form magazine - pioneering design - nov/dec 2010
DESCRIPTION
For architects, interior designers, designers, engineers and others pushing and challenging architecture and design. Industry Partners: AIA Los Angeles, IIDA Southern California, ASID Los Angeles and USGBC Los Angeles. Distributed regionally, nationally and online.TRANSCRIPT
a publication of balcony Media, inc.
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MAG 100 NBAR .0130 BWA -0.0010 November December 2010
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Designing for the senses
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F U L L E R T O N • S A N T A M O N I C A • S A N D I E G O • S A N F R A N C I S C O • P H O E N I X • L A S V E G A S • P O R T L A N D • D E N V E R
The Architect ’s Choice specceramics.com | ecospectile.com | specveneer.com
Corporate Office 800-449-7732
Santa Monica Design Library 310-450-7732
San Francisco Design Library 415-701-0500
San Diego Design Library 619-518-7847
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F U L L E R T O N • S A N T A M O N I C A • S A N D I E G O • S A N F R A N C I S C O • P H O E N I X • L A S V E G A S • P O R T L A N D • D E N V E R
The Architect ’s Choice specceramics.com | ecospectile.com | specveneer.com
Corporate Office 800-449-7732
Santa Monica Design Library 310-450-7732
San Francisco Design Library 415-701-0500
San Diego Design Library 619-518-7847
Renovate rather than rebuild.
Redefine your space with innovative thin Porcelain veneer tile. Reduce the cost of materials and the environmental impact. Reuse your existing floors and walls without demolition.
INNOVATIVE | V IS IONARYSUSTAINABLE | FUNCTIONAL
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HINERFELD WARD, INC.Los Angeles 310.842.7929www.hinerfeld-ward.comBUILDING IMAGINATION
Len-tic-u-lar-isDesigned by Hitoshi AbeFabricated by Andreas FroechInstalled by Hinerfeld Ward, Inc.
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november/december 2010
departments 6 events
8 editor’s note
10 showroom Newrugslendstyleunderfoot
12 news and reviews
14 10 in 20 ArchitectChrisDowney discussesdesigningblind
16 workbook Aprojectforeachofthesenses
44 beyond the grid Beatingnoisepollution indense,urbandesign
features 30 all in good taste AIA/LA’sRestaurantDesignAward winnersofferdeliciousdécor BYMICHAELWEBB
36 the garden of earthly delights
Vibrantplantingscometolife nexttoaquietcolumbarium BYJENNIFERQUAIL
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HINERFELD WARD, INC.Los Angeles 310.842.7929www.hinerfeld-ward.comBUILDING IMAGINATION
Len-tic-u-lar-isDesigned by Hitoshi AbeFabricated by Andreas FroechInstalled by Hinerfeld Ward, Inc. 3
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ceo/Publisher AnnGray,FAIALEEDAP
editor in chief AlexiDrosu [email protected]
managing editor CarenKurlander [email protected]
associate Publisher JoeCloninger [email protected]
art direction + design studiofuse.biz
office manager SheilaMendes-Coleman [email protected]
Publishing interns LisaKraege TaylorGriggs
contributing writers JenniferQuail MichaelWebb
Printing NavigatorCross-media
reprints PeterShamray NavigatorCross-media 626.222.5646 [email protected]
advertising inquiries 818.551.1073
512E.WilsonAvenue,Suite213,Glendale,California91206
818.956.5313|FORMmag.net
form(ISSN0885-7377)ispublishedbimonthlybyBalconyMedia,Inc.PrincipalOffice: Balcony Media, Inc., 512 E. Wilson Avenue, Suite 213, Glendale,California91206.©BalconyMedia,Inc.2010.Allrightsreserved.Reproductioninwholeorinpartwithoutwrittenpermissionisprohibited.FORMandtheFORMlogotypedesignareprotectedthroughtrademarkregistrationintheUnitedStates.PrintedinKorea.
subscription: Thebasicrateforaone-yearsubscriptiontoFORMis$35(AIA/LA,USGBC-LA, ASID/LA and IIDA So Cal members subscription included inmembership).Singlecopyprice$6.95.Subscribers:IfthePostalServicealertsusthatyourmagazineisundeliverable,wehavenofurtherobligationunlesswereceive a corrected address within six months. Postmaster: Send addresschanges to FORM, 512 East Wilson Avenue, Suite 213, Glendale, California91206.Wemakeaportionofourmailinglistavailabletoreputablethirdparties.Forcustomerserviceandsubscriptionsortorequestthatyournameberemovedfromourmailinglist,pleasevisitourwebsiteorcontactourofficeinGlendale,CA.
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subscribe 818.956.5313formmag.net/newrenew
industry partners/readership
Cover:PhotographbyDonFogg
FORMND10 Body_opt.indd 4 10/2/10 1:53 PM
form events
form Celebrates the Worldat the Palecek showroomInhonorofFORM’sJuly/AugustInternationalissue,Palecekhostedapartyatits
showroomindowntown’sL.A.MartDesignCenter,whichco-sponsoredthe
eventwithAQUAOVOOVOPURwaterfilters.USCprofessoranddocumentary
filmmaker Mina Chow presented exclusive images from her recent trip to
ShanghaifortheExpo2010andled,alongwithhercrew,alivelydiscussionon
the national pavilions. Palecek set up an Asian-inspired buffet among the
company’shandcraftedsustainablefurnishings,andbeveragesweresupplied
byco-sponsorsPAMApomegranateliquer,HpnotiqandHonestTea.
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Thursday, November 18, 6:30-9 PM at seven Grand 515 West 7th st., 2nd Floor, Downtown LA 90014seven Grand, a premium whiskey bar built from the bones of the landmark Brock & Co. Jewelers building. designed by Kelly architects.
featuring a discussion with 2010 aIa Los angeles restaurant design award winner George Kelly, aIa of Kelly architects. seven Grand event drink specials.
Please rSVP to [email protected] name, title, company, phone and email.
Space is limited.
DesiGNiNG FOr THe seNsesIssue event
K E L LY A R C H I T E C T S
Fran
cisc
oA
rcau
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The Varnish, Downtown Los AngelesKelly Architects & ricki Kline owner: 213 Ventures2010 AIA/LA rDA People’s ChoiceBar/Lounge Category
NOT ON Our MAiLiNG LisT? sign up at FOrMmag.netBaLCony medIa, InC.
