56 02

35

12

49

55 03

34

13

06

04

33

14

47 48

54

05

32

15

46

08

53

06

31

17

09

52

07

30

16

45

10

08

28 29

22 20 19 18

44

12

50

09

27

26

25

24

23

59

21

43

11

10

60

A

42

14

49

11

61

B 41

13

48

12

62

63

40

15

47

64

39

17

46

65

38

21 20 19

16

14

80

66

18

45

15

28 29

27

26

67

68

22

B

41

18 17

25

24

23

40

21 20 19

69

62 75

74

73

72

71

70

69

68

67

65

66

64

63

VU1VU80 W80

26

25

24

23

27

28 29

30

31

32

33

34

35

36

37

38

A

28 29

27

26

25

24

23

39

22

30

31

32

33

34

35

36

37

23

38 40

21 41

42

19

18

A

43

17

44

16

18

15

LL14

46

13

44

B

49

11 10

15

48

54

05 04

76

75

74

73

72

71

70

69

68

B

23

24

25

26

27

28 29

30

31

32

67

33

66

34

64

65

35

36

37

76

B

40 41

18

43

17

B A

42

23

16

75

24

74

25

73

26

72

27

71

28 29

70

30

69

31

68

32

67

33

66

34

65

35

64

36

63

37

B

38 39

22

49

11 10

50

43

51

08 52

07

53

06

54

05 04

55 03

56 02

57 01

OS80

58

80

59 79

60

78

61

77 76

62 75

74

OS75

73

72

71

70

69

68

67

66

65

OS66

64

63

OS59

26

27

72

71

28 29

70

30

69

31

68

67

32

33

66

34

65

35

64

36

63

37

38 39 40 41 42

18 44

43

17

46

44

16

O15

45

45

15

46

14

47

47

13 48

12

08 52

07

49

11 10

50 51

48

12

49

11 10 09

09

25

73

19

13

48

12

24

74

20 42

14 47

75

21

41

16

14

23

62

22

40

21

15

13

61 76

19

46

59 60

78 77

18

45

56 57 58

80

79

17

15

55

62

20

A

44

04

01

61

77

39

50 51

54

05

02

59 60

78

38

22 21

49

52 53

03

58 80

63

20

47

VL1V80 VL1V80

57 01 79

19

45 46

56 02

62

B

44

48

55 03

61

77

A

04

60

78

43

06

VL5

54

05

59 79

42

07

53

06

58 80

41

08

57 01

40

09

51

56 02

39

10

52

55 03

38

11

50

07

LL6

53

06

37

13

08

07

36

12

49

09

51

35

14

A

47

10

52

34

VL15

46

11

08

33

15

12

50

09

32

16

45

13

48

12

31

18

14

47

30

17

16

14

28 29

20 19

43

17

45

27

26

25

21

B

41

20 42

24

22

39

22 40

21 20 19

W59

A

50

09

51

08 52

07 53

06

54

05 04

55 03

56

B1B80 B1B80 02

57

01

58

80

59

79

60

78

61

77 76

62 75

74

73

72

71

70

69

68

67

66

65

64

63

53

06

O5

54

05 04

55 03

56 02

O1

57 01

58 80

59 79

60

78

61

77 76

62 75

74

73

72

71

70

69

68

67

66

65

64

63

O58


Our project attempts to expand the discourse of structure in architecture by using small gauge steel members in a shifting and layered continuity which uses its bends simultaneously to rigidify the structure at the same time as conveying a sense of space and form simultaneously. Each of the members is looped and arrayed where the lines migrate from and inner ‘core’ to an outer shape. As each loop crosses the others, connections are made to take advantage of the triangulation occurring; imparting a sense of layering to both an inner form and an outer form. Once you calibrate these bends and transitions to habitation and use, a new type of porous space is generated folding together enclosure and form / inside and outside / shape and line / surface and depth / function and decoration. With Materials & Applications we have been exploring the idea of this piece as something which potentially becomes vagabond after the exhibition. We have been inspired by the notions embodied in the “Masques” of John Hejduk: his temporary architectural inhabitants of urban space periodically transposed to other locations. As per Amy Gilley, “the architectural masque is a compendium of text, symbol, history, and performance, which is meant to lead the viewer to a greater comprehension of the citizen’s role in the creation of community.” For the first time following an exhibition, M&A is endeavoring to find an alternative urban site as an afterlife to memorialize the process. For Los Angeles, this would establish a new ground for exhibition work and its relationship to both curating exhibitions and the expectations we have for our urban environment.


