City by Design San Francisco

City by Design

an architectural perspective of the greater san francisco bay area

Foreword

By Margie O’Driscoll, AIA San Francisco Executive Director with Clark Manus, FAIA, and William Worthen, AIA, LEED AP

Stunning and sobering, the Loma Prieta earthquake of 1989 was a defining event in Bay Area history. Its wrath was widespread despite its brevity; its force literally and figuratively earthshaking. Though it was not the dreaded “big one,” it was considered to be the most costly natural disaster the United States had ever experienced at the time and left behind a swath of damage, death and destruction. However, in spite of its tragic effects, Loma Prieta caused us to reexamine long-term strategies for the city; it presented an opportunity to rebuild and reinvent San Francisco’s built environment in thoughtful ways that have strengthened our urban fabric. Today, some two decades after this catastrophic event, San Francisco has rebounded and adapted, transforming itself into a prominent model of a vibrant, sustainable 21st-century city.

Excerpt

Heller Manus Architects, FMG Architects, Komorous-Towey Architects, page 116

Introduction Each day we pass by hundreds of buildings—a mélange of old and new works of architecture—that we likely take for granted, not for lack of interest but because life’s frenetic pace often prohibits asking why, how, when and through whose creativity did the built environment around us come to fruition. Yet it is these very structures, unassuming or prominently placed, that create the brilliantly complex urban and suburban landscapes where our lives unfold.

Imagine being afforded the rare opportunity to gaze inside the walls and around the perimeter of these buildings that are equal parts mysterious, familiar and alluring. Imagine meeting their creators and discovering the forward-thinking design savvy behind the selection of each material, the placement of each door and window, the sculptural use of both classical and contemporary architectural forms. Now turn the page—commence an invigorating journey that is sure to ignite your appreciation or renew your passion for San Francisco’s architectural fabric.

You will immediately discern City by Design San Francisco as unique among architectural collections. Indeed, it boasts vibrant photographs of stimulating designs, melded with insightful editorial, yet it does not endeavor to present merely the tallest, widest, newest, oldest or greenest buildings. More precisely, it is a rich, diverse collection of the city’s best—from landmark skyscrapers that define San Francisco’s majestic skyline to smaller, thoughtfully designed edifices of some of the suburbs’ best-kept secrets. It is a regional compilation of masterfully conceived structures considered preeminent by the locally based architects and developers who have turned intangible ideas into built realities that will be enjoyed for generations to come.

Solomon Cordwell Buenz, page 244

Bellomo Architects, page 178

Contents Chapter One - Built to Play and Stay

Chapter Two - Urban Living

Academy Café & The Moss Room . . . . . . . . . . . . 20

1168 Folsom Street . . . . . . . . . . . . . . . . . . . . . 78

Lundberg Design

Hauser Architects

Bay Club Marin . . . . . . . . . . . . . . . . . . . . . . . 24

30 Dore Street . . . . . . . . . . . . . . . . . . . . . . . 82

Form4 Architecture, Inc.

Hauser Architects

California Academy of Sciences . . . . . . . . . . . . . . 28

BridgeView . . . . . . . . . . . . . . . . . . . . . . . . . 86

Renzo Piano Building Workshop

Christiani Johnson Architects

Ferry Building Marketplace . . . . . . . . . . . . . . . . 32

Plaza del Sol . . . . . . . . . . . . . . . . . . . . . . . . 90

Baldauf Catton von Eckartsberg Architects

Hood Miller Associates, Inc.

Franciscan Estates Winery . . . . . . . . . . . . . . . . . 36

Santana Row . . . . . . . . . . . . . . . . . . . . . . . . 94

Baldauf Catton von Eckartsberg Architects

BAR Architects

Hotel de Anza . . . . . . . . . . . . . . . . . . . . . . . 40

Chapter Three - City Projects

Koi Garden . . . . . . . . . . . . . . . . . . . . . . . . . 44

Avon Foundation Comprehensive Breast Center at SFGHMC Women’s Options Center at SFGHMC . . . . . . . . . 100

Kenneth Rodrigues & Partners, Inc.

Studio 02, Inc.

New de Young Museum . . . . . . . . . . . . . . . . . . 48

Fong & Chan Architects Herzog & de Meuron Architekten

Nickel & Nickel Winery . . . . . . . . . . . . . . . . . . 52 Taylor Lombardo Architects

The Olympic Club City Clubhouse . . . . . . . . . . . . 56

Diablo Valley College Bookstore . . . . . . . . . . . . 104 BSA Architects – Bull Stockwell Allen

Folsom Public Library . . . . . . . . . . . . . . . . . . 108 BSA Architects—Bull Stockwell Allen

BraytonHughes Design Studios Hornberger + Worstell

Novo Construction . . . . . . . . . . . . . . . . . . . . 112

Spring Ridge Winery . . . . . . . . . . . . . . . . . . . 60

San Francisco City Hall . . . . . . . . . . . . . . . . . . 116

CJW Architecture

Stern Grove . . . . . . . . . . . . . . . . . . . . . . . . . 64 Hamilton + Aitken Architects

University Club of Palo Alto . . . . . . . . . . . . . . . . 68 Fergus Garber Group Architects