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as the year rolls to a close, we begin to enter a festive season of celebration and thanks. during this time, we see colorful decorations, we smell the aroma of turkey and apple pie, we speak and hear laughter and song, and we feel our closeness. this stimulation of the senses augments our expe-riences and helps embed them into our memories. and the engagement of sight, sound, smell, taste and touch can be applied to design, as well.
Inthisissue,weexplorehowdesigncancreatea
multi-layeredexperience thatengagesall the
senses. Our feature, “The Garden of Earthly
Delights”(p.36),exploresSusanNarduli’sjourney
toawakenthem.Sheincorporatedthesmooth-
nessofstone,thesoundofgravel,andthescent
ofherbstoengagethevisitorsotheyarepresent
intheirenvironment.Sightandsmellalsoplay
an integral role inaugmenting the flavorsof
cuisine, so the way a restaurant is designed
canaffectthetasteofthefood. Inourannual
celebrationof theAIA/LARestaurantAwards,
writerMichaelWebbrevealsthejuicymorselsthathelpcomplementthesenses.
Butwhathappenswhenonesenseislacking?ArchitectChrisDowneywentblind
afterhavingatumorremoved,butundauntedhecontinuedtopracticetakinga
deficitandturningitintoanasset(p.14).Onaseparatenote,Iwouldliketosend
mypersonalthankstothedesigncommunityforsupportingmeastheeditorof
FORMoverthelasttwoyears.Withthisissue,Iwillbepassingthereignstoour
neweditor-in-chief,CarenKurlander.Let’stoasttoaneweditor,anewyearand
newbeginnings.Cheers!
Eric
Ro
th
edItor’s note
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showroom
floor Show new rugs offer visual interest in a tactile palette
angela adams, Birds of paradisePortland,Maine,rugdesignerAngelaAdamsoftenlookstonaturefor
inspirationinherpatterns.BirdsofParadise,oneofthenewestdesigns
inherhand-wovenlineofNewZealand-woolrugs,paystributetothe
“beautiful,colorfulbirdsthatcreateelaboratenestsanddancefloorsto
wootheirloveinterests,”Adamssays.Theflatweavecarpetstartsat$349
fora3'x5'andgoesto$1,950fora9'x12'.more information:800.255.9454orwww.angelaadams.com
Kyle Bunting, mirage by Jiun hoSanFranciscofurnitureandinteriordesigner
Jiun Ho is debuting a line of textured rugs
withtheAustin,Texas,companyKyleBunting.
Ho’s four designs—featuring overlapping
diamonds,Moroccan-inspiredstarsandinter-
lockingY-shapes insofthair-on-hide—take
advantageofBunting’sprecisemethodsfor
creating intricate patterns out of cowhide.
Mirage can be ordered, through David
SutherlandinLosAngeles,inanysizeandany
combination of more than sixty hand-dyed
colors,startingat$98persquarefoot.
more information: 512.264.1148or
www.kylebunting.com
mansour modern, Ibiza MansourModern,thecontemporaryarmof
thevenerableantiquerugpurveyorMansour,
ismakingacolorfulintroductionwithitsnew
HauteBohemiancollection. Instartlinghot
pinksandvibrantaquas,therugs,anodto
TalithaGettyin1960sMorocco,representa
strikingdeparture fromthemoresubdued
palettesofpastcollections.Ibiza,available
incolorcombinationsofaquaorrubyand
priced at $5,800 for a 6'x9', is made with
vintagefibersandyarns.
more information: 310.652.1121or
www.mansourmodern.com
the rug Company, mixed metals 24K by david rockwellFor its latest collection, The Rug Company
has teamed with New York architect David
RockwelloftheRockwellGroup. Increating
hisline,thearchitectreferencedhistheatrical
set designs, vintage kaleidoscopes and
abstract geometric shapes. Mixed Metals
24K is hand-knotted of Tibetan wool and
silkintooverlappingsquaresofvaryingpile
heightsforarich,tactilefeelunderfoot.The
carpet,pricedat$9,450 fora9'x6',canbe
custom-madeinanysizeorcolor.
more information: 800.644.3963or
www.therugcompany.info
As Herman Miller’s Design Director, George Nelson was involved in the hiring of iconic designers Charles Eames and Isamu Noguchi - launching the modern era of the Herman Miller brand.
Nelson and his team were driven by a simple philosophy of design:1. What you make is important. 2. Design is an integral part of business.3. The product must be honest. 4. You decide what you make. 5. There is a market for good design.
JSA is driven to continue the tradition. Insist on buying originals.
A HermanMiller® Come Back
Representing the Finest in Classic and ContemporaryFurnishings for Home, Office and Public Spaces
8833 Beverly Blvd., Los Angeles, CA 90048 310.274.7243 julesseltzer.com
Herman Miller proudly reintroduces the George Nelson Basic Casegoods Series and variations of the Nelson Bench unit. 1946-49
jsa_form_0910.indd 1 9/28/10 7:27 AM
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As Herman Miller’s Design Director, George Nelson was involved in the hiring of iconic designers Charles Eames and Isamu Noguchi - launching the modern era of the Herman Miller brand.
Nelson and his team were driven by a simple philosophy of design:1. What you make is important. 2. Design is an integral part of business.3. The product must be honest. 4. You decide what you make. 5. There is a market for good design.
JSA is driven to continue the tradition. Insist on buying originals.
A HermanMiller® Come Back
Representing the Finest in Classic and ContemporaryFurnishings for Home, Office and Public Spaces
8833 Beverly Blvd., Los Angeles, CA 90048 310.274.7243 julesseltzer.com
Herman Miller proudly reintroduces the George Nelson Basic Casegoods Series and variations of the Nelson Bench unit. 1946-49
jsa_form_0910.indd 1 9/28/10 7:27 AMFORMND10 Body_opt.indd 11 10/2/10 1:54 PM
news and revIews
taizo kurodaBy philip Jodidio, prestel, $65;www.prestel.com Issey Miyake and Tadao Ando contribute brief
notesofappreciationtothisdazzlingstudyofa
Japanese potter whose work is timeless but
deeply rooted in tradition. For the past three
decades,Kurodahassatathiswheelinaremote
studio,shapingunglazedwhiteporcelainvessels,
eachamasterpieceofceramicartistry.Onlyin
Japan,perhaps,couldanartistbesofocusedona
singlethemeandthesubtlevariationsitcanyield.
Thebookisaselegantastheworkitcontains,and
Kurodatriestoelucidatethemysteriesofminimal
piecesthatcontainaworldofmeaning.
rafael moneo: remarks on 21 works By rafael moneo, monacelli press, $75;www.monacellipress.com Fewimportantarchitectsexpressthemselvesas
lucidlyasRafaelMoneo,whocombinesadeep
feelingforplacewiththerigorofaJesuiteducation.