+ 0’-0”

TRANSEVERSE SECTION

30

25

18 3 4

3214

R12 60°

PROFILE B

36

R12 35 1 4

1.25” DIAMETER PROFILE TO BE REPEATED 49X TOTAL C.L. LENGTH 22’ -1/4” ALL 12” RADIUS BENDS

74°

R71 2

124°

1 21 4

16

1.25” DIAMETER PROFILE TO BE REPEATED 71X VARIED LENGTH < 19’ -6” VARIED ANGLE 12” AND 7.5” RADII

1134

2912

PROFILE G-1

12 53

73 4

23 3 4

11

25

3 12 4

60°

R12

35

167° 140°

46

124°

1.25” DIAMETER PROFILE TO BE REPEATED 40X TOTAL C.L. LENGTH 22’-1/4“ ALL 12” RADIUS BENDS

31 R12

PROFILE C

1 R7 2

106°

1512

117°

5

1212

PROFILE G-2

1.25” DIAMETER PROFILE TO BE REPEATED 71X VARIED LENGTH < 13’ -1” VARIED ANGLE 12” AND 7.5” RADII

41 1 4

R12

68°

1914

152

1.25” DIAMETER PROFILE TO BE REPEATED 80X TOTAL C.L. LENGTH 23’ -6” ALL 12” RADIUS BENDS

128°

PROFILE A

1 25 4

30

8 12

134

14


Detail 7: Harrison Balustrade Pasadena, California ___ Status: Built

The balustrade has had a long history in architecture, but rarely makes its appearance these days. At an upper hallway which passes through a seventeen foot high room below, we revisited the use of the balustrade to create a screen between the two spaces. The ‘turned’ aspect of the balustrade, has always accentuated the silhouette of its form against its background. Inspired by Victorian family silhouette paintings and the famous sculpture of Mussolini’s head by Bertelli, the clients themselves (a family of four) were induced to form. Unlike the single axis movement of lathes on which balustrades were traditionally turned, today’s 5-axis CNC machines allowed the silhouettes of the clients profiles to spin off axis, wrapping around and up the length of its rod.


Montrose Duplex Montrose, California ___ Status: Built

ALL PAINT : 50 VOC LIMIT

PHOTOVOLTAIC SYSTEM UNI-SOLAR SHINGLES REMOTE CONTROL SKYLIGHT VENTILATION VIA STACK EFFECT

SUSTAINABLY HARVESTED MANGARIS WOOD PANEL SHADING SYSTEM

RECYCLABLE FIRESTONE RUBBERGARD WATERPROOFING SAFE FOR RUN-OFF RAINWATER COLLECTION BONDED LOGIC ULTRATOUCH R-43 DENIM INSULATION RAPIDLY RENEWABLE 90% RECYCLED NO VOC COMBINED COTTON ROOF USG SHEETROCK ULTRALIGHT PANELS 100% RECYCLED MATERIAL ARGON FILLED, DUAL GLAZED 1” INSULATED GLASS WITH LOW - E COATING

RAPIDLY RENEWABLE, PREFINISHED BAMBOO FLOORS : 30 VOC LIMIT FLOOR ADHESIVE : 100 VOC LIMIT SUBFLOOR ADHESIVE : 50 VOC LIMIT BONDED LOGIC ULTRATOUCH R-19 DENIM INSULATION RAPIDLY RENEWABLE 90% RECYCLED NO VOC PLYWOOD NO - UREA TYPICAL ELECTRIC VEHICLE PLUG PHOTOVOLTAIC INVERTER DECOMPOSED GRANITE DRIVEWAY REMOVE (E) ASPHALT GREYWATER STORAGE IRRIGATION SYSTEM VEGETABLE GARDEN RAPIDLY RENEWABLE WHEAT BOARD KITCHEN CABINETS

Beginning as a garage that housed the client’s electric vehicle and its charger, the project grew to encompass the addition of a new 484 square foot loft unit above it to adequately encompass programmatic needs and zoning potentials. The clients asked for a building that would embrace concepts of green design. Numerous strategies were integrated toward this end, including solar panels, non-toxic materials, shaded wall and roof surfaces, renewable materials, the elimination of gas as an energy source, the development of stack effects, and increased insulation. The structure is compact – squeezed into the remaining space of the lot – and the form of it is manipulated by the site forces imposed on the space – such as a large tree and tight parking back-ups – which required the structure to twist, fold, and stretch as it rises to maximize solar efficiency. Awards: AIA Design Citation Award, 2009. Residential Design Award, Best Outbuilding, 2010 Publications: New York Times


1

1

(E) GARAGE

1

(E) GARAGE

(E) GARAGE WORK SPACE

SLEEPING SPACE

LOFT

2-CAR GARAGE LIVING SPACE 2

2

2

2

2

2

KITCHENETTE BATH

1

1

(E) UNIT

1

N

N THIRD FLOOR PLAN (LOFT) SCALE: 1/8” = 1’ - 0”

(E) UNIT

(E) UNIT

SECOND FLOOR PLAN (UNIT) SCALE: 1/8” = 1’ - 0”

N FIRST FLOOR PLAN (GARAGE) SCALE: 1/8” = 1’ - 0”


LOFT

SLEEPING SPACE

GARAGE/WORK SPACE

SECTION 1

SCALE: 1/8” = 1’ - 0”

LOFT

SLEEPING SPACE

GARAGE/WORK SPACE

SECTION 2

SCALE: 1/8” = 1’ - 0”


Detail 6: Greenwich Village Residence Greenwich Village, New York ___ Status: Built

A private garden at the rear of the eighteenth-century ground floor West Greenwich Village apartment encouraged this gut remodel to become a “dumb-bell” scheme with “living spaces” being planned for either end of the building as it accesses light. A long hall stretches between the two ends of apartment. In this portion, the history of the structure was revealed by exposing the original wood joists and peeling away the layers of plaster to reveal the rough brick. In contrast to this roughness, modern, clean-lined cabinets were constructed to look almost like giant armoires sitting in space. As the center of the apartment was relatively dark, various light boxes were developed to punctuate the space. Light artist John Wigmore was hired to design a “parade of lamps” running from one end to the other.