West Estudillo Historic Downtown Improvements . . . . . . . . . . . . 72 Golden Associates, Landscape Architects Dahlin Group Architecture Planning, page 188

Tsang Architecture

William Duff Architects

Heller Manus Architects FMG Architects Komorous-Towey Architects

San Jose City Hall . . . . . . . . . . . . . . . . . . . . 120 Richard Meier & Partners Architects LLP

West Contra Costa Unified School District . . . . . . . 124 Hamilton + Aitken Architects

Woodside Elementary School . . . . . . . . . . . . . . 128 CJW Architecture

Chapter Four - Industry Leaders

Franchise Tax Board . . . . . . . . . . . . . . . . . . . 192

HOK Lionakis Beaumont Design Group

Silicon Valley Campus . . . . . . . . . . . . . . . . . . 134 Quezada Architecture

GreenCity Lofts . . . . . . . . . . . . . . . . . . . . . . 196 Swatt Architects

555 City Center . . . . . . . . . . . . . . . . . . . . . . 140 Korth Sunseri Hagey Architects

Los Altos School District . . . . . . . . . . . . . . . . . 200 Gelfand Partners Architects

Community School of Music & Arts . . . . . . . . . . . 144 Mark Cavagnero Associates

Mixt Greens . . . . . . . . . . . . . . . . . . . . . . . . 204 William Duff Architects

Kaiser Permanente Santa Rosa Medical Center Medical Office Building 5 . . . . . . . . . . . . . . . . 148 Jennings Ackerley Architecture + Design

Lawrence Berkeley National Laboratory Molecular Foundry . . . . . . . . . . . . . . . . . . . 152

StopWaste.Org . . . . . . . . . . . . . . . . . . . . . . 208 Komorous-Towey Architects

Throckmorton Ridge Fire Station . . . . . . . . . . . . 212 C3 Design Alliance

SmithGroup

Moffett Towers . . . . . . . . . . . . . . . . . . . . . . 156 DES Architects + Engineers, Inc.

Chapter Six - City Futures Marin County Planning Projects . . . . . . . . . . . . . 218

Oceanview Church of Christ . . . . . . . . . . . . . . . 160 SIM Architects, Inc.

Silicon Valley Internet Capital . . . . . . . . . . . . . . 164 Kaplan Architects

Valencia Gardens . . . . . . . . . . . . . . . . . . . . . 168 Van Meter Williams Pollack LLP

Yamanouchi-Shaklee Headquarters . . . . . . . . . . . 172

Michael Rex Associates Hannum Associates Couture Architecture

Bay Bridge East Span . . . . . . . . . . . . . . . . . . 224 MacDonald Architects

Berith Fellowship . . . . . . . . . . . . . . . . . . . . . 228 SIM Architects, Inc.

Kenneth Rodrigues & Partners, Inc.

Bike Arc: A Modular Bike Park System . . . . . . . . . 232

Chapter Five - Sustaining Growth

FTZ #3 Port of San Francisco Piers 19-21-23 . . . . . . 236

University Circle Master Plan . . . . . . . . . . . . . . 178

Joseph Bellomo Architects, Inc.

Philip Banta & Associates Architecture

Bellomo Architects

Lawson Lane . . . . . . . . . . . . . . . . . . . . . . . 240

American Institute of Architects San Francisco Office . . . . . . . . . . . . . . . . . . . 184

One Rincon Hill . . . . . . . . . . . . . . . . . . . . . . 244

Quezada Architecture

Solomon Cordwell Buenz

Dahlin Group Corporate Office . . . . . . . . . . . . . 188

Walnut Creek Condos . . . . . . . . . . . . . . . . . . 248

Dahlin Group Architecture Planning

Form4 Architecture, Inc.

Form4 Architecture, Inc.

California Academy of Sciences Renzo Piano Building Workshop

One of the largest natural history museums in the world, the California Academy of Sciences has long been a renowned institute in which the public experience directly correlates with in-house scientific research. After more than 150 years dedicated to exploring, explaining and protecting the natural world, the academy celebrated the opening of an extraordinary new home in September 2008. The California Academy of Sciences, designed by the internationally celebrated firm Renzo Piano Building Workshop, in collaboration with Stantec Architecture, Webcor Builders and a host of talented consultants, is a true masterpiece in sustainable design that reflects the organization’s purpose through innovative architectural forms.

Above: Filled with hundreds of extraordinary exhibits and thousands of animals, the California Academy of Sciences expresses the interdependence of earth, ocean and space through one single, remarkable building.

Facing Page: The front entry’s expansive transparency, along with the sheltering roof canopy, invites patrons to step inside and experience the museum’s grandeur.

Project Design Team: Renzo Piano, M. Carroll, O. de Nooyer and S. Ishida.