There’sawealthofinsightinthesereflectionson
thecreationofpublicandinstitutionalbuildings,
mostlyinSpainbutalsoinMassachusetts,Texas
andhereinL.A.TheCathedralofOurLadyofthe
Angelsfallsfarshortofhisvision,draggeddown
byacardinalwhoisadisgracetohisoffice,but
BooK revIews
a5 los angeles: architecture, interiors, lifestyle edited by Casey C.m. mathewson and ann videriksenforeword by frances anderton, oro editions, $60; www.oroeditions.comThisusefulportfolioofrecentprojectsby22tal-
entedL.A.firmswaseditedbyCaseyMathewson,
a Californian who now works in Berlin, in
associationwithAnnVideriksen,andisenriched
byFrancesAnderton’sperceptiveintroduction.
ThechoicesrangefromveteranssuchasBarton
MyersandRayKappetonewcomersthatinclude
wHYArchitecture,MinarcandXTENArchitects.
It’sflawedbytheomissionofsuchmajorfirms
asMorphosis,MichaelMaltzanandDalyGenik,
andbytheinclusionofprojectsasfarremoved
fromsouthernCaliforniaasDubai,Moroccoand
Argentina. A bigger failing is the editors’ bias
towardsorthogonalforms,scantingmoreexu-
berantanddaringapproachestodesign—much
asJohnEntenzamanifestedinhisselectionof
architects for the Case Study House program.
TheHeliosHousegasstationofJohnstonMarklee
andOfficedAfeaturedonthedustjacketisan
atypicalselection.
spotLIGht
greening downtown l.a. Los Angeles has one-fourth the green open
spaceofNewYorkCity,andmostresidentslive
farfromapublicpark.Goodreasontoapplaud
Rios Clementi Hale Studios’ design for the 12-
acreL.A.CivicParkthatbrokegroundinJuly.It’s
the only piece of the Grand Avenue Plan that
wasnotkilled(orputonindefinitehold)bythe
recession, and it promises to breathe life into
thesterilecorridoroftheCivicCenter.Incontrast
to Pershing Square, which was over-designed
andisunderutilized,thistraffic-freeoasishasa
morenaturalfeelandshouldbethrongedwith
employeesfromthebureaucraticbarracksthat
encloseit.LikeNewYork’sBryantParkitisanideal
location for cafes and outdoor programming to
complementpassiveusage.Stillmoreexcitingis
therecentlyannouncedmasterplan fora125-
acreparkonthesiteof thePiggybackYardon
theeasternedgeofdowntown:acollaborative
venturetoregeneratetheL.A.River.
thephotographsbyMichaelMorancastawarm
glow over this flawed achievement as they do
overthejewelshecreatedelsewhere.
–Michael Webb
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[email protected] · po box 441 tujunga, ca 91043p 818.353.7030 · p 310.979.9002 · f 818.353.6837
www.formlainc.com · CL #746838
FormLA creates and maintains distinctive, inviting community spaces and residential landscapes. Our sustainable practices and products protect health and safety, while providing beautifully clean and vibrant outdoor living spaces.
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formLA-Ad-JulyAug-4x10.25.indd 1 5/12/10 12:00 PM
[email protected] · po box 441 tujunga, ca 91043p 818.353.7030 · p 310.979.9002 · f 818.353.6837
www.formlainc.com · CL #746838
FormLA creates and maintains distinctive, inviting community spaces and residential landscapes. Our sustainable practices and products protect health and safety, while providing beautifully clean and vibrant outdoor living spaces.
®
DESIGN.BUILD.
SUSTAIN.TM
Form.SO10.all_Layout 1 7/23/10 4:30 PM Page
“KITCHEN CENTRIC by internationally-known kitchen designer
Mick De Giulio, puts a new spin on the kitchen design book, offering readers an art book, a fantasy book, and a bit of field guide.”
Mick De Giuliowith Karen Klages Grace Introduction by Christopher G. Kennedy
New from Balcony Press256pp hardcover $65
www.balconypress.com
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“I think of things more experientially now. I’m very mindful of designing with a full set of sensory design intentions.”
10 In 20
How did you lose your sight?
I lost it inMarchof2008duringsurgeryto
removeabraintumorthathadbeenlocated
at the optic nerve. I had been practicing
architecture for twenty years prior to that.
I knew I wanted to continue; it was really
justaquestionofhow.
How did you do it?
One of the things suggested through my
rehabilitation services, was that I get an
embossing printer. It prints embossed
drawingsonsixteen-inch-widerolls,andit’s
basically like Braille. We create a PDF of
drawings that the staff is working on, and I
take that PDF and print it through the
embossingprinter.Theline-workbecomesa
raised series of dots. It also conveys line
weightssoyougetagoodbitofinformation,
whichIcanfeelthroughmyfingertips.
What other technologies or techniques
have you found helpful?
Theonerealshortcoming I’ve found is the
inability to create drawings myself in the
computer. So I use Wikki Stix, little waxed
sticks, which are really a toy for kids, and
draw with those. It’s a common thing for
architectstounrolltracingpaperontopof
adrawingandthensketchontopofit.Ijust
use these wax sticks and draw directly on
topoftheembosseddrawings.Itgivesmea
waytointerfaceactivelywiththedesign.
How has the way you experience
architecture changed?
Eighty percent of your sensory input is
visual,andafterthatyouhavehearingand
touch relative to the built environment.To
architect Chris downey, aIa, founder of architecture for the Blind, discusses designing and experiencing buildings without seeing them
Sight Unseen
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experience a building without sight, you
become far more conscious of acoustical
andtactileinformation.
How do the acoustics help you understand
the space?
It’s interesting when you can hear the space
around you. In a big echo-y space you get a
sense of how large it is. One time I felt the
inverseofthatwasattheKimballArtMuseum.
Youdon’twanttohavealotofnoisedisturbing
youasyoustudytheart,andtheydidasuperb
job of controlling the acoustics. I thought it
would be clear to me if I was in one of the
largevaultsorunderoneofthelowerceiling
areas,buttherewasabsolutelynodifference.
Thesoundwascompletelyflat.Atonepoint,
I stepped outdoors into one of the vaulted
spaces, where they didn’t have the acoustic
treatment,andwithonetapofthecaneIcould
heartheentirelengthofthevault.
How did the acoustics effect your
experience of the space?