Elysian Fields Apartments Echo Park, California ___ Status: Under Construction

Echo Park has seen little investment within the last fifty years, but as Silverlake spreads its ‘trendiness’ towards Downtown it is inevitable that the area become an equally exciting place to live. The visibility of the project is located next to Dodger stadium and directly on Sunset Blvd, is a beacon for others to come and animate the neighborhood as well. Seeing as the units are located in a bustling urban environment there was reason to provide ample exterior spaces, which manifest as balconies, patios, and an interior courtyard. The gardens not only represent self-reliance (a facet of sustainability) but they also serve to clean the air and provide privacy for the residents. The most obvious aspect of sustainability within the design is the perforated screen on the west and south facades, which serve as second skin to thermally protect the substrate, and provide solar shading. Also, unique to the screens are ‘eyelids;’ egress openings with integrated planters to create an efficient style of living.

Project Status: Under Construction


EAST/ WEST SECTION ROOF SCALE 1/32” = 1’-0”

NORTH/ SOUTH SECTION ROOF SCALE 1/32” = 1’-0”


m sum er so

perforated metal

lstic e 71 n un a ee s

degr g le

wooden balcony sliding doors

wi

nte

re

SUMMER SHADING

WINTER SHADING

qu

ino

balcony planter

x3

1d

eg

ree

sun

glass balustrade an

gle


Detail 8: Elwood Trade Show Los Angeles, California ___ Status: Built

This trade show booth was designed for a clothing retailer specializing in jeans for skateboarders. The exterior of the booth resembles a shipping crate, while the interior was outfitted with large â&#x20AC;&#x153;trunksâ&#x20AC;? clad in denim designed to resemble steamer trunks. The trade show booth effectively displays the products of two companies: Elwood specializes in jeans and t-shirts; Aesthetics concentrates on equipment like skateboard wheels and decks. While the brands are not differentiated on the inside, the outside distinguishes the brands through color and graphics, separated by the entrance.


Sun Valley Residence Sun Valley, Idaho ___ Status: Design Development

The typical log cabin tends to be apathetic or indifferent toward their sites in all respects other than the material with which they are constructed. Generally they require the builder to make a flat cleared site and produce a rectangular house of iconic proportions punctuated with regularly cut windows. This project investigated how this traditional construction system could be adapted to a design process which integrated the shifting topography of the landscape â&#x20AC;&#x201C; to provoke specific responses in the form of the house to its context â&#x20AC;&#x201C; terracing progressively down to the Big Wood River and bending towards it and opening up to the views around it and down the valley. Because the shape of the house diverged from standard orthogonal corners, special joints were required. Traditional construction methods were modified â&#x20AC;&#x201C; sometimes incorporating Japanese joinery techniques to accommodate the angles. Published: GA Houses. Project 2001.


Detail 9: Sara Meltzer Installation New York City, NY ___ Status: Built

Artist Karen Kimmel asked for a three-dimensional loom inscribing three performative spaces for the making of art. A pre-printed canvas above was pulled through the top, cut-off at the bottom, framed, embroidered, tagged, and then hung on the wall for purchase. The structure was to be simple with the affect of appearing at-a-glance as nineteenth century machine. Platforms and panels were developed for specific tools and props of the performance.


Tallinn Street Proposal Tallinn, Estonia ___ Status: Competition Completed 2011

Our concept for this street competition in Tallinn, Estonia was to develop a street which connects as many people and ideas as possible through the use of landscape strategies with a simple â&#x20AC;&#x153;user interfaceâ&#x20AC;?. This new Boulevard will connect the historic City to the beach front, provides a strong edge to the port area, and seeks to unify the disparate existing but undefined open spaces into the collective use of the entire district as a large pedestrian park. Through the sectional unwinding of the street along its length, the new district which will emerge around it will accommodate a wide array of programming types - at all scales - from the micro clustering of kiosks to provision of large footprint (5000 square meters) office space desired by Internet businesses. The street will form a new entry to Tallinn for visitors and a place to enjoy the city outdoors with physical activity and street vending and will establish connections with visitors and resident alike via cellphone data-links. Lastly, the street incorporates a series of man-made and natural infrastructure systems to treat wastewater, generate electricity, and sequester carbon â&#x20AC;&#x201C; some of which will be open to tourism and businesses underground. Awards: Tallinn Architecture Biennale: Street 2020 Competition First Prize


A

N


wtarch


Wtarch Portfolio OfficeUS 2014