Photographs by Tim Griffith

Nearly 10 years in the making and the result of astute collaboration, the academy is the largest LEED

The new academy, like the original, is organized around a central piazza. Two spherical exhibits, the

(Leadership in Energy and Environmental Design) Platinum-certified building in the world and retains

planetarium dome and rainforest biosphere, are located adjacent to the piazza and, along with the

its former location and orientation within Golden Gate Park. A holistic green approach was agreed to

reconstructed entrance of the Steinhart Aquarium, represent space, earth and ocean. These three

from the onset and is reflected in all aspects—from bike racks and rechargeable vehicle stations outside

elements push the roof up, creating the academy’s unmistakable, iconic, undulating roofscape.

the building to the use of extensive denim insulation from recycled blue jeans, from radiant sub-floor heating inside the building to energy-generating photovoltaic panels atop the building. The museum’s

Wholly compelling, the roof formally unifies the institute and is akin to lifting up a piece of the park and

longstanding success has always been the result of a three-pronged, symbiotic approach: displaying

adeptly placing a building under it. The roof is landscaped with native, drought-resistance plant species

the collection, educating the public and researching the science; the essence of the new building

that do not require irrigation once established; its surface extends beyond the perimeter walls, becoming

announces and enforces this complexity of function.

a glass canopy providing shade, rain protection and energy generation through nearly 60,000 photo

voltaic cells in the glass. A glazed skylight in the roof’s center covers the piazza, while much-smaller skylights dispersed across the roof’s surface allow natural light into the exhibit space and can automatically open for natural ventilation of the space below. A hybrid concrete/steel structure capped with lush vegetation, the 2.5-acre living roof features a layer for water storage and will absorb nearly 3.6 million gallons of rainwater per year.

Additional project elements include the establishment of a new aquarium exhibit in the basement; restoration of African Hall; replacement of California Hall in a similar volume housing a new auditorium and campus restaurant; and reconfiguration of the main entrance, which achieved a more compact footprint, returning one acre of land back to Golden Gate Park.

A grand architectural achievement of epic proportions, the California Academy of Sciences sets a new standard for boldly sustainable design, conveying the fundamental essence of the academy through a deft coalescence of technology and art.

Top Right: Some of the original facility’s most beloved architectural features, such as the arched, coffered ceiling in African Hall, have been included in the new structure.

Photograph by Tim Griffith Bottom Right: The walls of the reconfigured Steinhart Aquarium appear to move as liquid, creating a truly aquatic atmosphere.

Photograph by Tim Griffith Facing Page Left: The four-story living rainforest, contained within a 90-foot diameter glass dome, is the largest spherical rainforest exhibit in the world.

Photograph by Tim Griffith Facing Page Right: Large glass walls stretching from floor to ceiling are a defining feature of the structure, enabling 90 percent of interior offices to use lighting from natural sources.

Photograph by Tim Griffith

Ferry Building Marketplace baldauf catton von eckartsberg Architects

Baldauf Catton von Eckartsberg Architects is the creative vision behind the celebrated Ferry Building Marketplace in San Francisco.

In a city full of iconic structures, the historic Ferry Building is arguably the city’s most venerable and celebrated architectural achievement. It is, as writer Herb Caen put it, “a famous city’s most famous landmark.”

Much more than graceful aesthetics, the 1898-built structure is a marvel of engineering, representing one of few buildings to survive both the 1906 and 1989 earthquakes. BCV has breathed new life into this national historic landmark without compromising its rich character, and created a civic epicenter that celebrates the Bay Area’s vibrant food culture.

ABOVE: The Ferry Building has become the epicenter of a revitalized waterfront since the demolition of the Embarcadero Freeway, which for years obscured the building and the waterfront and separated them from the downtown area.

Photograph by Richard Barnes FACING PAGE: Expansive openings in the second floor were created during the renovation to spotlight the spectacular ground level promenade that runs the length of the building, drawing shoppers, ferry passengers and other visitors to the heart of the project, the Ferry Building Marketplace and its vendors.

Photograph by Richard Barnes

From its completion at the turn of the century until the 1930s, the Ferry Building was a transportation focal point; during its years of peak usage, some 50,000 people a day commuted by ferry. The automobile craze and the completion of the Golden Gate Bridge and the San Francisco Oakland Bay Bridge had undercut the vitality of the building by the 1950s, and the 1957-built Embarcadero Freeway, which remained for 35 years, further diminished the Ferry Building by overshadowing its physical stature.

The Ferry Building has come full circle, reopening in 2004 as an upscale gourmet marketplace, office building and re-dedicated ferry terminal. The marketplace is now a thriving community that melds the hallowed structure’s grand architectural fabric with new and engaging layers of richness.

The design team gleaned early inspiration from Pike Place Market in Seattle, but even more so from studies of vibrant European markets with visits to Harrod’s and Covent Garden in London, the latter of which provided tremendous proportional direction with regard to creating a narrower, more dynamic nave. BCV derived additional design references from old Parisian markets and gourmet stores such as Fouchon and Hediard, as well as from Milan’s popular marketplace, Peck, and Venice’s Rialto Fish Market. Inspired by these establishments, BCV incorporated elements such as the use of folding metal gates for marketplace stalls, which provide protection without the imposing barrier of a glass storefront.

The rhythm of the arched openings, metal gates, decorative mosaic panels and lively yet disciplined signage has created a dynamic, culturally relevant environment visited by tens of thousands of patrons—locals and visitors alike—on a weekly basis.