Itmadeitdifficulttomovethrough.ButLouis
Kahnhadusedwoodflooringsurroundedby
bandsoftravertine,andthetravertinewason
thestructuralgridofthebuilding.Thatstarted
tomarkthespacesoIcouldunderstandit.It
was nothing he’d done as any sort of cue, it
wasjustpartofthedesign.Itmademerealize
that we think of design elements as visual,
buttheycanalsohavetactilevalue.
Has losing your sight changed the way
you work with materials?
Just as you can set things up in contrast
visually, you can set things up in contrast
throughtactilequalities.Andthat’ssomething
that’s become more significant to me. If
there’sreasontohaveacolortransitionfrom
onespacetoanother,thenwhynotachange
inthetextureofthematerial?
Has your design approach changed?
Ithinkofthingsmoreexperientiallynow.I’m
very mindful of designing with a full set of
sensory design intentions. Something that
I’vebecomemoreinterestedinisanticipating
where you first touch a building. The door
handles at the American Folk Art Museum
areverydistinct.Yougrabthemandallofa
sudden you sense a level of care and craft.
I’vecometothinkofthemasthehandshake
ofthebuilding.Buttherearethoseplaces—
like a door, a handrail, a reception desk, an
overlook in an atrium—where you know
peoplearegoingtointeractdirectlywiththe
building, and you can use it as part of the
designchallenge.
Is architecture still about function and
aesthetics for you?
There’s definitely a functional challenge to
getting around a large building. Getting
aroundahomeisverysimple;it’saveryfinite
space. But within the residential scale there’s
opportunityforareallyrichenvironmentwith
allsortsofdetails.Ireallydothinkyoucanhave
astrongsenseofaestheticswithoutsight.
What are you working on now?
Currently,I’mworkingasadesignconsultant
toSmithGroupinassociationwithTheDesign
Partnership, LLP, on the VA Rehabilitation
CenterfortheVAHealthCareSystemonthe
PaloAlto,CA,campus.Thatprojectmademe
realizethattherewasvalueinmyblindness.
Architectsarenottrainedtodesignbuildings
forpeoplewhocan’tseethem.Sointhiscon-
text,therewasalotofinsightIcouldbringto
theteam.Thatpointedanewdirectionforme.
–Interview by Caren Kurlander
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opposite:ArchitectChrisDowneyuseshisfingertipstoreadplansfromanembossingprinter,whichtranslatesinformationfromaPDFtoaseriesofraiseddotsinvaryingweights.above:Downey,workingasaconsultanttoSmithGroupandTheDesignPartnership,LLP,bringsauniquecombinationofpersonalexperienceandarchitecturalexpertisetothedesignofthenewVARehabilitationCenterfortheVAHealthCareSystemPaloAlto,CA,Campus.
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worKBooK
The Fab Fiveexploring the senses through design, one at a time
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TOUCH
W retreat Koh Samui SpaDesigner: mAPS Design and P49 DeesignLocation: Koh Samui, ThailandWebsite: www.whotels.com/kohsamui
With the opening of the new W Retreat Koh
Samui, Southeast Asia will get its first Thaimazcal
facility—foratreatmentcombiningaMexican-style
steam bath with Thai ingredients—as part of the
hotel’s signature aWay Spa. The freestanding
pavilion was inspired by the limestone cliffs in
Southern Thailand, says architect Tan Hock Beng,
principal of MAPS Design, the architecture firm
behind the hotel. “We envisioned a cavern-like
structure that’s in harmony with the treatment
offered.” In keeping with that direction, P49 Dee-
sign, who is handling the hotel’s interior design,
selectedrough-hewnmaterialsthatwillunderscore
the cave-like environment. “The interior will be
madefromacementrenderthatwillbescrapedfora
rawtexture,” says the firm’s partner Carl Almeida.
Boulder-likemarbleslabswillbeusedasseatingand
to cover the steam generator, while recessed LED
lightswillappeartopiercetheceiling.
“Woodwillbeusedextensivelyinthespa,”continues
Almeida, “for a driftwood aesthetic.” Tabak-wood
floorsandteakwallswillframetheconsultingroom,
where strands of hanging fabric will create sheer
spacedividers.Syntheticrattanscreenswilllinethe
wallsoftheindividualtreatmentrooms,andasoaring
teakceilingwillcovertheopen-aircafé.“Theclimate
allows for a seamless demarcation of the exterior
and interior,” saysBeng. “Wecanexperience, feel
andtouchthetropicalenvironment.”
RenderingscourtesyofWRetreatKohSamui
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Trash 4 Teaching
Military Entrance Processing Station Los Angeles
Herman Miller Los Angeles Showroom
Renaissance Tower Apartments
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InternatIonal InterIor DesIgn assocIatIon soUtHern calIFornIa cHaPter
presents
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C A LIBR E AWA R DS
Honoring Design excellence, consultant teams
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call For entrIesDue January 2011
gal a eventFriday, May 13, 2011
THE HyaTT REgEncy cEnTURy PLaZa HOTEL2025 Avenue of the Stars
Los Angeles, 90067
For more information visit www.iida-socal.org or call 213.747.2391
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Trash 4 Teaching
Military Entrance Processing Station Los Angeles
Herman Miller Los Angeles Showroom
Renaissance Tower Apartments
Cathay Bank
Carl Zeiss Vision, Inc. Headquarters
InternatIonal InterIor DesIgn assocIatIon soUtHern calIFornIa cHaPter
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Honoring Design excellence, consultant teams
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call For entrIesDue January 2011
gal a eventFriday, May 13, 2011
THE HyaTT REgEncy cEnTURy PLaZa HOTEL2025 Avenue of the Stars
Los Angeles, 90067
For more information visit www.iida-socal.org or call 213.747.2391
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Xi’an Scent Garden Location: Xi’an, ChinaDesigner: University of Toronto
Xi’an, a city in China’s Shaanxi province most
famously known as the home to the Terracotta
Warriors, is turning over 100,000 square feet of
desolate landscape in its Chanba district to the USC
American Academy in China. In return, USC is
curating a permanent installation of ten distinct
gardens by ten different universities under the
theme “Creative Nature.” The gardens will be
completed by April for the opening of the 2011
Xi’an World Horticultural Expo.