BCV worked with SMWM and Page & Turnbull on the renovation of this grand building. Major project components included moving the main public space from the second level to the ground floor as well as restoration of the 660-footlong nave, which serves as the building’s organizing space, and the structure’s prominent 245-foot-tall clock tower. BCV is proud to have created the Ferry Building Marketplace, the central element—along with the demolition of the Embarcadero Freeway after the 1989 Loma Prieta earthquake—in successfully knitting this historic building back into the life of the city.

In addition to serving as the marketplace architects, BCV designed roughly one third of the restaurant and food vendors’ spaces in the building, including Taylor’s Refresher, Hog Island Oyster Co. and Ferry Plaza Seafood. It was important to BCV that the project include the work of many architects in order to provide a rich chorus of voices expressing the strength of the Bay Area culinary arts—arguably one of the great forces shaping American culture in our time. The Ferry Building Marketplace provides the communities’ epicenter for this movement.          

Top Right: BCV’s design pays homage to Taylor’s original hamburger stand in St. Helena with its simple, clean palette of white and stainless steel, punctuated by an oversized red neon sign that beckons customers to “EAT.” Photograph by David Wakely Photography Bottom RIGHT: Hog Island Oyster Co. features a large open area for shucking and serving oysters on a bar fashioned from shells collected from the Hog Island oyster beds.

Photograph by David Wakely Photography FACING PAGE: BCV worked closely with local purveyors Hog Island Oyster Co., Ferry Plaza Seafood, Mistral and Taylor’s Automatic Refresher to construct shops and restaurants that highlight the local, often-organic products and service that are so much a part of the Bay Area food scene. The philosophy of the purveyors is an ideal complement to BCV’s notion of cultural sustainability and creating communities through design in order to support living life in a joyous way.

Photograph by David Wakely Photography

BridgeView Christiani Johnson Architects

Prominently set between South Beach and the financial district on Rincon Hill, the luxury residential complex BridgeView is much more than just spacious condominiums with sweeping vistas of the bay and city skyline. Careful attention paid to the development’s scale and proportions laid the groundwork for an engaging, pedestrian-friendly streetscape between the Bay Bridge and the financial district, but the structure has also played an important role in the area’s ongoing transformation from a heavily industrial area into a high-density residential neighborhood. Design architect Christiani Johnson Architects, in collaboration with executive architect HKS, ensured that the construction of a considerably large structure in a tight site respected the larger neighborhood and responded to separate zoning guidelines, resulting in a harmonious fit with its environs.

Facing Page: Just moments away from the Bay Bridge, BridgeView offers compelling vistas of its iconic neighbor.

Project Design Team: Richard Christiani and David Johnson.

Photograph by Brendan Dunnigan, HKS

BridgeView rose from what had been surface parking on a long and narrow site—approximately 300 feet long by 90 feet wide—bounded by Bay Bridge anchorage on one end and Harrison Street bridge anchorage on the other, resulting in a stringent and heavily trafficked architectural canvas. Moreover, the street was demarcated into two zonings, each with separate density and land-use requirements. As is typical with in-city multifamily developments, the developer, Emerald Fund, sought to maximize the number of units, which ended up totaling 245, in addition to including ground-level retail and on-site parking—yet the structure had to respond to distinct height and zoning restrictions. The solution: breaking down the scale of the massing into several discreet building elements, differentiated through both color and proportion.

The shape of the building is a response to the two zones, resulting in a 26-story tower adjacent to a 15-story tower, while the overall structure was broken up into three vertical elements, which correlate with the massing. The base consists of two levels of below-grade parking, on-grade parking behind the retail and one floor of parking above; the ground-floor retail totals 2,300 square feet.

The centerpiece of this tripartite form is an octagonal tower that features the main entrance; this geometric form corresponds to a diagonal requirement in the planning code of 110 feet and pushes the building toward a more modern expression, despite having a traditional composition of base, midpoint and cap.

The exterior, comprised of pre-cast panels forged from glass fiber reinforced concrete and aluminum windows, is differentiated by color to further emphasize the distinct building elements; fenestration of a more rectilinear, punched nature is also a defining element.

The thoughtful design of BridgeView delivered upscale residences to a highdensity urban setting in a conscientious manner, ushering in a neighborhood transformation while paying respect to the larger community.       

Top Right: The entry lobby is warmed through the use of wood paneling, stone, art glass and artesian plaster.

Photograph by Brendan Dunnigan, HKS Bottom Right: Units within BridgeView are spacious, luxurious and typically afford remarkable bay views.

Photograph by Brendan Dunnigan, HKS Facing Page Left: BridgeView’s addition to Beale Street is part of the district’s transformation into a high-density residential neighborhood.

Photograph by Brendan Dunnigan, HKS Facing Page Right: The long and narrow site called for breaking down the massing into distinct building components.

Photograph by Brendan Dunnigan, HKS

Novo Construction William Duff Architects

Sometimes the ideal architectural canvas is not blank but rather rich in character, modest in ornament; a piquant template to reinvent. An existing 5,000-square-foot shell space with dynamic features afforded the ideal starting point for the new headquarters of Novo Construction, a distinguished Bay Area builder. William Duff Architects transformed this raw industrial-type space into a clean, functional and uplifting office that identifies and differentiates Novo Construction as a premier contractor.

FACING PAGE: The main entry’s open ceiling and polished concrete floors immediately set the tone.

Photograph by Lucas Fladzinski

The existent qualities of 608 Folsom Street were compelling and part of a welllit, open interior. Thus, the design intention was to accentuate the winsome qualities of the shell in a way that elegantly utilized the materials and judiciously shaped the space—while letting the structure speak for itself. Moreover, keeping the space as clean and open as possible was a priority, while making the interior circulation feel like a greater extension of the space itself.

Stepping into the main entry with its raw concrete walls and columns, patrons enter under a large skylight exuding daylight and warmth; the design emanates from this essential space. The view through the interior is remarkable and exhibits a seamless flow of spaces. The main conference room is adjacent to and readily apparent from the entry volume and is defined by a large wall of glass; the vista extends from the conference room through old industrial windows on the front of the building out to the exterior.

One of the interior walls featured an existing soffit that had been pulled down from the ceiling; this design element was replicated on the other side of the space, which allowed the roof structure to be prominently expressed above the offices. Beyond making the interior feel larger, letting the whole ceiling read through enabled offices to be fully built out along the perimeter yet still feel open without compromising the efficient layout. Clarity and refinement were achieved by letting the structure gracefully express itself along with the thoughtful yet minimal use of glass, drywall, low-VOC paints and recycled carpet; a kitchen/ bar area features a modest array of glass shelving and glazed ceramic tiles that emulate Cor-Ten steel.

By taking advantage of a wonderful existing shell and enhancing its many desirable qualities, William Duff Architects successfully provided Novo Construction with a lucid, functional design within a distinctive, superior office environment.          

RIGHT: Exposed concrete columns, a profusion of glass and epoxy resin floors are defining elements of the architectural design.

Photograph by Lucas Fladzinski FACING PAGE TOP: The reception area is adjacent to the spacious conference room.

Photograph by Lucas Fladzinski FACING PAGE BOTTOM: Light cascades into the conference room through an interesting combination of existent windows and a contemporary wall of glass.

Photograph by Lucas Fladzinski

Silicon Valley Campus Quezada Architecture

In 2000, the world’s largest software development company established a presence among Bay Area technology developers through the completion of a half-million-square-foot Silicon Valley campus. But unlike much of Silicon Valley architecture, the home for this global giant endeavored to convey a timeless dignity within the area’s prevailing high-tech vernacular, yet without as much exuberance and amplification as so many of its boldly modern neighbors. Indeed, the design called for a subtle yet refined tone of outreach and presence, which would stand in contrast to iconic structures designed part and parcel with branding efforts. The Silicon Valley Campus of the world’s largest software company, designed by Quezada Architecture, employed a host of green technologies prior to the establishment of the United States Green Building Council’s LEED Certification system. The fast-track project was designed, built and occupied in less than 20 months.

ABOVE & FACING PAGE: The multistory glazed entry lobby of the corporate commons building is flanked by the second-floor corporate boardroom projection.

Photographs by Paul Warchol

Set on 32 acres, the headquarters is a five-building campus comprised of a central commons building, which houses a cafeteria, conference center, company store, data center, concierge and other commons components, with four peripheral structures organized around it. The aggressive design and build schedule necessitated the use of concrete tilt-up wall construction to form the major exterior core and shell buildings elements. Variations in the massing and accent glass curtainwalls afford additional visual interest and character.

Designed before the widespread use of sustainable design principles, it was the corporation’s first foray into green development and the facilities employ many green technologies such as daylighting controls. Natural light is of exceptional importance for software developers, particularly when exclusively featured private offices can easily foment a cave-like mentality. Daylighting was introduced to interior spaces by featuring raised roofs to allow greater light penetration.

RIGHT: The commons building features three different aluminum building panels and several diverse exterior window glazing applications.

Photograph by Paul Warchol FACING PAGE LEFT: A glass accent stair landing, skylight and thematic palette of blue finishes define the atrium.

Photograph by Paul Warchol FACING PAGE TOP RIGHT: The glazed entry lobby has an aluminum canopy.

Photograph by Paul Warchol FACING PAGE BOTTOM RIGHT: The corporate boardroom is replete with sculptural acoustic soffits and integrated sound and lighting systems.

Photograph by Paul Warchol

for

A tremendous success through and through, Quezada Architecture’s

more than 1,800 employees is completely devoid of hardwoods.

design for the world’s largest software company in Silicon Valley—

Alternative, certified sustainable wood products including doors,

the global epicenter of emerging technology—exemplifies the

desks and millwork cabinetry are utilized throughout all interior suites

inestimable benefits of building green while giving an industry giant

and spaces. The design team worked closely with research staff

a modern yet engaging campus well-suited for public outreach.

Moreover,

the

campus-wide

private

office

environment

and focus groups to design green, space-efficient, freestanding workstation furniture solutions. From sustainable wood materials and products to lighting design, green carpet products to native riparian landscaping, a program of sustainability and energy conservation has matured for nearly a decade, exhibiting the long-term benefits of sustainable design practices.

ABOVE LEFT: The staircase connects the courtyard and upper floor of the commons building auditorium. Light is diffused by the obscured glass curtainwall.