The University of Toronto is expressing that theme
through its Scent Garden. “Design tends to emphasize
the visual,” says Rodolphe el-Khoury, who is a
professor with the university and a partner with the
Toronto firm Khoury Levit Fong. “We saw in the
garden an opportunity to challenge the prevailing
domination of the eye.” As such, the long, narrow
site will be landscaped with pine trees—in tribute to
the ancient city’s historic gardens—thyme and
rosemary. In addition to the natural aroma created
by the plantings, the university team will position
scent poles along the garden for another layer of
fragrance. The stainless steel poles will contain
integrated scent cartridges and LED lights, which
will diffuse scent and light when activated by a
breeze or a fan. “The scent poles assist nature with
artificial accents,” says el-Khoury. “They tell a different
story with fragrances from different regions of
China.” A glass pavilion will be constructed as a
boutique, where samples of the scents will be sold.
Renderings courtesy of University of Toronto
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Dr. Phillips Center for the Performing Arts Location: orlando, floridaDesigner: Barton myers AssociatesWebsite: www.bartonmyers.com
“Theater is about creating an ambiance, an
excitement and building up anticipation,” says
architectBartonMyers,FAIA.“Anditbeginswiththe
arrival.” IndesigningtheDr.PhillipsCenterforthe
Performing Arts in Orlando, Florida, the architect,
working with HKS Architects and Baker Barrios
Architects,createdadramaticsenseofarrivalwitha
massive canopy roof, which will cantilever one
hundredfeet inonedirectionandsixty-fiveinthe
other.“It’smodeledaftertheAmericanAirlines747
hangars here in Los Angeles,” he says. The light-
weightsteelstructurewillofferanimposingfaçade
andshadefromtheFloridasun.
Inside,thecenterwillhavethreeseparateperfor-
mance spaces branching off a 350-foot lobby. A
masonry“wavewall”willcurveitswaythroughthe
lobby to add visual interest and help contain
acoustics. The theaters will include a 2,700-seat
amplifiedhall,a300-seatstudiotheateranda1,600-
seatmultiformroom,whichwillshiftfromaconcert
halltoanoperahouse.“I’velongpushedtousewood
intheserooms,”saysMyers.“There’sapsychological
connectionbetweenwoodandwarmth,andpeople
who are warm hear better.” The concert hall will
utilizelightcherryonthebalconyfrontsandback
walls, and the larger room will have a darker
mahoganyalongthesidewalls.Anadditionalspace
plannedforperformancesisthelargeentryplaza.
Thepublicoutdoorsquare,oppositecityhall,will
serveasavenueforupto5,000patrons.
RenderingsbyCraigMullins/Goodbrush.com
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FORMOCT2010SPARK_Form 9/7/10 4:12 PM Page 1
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modern firesFires That Inspire As the leader in modern gasfireplaces, our mission is to offer fires that inspire. Whether indoor or outdoor,from 2’ to 8’, vented or vent-free, our award-winning fireplaces create relaxedgathering spaces. See our photo gallery of inspirational installations atwww.sparkfires.com or contact us directly at 866.938.3846
FORMOCT2010SPARK_Form 9/7/10 4:12 PM Page 1
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Chalon residence Location: Los Angeles, CADesigner: Belzberg ArchitectsWebsite: www.belzbergarchitects.com
IntransformingatraditionalhillsideLosAngeles
houseintoacontemporaryindoor/outdoorresidence,
HagyBelzberg,FAIA,ofBelzbergArchitectsengaged
the site’s panoramic vistas from the first point of
entry.“Thebasicstrategywasthatassoonasyou
entered the house, you’d be drawn through via
thesegiantwallsofglass,”Belzbergexplains.“The
view was used as a visual suction.” The architect
createdaclearsight linethroughthestructureby
takingdownsolidwallsthatinterruptedtheviewsand
addinginmassiveslidingglasspanels,connectingthe
livingroomwiththebackoftheproperty,whichwas
alsoreconfiguredwiththesamegoal.
Theglasspanelsslideawaytoanoutdoorsitting
area, which is sheltered by a deep overhang. An
expansivedeckstretchesfromthesittingareatothe
swimming pool and beyond, where the architect
plantedasectionofgrasstocontinuethesurface.
Thedeck,builtonahorizontalsteelframesupported
by a concrete base, appears to hover above the
steeplyslopingsite. “It’saplatformforviewing,”
saysBelzberg,whoencircledtheentiredeckwitha
cantileveredglassrailingsystem.“Whenyou’resitting
down,youreyegoestothehorizonimmediately.”
PhotographybyArtGray
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TASTE
Erich Sattler WineryLocation: Tadten, AustriaDesigner: Architects CollectiveWebsite: www.architectscollective.net
“TheBurgenlandregion is thewarmest inallof
Austria,”saysKurtSattler,principalandco-ownerof
ArchitectsCollective,“andthatmeanstastingsand
eventscanbeheldoutside.”Thearea’sclimatewasa
drivingfactorinthefirm’sdesignofthenewErich
SattlerWinery.Thestructure,withitsangledroofline
andexpansesofglass,createsamoderndeparture
for the small village, but sensitive siting keeps it
connected.Asthepropertywassandwichedbetween
twoexistingbuildingsandacentralcourtyardthat
neededtoremainopen,thearchitectsbuiltupward.
A rectangular-shaped first floor houses the barrel
vault, production facilities and bottle storage.
Upstairs,alargeflexiblespacecontainsthetasting
room,guestrooms,kitchenandoffice.Slidingglass
doorsopenthefloortolongterracesoneitherside,
providingcrossventilationandviews.Higherstill,
a roof terraceoverlooksvineyards, lakesandthe
foothillsoftheAlps.
The structure is made with concrete, “slow-
growingandveryresistant”Siberianwoodforthe
terraces and poplar for the interior walls, doors
andkitchen.“Thewinetastingareaneededtobe
veryflexible,”saysSattler,“inordertoaccommodate
eventsfromcasualcookingtoformalguidedtastings.”
As such, the room is often used in conjunction
withthewestterrace,whichcanseattwenty.
Photography©WolfgangThaler/CourtesyofArchitectsCollective
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Join the AIA|LA today and be part of your community.
Architects design the iconic buildings that make Los Angeles a first class city. Architects build a community.
Be part of your community. The AIA Los Angeles community.
Member benefits include:
For more information on how to join today, visit our website at www.aialosangeles.org.
- Reduced prices on AIA contract documents
- Discounts on tickets to the AIA|LA Home Tours and Design Awards Party
- AIA|LA job resource center and Work with Architects
- Participation in AIA|LA Chapter Committees
- Reduced registration rates on AIA|LA Continuing Education Courses
- Opportunities to get plugged in to City Hall
- Networking opportunities with the Los Angeles Architecture and Design Community
FORMND10 Body_opt.indd 28 10/2/10 1:55 PM
Designing for the Senses
Join the AIA|LA today and be part of your community.