Photograph by Paul Warchol ABOVE MIDDLE: The upper floor of the atrium is punctuated by dark steel braces at the corridor openings.

Photograph by Paul Warchol ABOVE RIGHT: Signage, directory and security monument apparatuses are integrated as design features.

Photograph by Michael O’Callahan FACING PAGE LEFT: Surrounded by riparian grass and fruit trees, the building is comprised of sandblasted gray tilt-up concrete panels that intersect glass offices and the aluminum conference room projection.

Photograph by Paul Warchol FACING PAGE RIGHT: Colorful offices and conference rooms have views to the courtyard.

Photograph by Michael O’Callahan

Community School of Music & Arts Mark Cavagnero Associates

Just as the incomparable John Coltrane so eloquently said, “The main thing a musician would like to do is to give a picture to the listener of the many wonderful things he knows of and senses in the universe,” it was the impeccable architectural solution from Mark Cavagnero Associates that provided the Community School of Music and Arts with its first permanent home—an aesthetically pure facility tailored to meet the functional and creative needs of its art students and teachers.

Well versed in crafting functional yet elegant edifices for the arts—having designed cinematic theaters, performing arts theaters and recital halls, among others—Mark Cavagnero, FAIA, a jazz guitarist himself, brought a keen aptitude for designing harmonious spaces to the project. In close collaboration

FACING PAGE: The façade of the building consists of a cast-in-place concrete structure with stained, white-cedar wood infill, projecting a strong presence within the surrounding community.

Project Design Team: Mark Cavagnero, Roslyn Cole, Jasmine Chu, Laura Blake and John Fung.

Photograph by Tim Griffith

with the design team, and the acoustical consultant in particular, an initial form was conceived of an ideal shape and volume for the music. The team then worked to amalgamate that desired form into an appropriate architectural solution.

Organized around a central courtyard, the school provides performance and event space while introducing a profusion of natural light into class and practice rooms. Moreover, the larger administration wing with more mass was oriented so the two-story perimeter shields the courtyard from traffic noises emanating from nearby thoroughfares, as well as buffering noise from the school’s neighbors.

Above: Large sliding doors along the vestibule can be opened to the courtyard, providing ease of access for large performances.

Photograph by Tim Griffith Left: The entry to the recital hall is warm and welcoming with an adjacent courtyard offering an engaging outdoor pre-event space.

Photograph by Tim Griffith

The building was designed as a cast-in-place concrete structure. The dense, high-mass structure is able

An immaculate recital hall affords premier performance space. Starting with the honest expression of the

to mitigate vibrations associated with high-range frequency noises more so than a traditional steel-frame

concrete form, the project team created an acoustically pure space that employs strategically placed

building. The exposed concrete structure also provides sustainability benefits; exposing the structure

wood screens and acoustical panels that amplify the sound and absorb it at the end of its travel.

eliminated the need for finish materials on both the exterior and interior of the building. Adding rich character to the exterior while maintaining its desired purity, all panel joints feature gracious detailing

Mark Cavagnero Associates’ design for the Community School of Music and Arts has been recognized

while a stained, white-cedar wood infill gives the exterior refined warmth.

with a 2006 American Architecture Award from The Chicago Athenaeum, as well as the sole 2004 AIA California Council Honor Award, a 2004 San Francisco Best of the Bay Award for Design Excellence and a

Introducing copious natural light throughout the facility was of utmost importance for combating fatigue, affording visibility for reading sheet music and providing a balanced spectrum for exhibiting visual arts.

Light is introduced into classrooms via the central courtyard and glass perimeter walls, but also through expansive clerestory windows where light bounces off the ceiling’s exposed concrete underside and disperses evenly throughout the room.

2004 Business Week/Architectural Record Award.           Above LEFT: Strategically placed acoustical panels and wood screens both reflect and absorb the sound to create a lively performance space.

Photograph by Tim Griffith ABOVE RIGHT: The proportions of the stage are scaled for its grade school-aged performers, ensuring their comfort and confidence.

Photograph by Tim Griffith

Dahlin Group Corporate Office Dahlin Group Architecture Planning

Dahlin Group’s corporate office remodel consolidates a collection of satellite offices into a single, collaborative work environment— a natural step in the firm’s evolution as a multidisciplinary organization with a U.S. and international clientele. It is the first LEED-certified structure in the Hacienda Business Park in Pleasanton, California, and exemplifies the firm’s earnest commitment to transit-oriented and sustainable design as an integral part of high-quality design solutions.

Dahlin Group chose this site, with a 1989 State Farm Insurance building, because it was immediately adjacent to the Pleasanton-Dublin BART station, and had an on-site bus stop that serves several routes. The challenge: to provide an aesthetically dynamic design while being an early adopter of the LEED

Facing Page: Yellow accent walls define a new two-story lobby and entry plaza that open to the street and adjacent transit station.

Project Design Team: Doug Dahlin, Karl Danielson, Kurt Fehlberg and Marsha Day. Photograph by Whittaker Photography

Commercial Interiors requirements, which were still in pilot stages. Dahlin Group staff familiarized itself with and completed the certification process as a team, receiving LEED-Silver certification after the program was adopted.