Architects design the iconic buildings that make Los Angeles a first class city. Architects build a community.
Be part of your community. The AIA Los Angeles community.
Member benefits include:
For more information on how to join today, visit our website at www.aialosangeles.org.
- Reduced prices on AIA contract documents
- Discounts on tickets to the AIA|LA Home Tours and Design Awards Party
- AIA|LA job resource center and Work with Architects
- Participation in AIA|LA Chapter Committees
- Reduced registration rates on AIA|LA Continuing Education Courses
- Opportunities to get plugged in to City Hall
- Networking opportunities with the Los Angeles Architecture and Design Community
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all ingood taste
A good restAurAnt should stimulAte All the senses while focusing Attention on the food. designers must bAlAnce
a multitudeoffactors,fromtrafficflowtocomfort,acousticsandlightinglevelstoexpressandenhancethejoyof
eatingout.Easiersaidthandone,fordiners’tastesareasvariedasthemenustheyareoffered.Onesizedoesnotfit
all,andeateriesthattrytopleaseeveryoneareusuallyasdullasboiledcabbage.Themostsuccessfularecuedto
theculinaryofferings,simpleorcomplex.
That’scertainlytrueofthewinningentriesinthisyear’sAIA/LARestaurantDesignAwards,whichspannedthe
countryfromLosAngelesandSanFranciscotoNewYork,withonepopularchoiceinBoulder,Colorado.Sleekly
tailoredorunbuttoned,shadowyorsparkling,therestaurants,barsandcafesinthisselectionhaveacommon
thread:theyevokethespiritofwhattheyserve.
A sample of AiA/LA restaurant Design Award winners whets the appetite By mIChaeL weBB
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ASSEmBLEDGE+South Beverly Grill, Los Angeles, CA
TheSouthBeverlyGrilloffersgood ingredientssimplyprepared,
andthewoodsyinteriorwithitsexposedsteelcolumnsandtextured
brick wall evokes the solid quality and value of the menu. It was
commissionedbytheHillstoneRestaurantGroupasasiblingtothe
wildly popular Houston’s. Each of their properties has a family
resemblance,bornofacollaborationbetweenownersanddesignersand
acommitmenttoquality.ArchitectDavidThompsonofAssembledge+
workedwithinteriordesignerBradDunningandcontractorMinardos
Grouptocreatethiscontemporaryspinonanold-fashioneddining
club,anaptchoiceforitslocationattheedgeofBeverlyHills’sGolden
Triangle.“It’sanexerciseinsubtlety,achievingadelicatebalanceof
lightingandmaterialsthatshouldwearwellandnotgooutofdate,”
saysScottWalter,Thompson’spartnerontheproject.
Walnutandcherryareusedformassivebarsateithersideandfora
louveredscreenthatdividesthem,fortablesandtoencloseblack-leather
banquettes. Fir beams from an MTA garage were recycled for the
exposedceilingjoists.LEDsareemployedinthepinspotsthatcasta
pooloflightoneachtable,illuminatingthefoodwhileleavingdiners
inshadow,andthisenhancesthequietdramaoftheroom.Lighting
rakesareliefpatternonthebrickwall,andtheopenceilingalsoadds
tothesenseoftextureanddepth.
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EVAn DoUGLIS Choice, Brooklyn, nY
NewYorkarchitectEvanDouglispursuedadifferentstrategyfor
Choice,an informalFrenchrestaurant inBrooklyn.Best-knownfor
fusingartandtechnology(Angelenosmayrememberhiswave-form
plasticinstallationintheJeanProuveexhibitatMOCA/PDC,fiveyears
ago),Douglishascreatedaceilingandsuspendedchandeliersthat
evoketheOldWorld,agrapearborandthefoodemergingfromthe
kitchen.“It’ssuggestive,notliteral,”insiststhearchitect.“Theswirling
reliefwasinspiredbythechef’spastries,andthechandeliersresemble
a translucent jellemerging fromthecones.”Warmcove lighting
illuminatesthepostedmenu,laser-cutfromplatesofstainlesssteel,
andwashesovertheChinese-stonewallsandwalnutseating.
Douglis believes that architecture is incomplete without human
bodies,andthatitshouldofferacinematicexperience.Torealizehis
visionfortheceiling,hedesignedahexagonalplastictilethatcouldbe
mass-producedfromaCNC-milledmoldandcombinedtocreatethe
illusionofrandomcomplexity.Lengthyexperimentsfedintothefinal
design,andthechoiceofmetallicburntumberasatoneprovidesan
instantpatinaandsetsofftheblown-glasschandeliers.Openingsinthe
tilesalsoconcealsprinklersandspeakers.“Thebestrestaurantsaresensory
theater,”saysDouglis,“butthiscanberealizedinasubliminalway.”
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BCV ArCHITECTSPress Club, San francisco, CA
SanFranciscowasonceknownforitsclubbyinteriors,andChristian
vonEckartsbergofBCVArchitectshasupdatedthattraditioninthe
PressClub,awinebarthat’slocatedsouthofMarketStreetinthebase
of the Four Seasons Hotel. “We wanted to bring the wine country
experiencetothecity,andaddurbansophisticationtotheearthinessof
tastingrooms,”saysvonEckartsberg.“Allthematerialscontributetothat
evocationofthegrape,especiallythebacklitscreensofcoloredbottles
framedbywinepalletsthatcapturetheautumnaltonesofharvest.”
Eightboutiquewineriesshowcasetheirvintages inastreet-level
shop and in a succession of basement rooms that progress from
stand-upcounterstoasybariticloungetoanenclosedprivatedining
room.Board-formconcreteaddstexturetotheAmericanblackwalnut
paneling.Patternedbanquettesandphotographicenlargementsofvine
tendrilsenliventheplainsurfaces.Theceilinglightswerecustom-designed
fromImago,afabric-linedhardplasticthatcastsaflatteringglow.
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roTH SHEPPArD ArCHITECTSmodmarket, Boulder, Co
It’sa leapfromthiswineshrinetoModmarket,acoolwhitetube
servingorganicsaladsandsandwichesinaBoulder,Colorado,stripmall,
butnaturewasthepointofdepartureinboth.RothSheppardArchitects
wasinspiredbyafarmers’marketsellingproducefromarowofstalls.
Theyemphasizedthe linearityof theskinnystorefrontwitha long
counterandahundred-foot-longbanquetteonthefacingwalland
usedwhitetosetoffthewholesome,freshlypreparedingredients.