Remodel of the existing building provided 23,500 square feet that accommodates 130 employees and reserves 2,500 square feet of unfinished space for lease by a future transit-oriented tenant. The building’s original orientation was solely to the parking lot, disconnecting it from the fabric of the street and pedestrian interaction. The remodeled structure embraces an entry plaza and two-story glass corner lobby, presenting greater prominence along its narrow street frontage and creating a direct connection to the street and pedestrians. Façades were refined through the addition of horizontal and vertical aluminum sunshades, a compelling color treatment, freestanding walls that extend the architecture into the site, and decorative metal screens to veil mechanical equipment.

Organized around open offices, the interior layout affords all employees a comfortable working environment that maximizes natural lighting via additional windows, a striking two-story glass entry, a new central skylight, enlarged northfacing windows, and glass walls in private offices and conference rooms. New glass garage doors replace existing garage doors for the remodeled employee lunch area, providing access to natural ventilation and exterior seating. Exterior sunshades reduce potential glare and aid light control. Overhangs, recesses, interior blinds and shades, tinted windows, white translucent skylight glazing and a new central stairwell combine to diffuse light into the building core.

Lighter paint colors for walls and ceilings and the integration of automatic daylighting controls and a lighting system ensure even illumination. Color splashes, playful graphics, video screens and focal points sustain visual interest, and provide contrast and balance to the deliberately subdued palette. An example: three dramatic red prints at the top of the lobby stair, which are actual enlargements of daylight studies developed for the LEED analysis.

Green building design also includes: bike racks and changing rooms with showers and lockers; reducing overall hardscape to minimize the heat island effect; increasing ventilation by 30 percent; water efficiencies that reduce use by 33 percent; 83 percent Energy Star®rated appliances and equipment; using rapidly renewable and recycled-content materials; reusing existing furniture; and using low VOC-emitting materials throughout.          

Above Left: The new lobby stair suspends from existing steel beams; red prints at the top of the stairs are floorplan enlargements of the actual LEED daylight calculation submittal.

Above Right: Bamboo panels, sliding doors and cabinets add warmth to the exposed steel lobby.

Facing Page TOP LEFT: Aluminum sunshades wrap the new corner lobby, which has multiple sliding glass doors that open to the entry plaza.

Facing Page TOP Right: The entry door is framed by an aluminum and glass canopy that cantilevers out from the colored concrete accent wall.

Facing Page Bottom: New glazed roll-up doors replace existing garage service doors and open the lunchroom to adjacent patios.

Photographs by Whittaker Photography

Bay Bridge East Span MacDonald Architects

In a region long recognized and extolled for its stunning bridges, the new east span of the Bay Bridge will not only provide an enhanced essential circulation artery and harmonious addition to the Bay Area’s family of bridges but also a technical marvel. Representing the world’s largest self-anchored suspension bridge upon completion in 2013—as well as the first bridge of its type constructed with a single tower—the Bay Bridge East Span design combines superior seismic safety elements with a streamlined appearance and graceful aesthetics that define a signature civic structure.

MacDonald Architects, in collaboration with New York-based bridge engineering firm Weidlinger Associates, utilized decades of invaluable bridge project experience to procure the winning conceptual design for this momentous endeavor.

Facing Page: Hidden internal lighting within the bridge structure illuminates the cables, decks and towers, creating a glowing night image on the bay.

Project Design Team: Donald MacDonald, Keith Rivera, Riyad Ghannam, Ian MacDonald, Andrew Keller and Tony Yam. Rendering by Parsons Brinkerhoff, Caltrans

The MacDonald/Weidlinger design team developed 10 self-anchoring suspension conceptual bridge designs, different tower structures, cabling systems and deck profiles; these concepts were tested for structural integrity and aesthetics.

MacDonald/Weidlinger’s design was selected largely for its thoughtful detailing and its compatibility with existent Bay Area bridges, which also employ the catenary form. Moreover, its configuration as a suspension bridge affords greater flexibility during an earthquake than a cable-stayed bridge, which was the form employed in the competing design group’s entry. Through its continuity of forms and aesthetics, the new east span of the Bay Bridge will complete a necklace of forms outlining San Francisco Bay.

A single 570-foot-tall tower, which matches the height of corresponding towers on the bridge’s west span to form a matching silhouette across the bay, will support the main cables along either side of the outside decks. This grand, lighted element will create a tent-like aura that will glow at night and serve as a cathedral of light and a gateway to Oakland. Collectively, lights from tunnel to touchdown will form one consistent, resplendent line across the bay, serving as decoration and safety elements. Concrete throughout the bridge will be painted white to further unify the structure, emphasize shadows and cast an illuminated white image across the bay.

Unlike the current east span, which features five lanes of traffic atop five opposing lanes contained within a steel framework, the new design places five eastbound lanes of traffic and four service lanes parallel to five westbound lanes with a separation in the middle. Breaking down the scale of this large mass introduces light between the decks down to the surface of the water and enables commuters to enjoy compelling views to the surrounding east bay hillsides from all vantages. Another unique feature is the scaling of various bridge elements and signage based on the public’s perception from multiple views; how fast a viewer is moving will dictate the level of detail. For example, the view by boat is tailored to the water’s point of view; by car, for drivers traveling quickly by; by airplane, for panoramic images across the Bay; by foot, for greater detail as pedestrians travel slowly. These tailor-made signs will be positioned to navigate drivers, riders and pedestrians across the bridge in a practical manner they can comprehend. Meticulously planned and designed, the new east span of the Bay Bridge emphasizes the pertinent role architects must take in designing all aspects of our built environment, including infrastructure.          