DrywallarchesoverthebambootablesandcanopiestheCorianserving
counter,whichisfacedwithwhiteAstroturf.Naturallightfromtubular
skylightswashesoverthewallsandpolishedconcretefloor.
Duringthelunchrushthere’sacheerfulbustleakintoanopen-air
marketintheinteractionofserversandcustomersliningupfortheir
orders.“Mostofourrestaurantsdistilltheessenceofthemenu,”says
designprincipalJeffSheppard,“andherewetriedtocommunicate
thepurityandhonestyofthelocallysourcedfoodstuffs.”
Inaneraofstandardizationandexcursionsintoflashiness,these
fourinteriorsstakeoutmiddleground:eachhasadistinctivecharacter
andisdesignedtoshowcase,notupstage,thekitchen.Ifyoucouldeat
décor,thesewouldprovetastytreats.
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narduli Studio awakens the senses by juxtaposing a vibrant garden with a sculptural columbarium By JennIfer QuaIL
ArchitectSusanNarduli’sGardenoftheSensesatChapmanUniversity’s
FishInterfaithCenterstimulatesthesensesthrougharchitecture
andlandscape.opposite:Fragrantherbsgrowuntendedbetween
stonepaversandreleasetheirscentasvisitorswalkthroughthe
space. left: Smooth blue marble reflects the sky, and narrow
stone pavers form an asymmetrical pathway through brittle
gravelintherestrainedcolumbarium.
“by its nAture, A gArden engAges All of our senses,” sAys Architect
SusanNarduli,principaloftheinterdisciplinarydesignfirmNarduliStudio
inLosAngeles.“Beingalive,withresilientpurposesquiteindependent
ofhumanintention,agardenallowsustotranscendourselves.”
The architect, who worked as a project designer for Frank Gehry
beforeopeningherownfirm,putthattheorytoworkindesigningthe
award-winningColumbariumandGardenoftheSensesatChapman
University’sWallaceAllFaithsChapelattheFishInterfaithCenter.Drawing
onherpreviousworkasasculptorandinstallationartist,Nardulisetout
to affect both “an emotional and intuitive experience” through the
physicalenvironment.“Icametounderstandwaystocraftspacethat
buildonnuance,”shesaysofherworkasanartist,whichhasinfluenced
projects from the Santa Monica Museum of Art to the redesign of
CaliforniaInstituteoftheArts.“Somyrelationshiptomaterialsandform
comesfromthatsensibility.Ilookfortheinherentmeaningbeyondan
object’sphysicalproperties.”
Asthe InterfaithCenter isaplaceofworshipforall religions, the
universityrequestedthecreationofasacredspacewithoutreferenceto
traditional iconography.“AsIstartedworkingontheprojectIrealized
thatthecompellingchallenge—andpromise—ofthiscommission,was
notonlyinlookingbeyonddoctrine,butinreflectingonlifegoingonin
themidstofdeath,”Nardulisays.“ThatishowIcametoseethepoetry
of the garden sited beside the columbarium as a metaphor for our
humanness,howweembracelifeknowingwe’remortal.”
The Garden of Earthly Delights
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As such, Narduli says the spaces at the Interfaith Center were
designed to embody those two sides of human experience, “the
sensory,withallitsimmediacy,coexistingwithourknowledgeofits
impermanence; the recognition thatwewill loseeverything,our
bodiesandoursenses.”
Theverydisparityofthetwospaces—oneagardenfulloflifeand
theotherarepositoryforlastremains—madethetransitionbetween
thetwospacesacriticalpartofNarduli’sthoughtprocess.Sheeliminated
plansforagateattheentrancetothecolumbariumandwidenedthe
connectionbetweenthetwospaces. “Ididn’twantabarrier,”she
says.“Ithoughtaboutthedifferencebetweenlifeanddeath—justa
breathreally.”
Tofurtheraffect“asubtleshift”betweenthetwospaces,Narduli
optedforaflowinggroundplanethroughouttheareaswithacontin-
uoussurfaceofstonepavers.Inthecolumbarium,thestonesareset
withindrygravel thatmakesabrittlesoundasonewalks. In the
garden,herbsnestledbetweenthepaversreleasetheir fragrances
with each footstep. While the inert gravel stimulates touch and
hearingandthefragrantherbsengagethesenseofsmell,thereisa
give-and-taketoeachexperience.“IntheGardenoftheSenses,when
someonetouchesalemongeraniumorthesageitstimulatestheplant
toreleasemorefragrancewhichinturnexcitesoursenses,”shesays.
“Inthecolumbarium,thesensoryexperienceismorenuanced.The
gravelacceptsandremembersthemarks leftbypeople.Onefeels
oneself leaving that footprint,andhearsgravelwhispering,giving
waywitheachstep.Itshiftsandyetitremembers.”
Polishedstonewasselectedforitsabilitytobringasensualtactile
experiencenottypicallyfoundinanoutdoorsetting.Thestonewas
“usedsymbolically,”saysNarduli.“Inthecolumbarium,thepolished
bluemarblenotonlyextendstotheskybutreflectsit.Inthegarden
thepolishedonyxbecomesthesymboliclightthatspeaksoftheeter-
nalandtranscendent.”Thepolishedformsbecomeverticalelements
alongthewallbetweenthegardenandthecolumbariumandlarge
facetedbenches.Atnight,theselitstonesprovidethegarden’sonly
sourceofillumination,andduringtheday,thebenchesofferplacesfor
visitorstostopandimmersethemselvesinthechangingexperienceof
thegarden.Inthisway,shesays,thestonebecomesasignifier,one
thattriggersthesenses,whichinturntellustonotesomethingoutof
theordinary.“Weformalltypesofassociationsthatmaystartwiththe
senses,butthenelicitdeeperresponsesthatreflectanddefinethe
wayweunderstandourenvironment,”Nardulisays.
Nardulihasdescribedthegardenas“acacophonyofplantings,
fragranceandthetactile”andshewantedittoremainlargelyuntended
sotheplantswouldcometodefinethespace.Inadditiontotheherbs,
plantssuchasthelemongeraniumwereselectedfortheirseasonal
blooms,thewaytheyattractbirdsandbutterfliesandthewaythey
perfume the air. Throughout the garden, unlikely neighbors were
groupedtogethertoaccentuatetheirtexturesandscents,leadingto
soft,furryleavesgrowingnearspinysucculents.Thegoalhere,Narduli
says,wastocreateanenvironmentwhere“something isalways in
bloomandbirdsongiscommonmostoftheyear.”
“Thegardenisexuberant,”thearchitectsays.“It’slikeaneruption.
Plantsgrowbetweenthepavers,overthebenchesandintermingle
witheachother.”Andthatwastheintention:aplaceteemingwithlife
anditspossibilities.Nardulisaysthatwhensheisinthegarden,she
findsherself“veryawareofenteringaplacethatisindomitablyalive.”
Herhopeisthatallvisitorswillexperiencethatsame“awarenessof
vitalityintheworld,andourplacewithinit.”
“We form all types of associations that may start with the senses, but then elicit deeper responses that reflect and define the way we understand our environment.”
opposite, clockwise from top left:Narduliputinavarietyofplants,includingherbs,lemongeraniumandsucculents,tocreateaverdant,fragrant
experienceinthegarden.Tall,polished-stoneformsseemtogrowinsmoothcontrastalongsidethespikyplantings.Stonepaversweavearound
afountainbyartistLitaAlbuquerqueandsculpturalonyxbenches,whichoffervisitorsaplacetositandinteractwiththespace.
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PeterWilson,WayneThomas,EricGonzales,DeanLee,AIA,GudmannGudfinnsson,GregoryCrouch,AIA,AnneHarrington,AliJeevanjee,DavidKarp(architects)
eXecuTive ArcHiTecT:HKSArchitects,Inc.AssOciATe ArcHiTecT: BakerBarriosArchitectsDeveLOPer MANAGer: HinesTHeATer PLANNiNG: TheatreProjectsConsultants,Inc.LANDscAPe ArcHiTecT: MuraseAssociates
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SS WE EA MR EQ ID SS WE EA MR EQ ID SS WE EA MR EQ ID SS WE EA MR EQ ID SS WE EA MR EQ ID SS WE EA MR EQ ID SS WE EA MR EQ ID SS WE EA MR EQ ID SS WE EA MR EQ ID SS WE EA MR EQ ID SS WE EA MR EQ ID SS WE EA MR EQ ID SS WE EA MR EQ ID SS WE EA MR EQ ID SS WE EA MR EQ ID SS WE EA MR EQ ID SS WE EA MR EQ ID SS WE EA
Beyond the GrId
Keeping the sound down in urban, mixed-use projects
voLume ControLur b A n n o i s e i s n o t A n e w p r o b l e m (Ju l i u s
Caesarwassaidtocomplainaboutthenoise
of chariot wheels on the stone streets of
Rome), but as the population grows, and
peoplelive,workandplayincloserproximity
to existing transportation corridors, the
imperative to accurately assess noise
impacting these adjacent properties
becomesmoreacute.
Arecentfactorcontributingtoanincrease
inpeople’sexposuretoenvironmentalnoise
isthesustainabledesignmovement.Green
designpromotesthedevelopmentofdense,
mixed-usecommunitiesoninfillsites,close
topublictransportation.Andasthebenefits
of transit-oriented projects become more
apparent, some jurisdictions are providing
developers with incentives, including
expedited permitting and subsidies, to
designandbuildatthesesites.Additionally,
green building rating systems such as the
USGBC’sLEEDNeighborhoodDevelopment
(ND)andeffortsoforganizationssuchasthe
Urban Land Institute (ULI) and others are
providingtheframeworkstodoso.
But if theseclose-knit mixed-use devel-
opments don’t accurately determine and
mitigateunwantedacousticalconsequences,
the dissatisfaction of the occupants could
undercuttheproject’seco-friendlyintentions.
Excessivenoise levelshavebeenshownto
adverselyaffectpeople’shealthinsignificant
ways, including disturbing sleep, and
increasing stress and distraction. So how
can we uphold the value of mixed-use
developmentswithoutunderminingthem
intheprocess?
While attempting to tackle these issues,
it’scriticalthatdesignersaddressnoisecontrol
earlyinthedesignphase.Inmixed-useprojects,
this can mean tempering environmental
noise impacts—such as traffic—tenant-to-
tenantnoiseandthesoundsandvibrations
fromloudmechanicalsystems.Notonlyare
retrofitsexpensiveanddisruptive,butpro-
vidingsufficientcoordinationbetweenthe
architectural design and engineering
requirementscanattimesbeinsurmountable
onceaprojectisbuilt.
Terrazzo, a mixed-use project in the up-
and-coming Gulch section of Nashville,
Tennessee, represents one development
thataddressedthese issues fromthestart.
Terrazzocombinesground-levelretail,three
storiesofcommercialofficesandtenstoriesof
condominiumsonasiteoverlookingInterstate
40 and other major thoroughfares. The
project’s architect, Hastings Architecture
Associates,commissionedanenvironmental
noise study to learn how they could best
protectthefutureresidentsfromthesounds
oftheroadway.
Based on the exposure to, and setbacks
from,thedominantnoisesources,sound-rated
window assemblies—laminated glazing,
thick glazing or large air spaces between
panes—were recommended to reduce
exterior noise intrusion. Solutions for
decreasing potentially excessive noise
transmissionbetweentenantsandresidents
included, incorporating sound-isolating
partitions,suchasdouble-studwalls,furred
wallsandresilientlyattachedgypsumboard
ceilings.Thenoiseandvibrationgenerated
bymechanicalsystemscouldbecutdown
byincorporatinginternallylinedductwork,
silencers, selecting quieter equipment or
routingductsoverless-sensitivespaces.As
TerrazzowasbeingdesignedforLEEDcer-
tification, formaldehyde-free glass fiber
insulationwasspecifiedandinstalledafter
theassessment.
While beneficial, these changes are not
without financial consequence. Laminated
glassincreasesthepriceofwindowassemblies
byabout$3persquare foot,similar tothe
cost of noise-reducing partitions. Abating
noisefrommechanicalequipmentcanadd
about10%tothepriceofaninstalledsystem.
Butupgradingtheacousticalperformanceof
a building should be weighed against the
potentialdownsideofunsatisfiedresidents.
By recognizing and designing for the
impactsofnoisepollutionboth insideand
outsideofthebuilding,Terrazzo,aswellas
manyothersaroundthecountry,haveproven
to meet the needs of the developer, the
designers,andultimatelytheoccupants,with-
outsacrificingtheproject’ssustainablegoals.
– By Ethan C. Salter, LEED AP,
principal consultant with Charles M. Salter
Associates, specializing in acoustics,
audiovisual, telecommunications and security
Indesigningthemixed-useproject,Terrazzo,Hastings Architecture Associates lookedforwaystocombatpotentialnoisedistur-bances—both inside and outside of thebuilding—earlyinthedesignprocess.
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