Right: Differing views and perspectives present unique bridge experiences; the vocabulary of elements in the skyway piers emulates the legs of the main tower.

Rendering by Caltrans Facing Page Top: Depicted to the east toward Yerba Buena Island, the bridge’s main span will afford enhanced Bay Area transit opportunities.

Rendering by Caltrans Facing Page Bottom Left: The tower’s main support cables are part of a grand cable system that creates a tent-like aura, which serves as a cathedral of light at night and a gateway to Oakland.

Rendering by Caltrans Facing Page Bottom Right: The main span utilizes horizontal elements, link beams, between the tower legs as sacrificial structures to dampen the effects of a seismic event.

Rendering by Caltrans

Bike Arc: A Modular Bike Park System Joseph Bellomo Architects, Inc.

Innovative, sustainable and sculptural, the Bike Arc system just might be the smartest idea to hit transportation since the bicycle, itself. Born out of a shared reverence for the bicycle and the environment, the design evolved from the collaborative efforts of celebrated U.S. bicycle advocate Jeff Selzer and Joseph Bellomo, an architect renowned for his leadership in holistic, green design.

Jeff’s desire to honor the bicycle coupled with Joseph’s commitment to sustainable design and their mutual commitment to leaving a light footprint catalyzed the Bike Arc’s design. Addressing the flaws in traditional bike racks and the more sophisticated storage systems in bike stations, the duo proposed a structure that would protect both the bicycle and the user, with ample support for a variety of bicycle styles, and no moving parts.

Above: The Half Arc offers ample storage and protection from the elements while maximizing sight lines and space.

Project Design Team: Jeff Selzer, Joseph Bellomo and Taraneh Naddafi.

Rendering by Joseph Bellomo Architects, Inc. Facing Page: The original Bike Arc offers complete protection from weather and theft, allowing multiple riders to store their bicycles easily and safely—all within one parking space.

Rendering by Joseph Bellomo Architects, Inc.

The original design, the Bike Arc, was a semi-opaque, perforated polycarbonate covered steel rib tube structure, small enough to fit in one parking space yet large enough to hold 20 bicycles. Riders could join a group, enter the tube with a fob, and store their bicycles easily, secure in the knowledge that they would be protected both from the elements and from potential thieves. However, because they were launching the prototype in Palo Alto, where parking is at a premium, the designers refined the design, creating multiple iterations of the same fundamental concept: a modular structure of steel ribs.

Inspired by its essential fluidity, Joseph developed the structure to relate to the bicycle’s form while minimizing its footprint while parked. The result is a steel arc onto which riders roll, hook and lock their bikes. The various Bike Arc styles are designed to serve a variety of community needs. Where seamlessly blending with the natural environment is key, the low profile “rack arc” and space-saving “umbrella arc” work best. Where protecting bicycles from prevalent inclement weather is vital, the original “bike arc” and “half arc” are the best choices.

Regardless of the community’s needs, the Bike Arc modular system lends aesthetic and practical value.

In addition to benefitting existing cyclists, the Bike Arc’s simplicity and security encourages would-be cyclists to dust off their helmets and bike to class, work and throughout their communities. The system curtails what were once hindrances to bicycle commuting—bad weather, suspect safety and lack of adequate storage—making a widespread green transportation movement more realistic. That they are so interesting looking makes them an attractive solution for campuses, urban master plans and city park projects, as does their surprisingly low cost. Indeed, this latter benefit has inspired Joseph to conceive of a tubular affordable housing project. These modular designs are part of Bellomo Architects’ proposal for the KA2020 project on the big island of Hawaii and are gathering interest among organizations dedicated to finding housing solutions where the most affordable, off-the-grid modular housing is needed.

The creators continue to build on the Bike Arc concept, working with photovoltaic technology and affordable materials. Their passion for the Bike Arc is contagious, and the design’s potential for far-reaching value is infinite.         

Right: Rac Arc creates a graceful silhouette against the downtown Palo Alto skyline, appearing almost an indigenous part of the landscape.

Photograph by Stirling Elmendorf Facing Page Top: Derived from the Bike Arc, the House Arc is a uniquely sustainable and affordable housing solution concept. Powered by photovoltaics, the eco-friendly design has the potential to mitigate housing shortages in third-world countries.

Rendering by Joseph Bellomo Architects, Inc. Facing Page Bottom Left: Beautiful and sculptural, the Umbrella Arc serves both as a protective storage system and a visually interesting addition to the landscape.

Rendering by Joseph Bellomo Architects, Inc. Facing Page Bottom Right: Able to cantilever over landscape structures, the Rac Arc is an effective replacement for the more cumbersome and space-consuming traditional bike rack.

Photograph by Stirling Elmendorf

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