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DB

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Y.ED

U

We often find ourselves circling back to the

same them

es or ideas. Is it a question of obsession? D

o we feel the need to continue

exploring until we com

e upon the perfect resolution? O

r are we sim

ply programm

ed to return to the site of previous successes? C

ertainly,

this

year’s A

IA/LA

Design A

wards

winners are applauded

for both takin

g steps into the uncharted and perfecting w

hat is familiar.

I myself am

return

ing

to th

e familiar

pag

es

of

FOR

M

mag

azine

afte

r sp

end

ing

the last tw

o years explorin

g d

ifferent expressions of w

riting. During

this tim

e, I have learn

ed th

at draw

ing

upon exp

eriences outside your com

fort zo

ne

is in

credib

ly valu

able

wh

en ap

plied

to those areas that ignite your p

assion

. Th

e tw

o

wo

rk to

geth

er seam

lessly and

with

out one th

e other

would

suffer. In this issue, we ap

plaud

those willing to take a risk: the w

inners of the A

IA/LA

award

s, who continue to p

ush bound

aries in an effort to d

rive new

inn

ovatio

n, an

d G

raft architectu

re for m

eldin

g d

ifferent

discip

lines and styles to create a uniq

ue identity. W

e also reflect on Ed N

iles’ symp

ho

nies o

f steel and

metal in

his b

eloved

Malib

u an

d th

e journey that has taken Koning Eizenb

erg from Syd

ney to Santa Monica.

Alexi D

rosuEd

itor in Chief

EDITO

R’S N

OTE

Eric Roth

6

J/F.13

Johnson ResidenceC

hicago ILA

rchitect: Studio Dwell, Inc.

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or contact us directly at 86

6.9

38

.38

46

Jan2013Form_Form

11/8/12 10:36 AM Page 1

Scott Johnson, FAIA, founder and design partner at Johnson Fain, is president of the AIA/LA.

6 QU

ESTION

S

SO, W

HA

T’S AT S

TA

KE? M

Y CU

RIO

SIT

Y IS AIM

ED AT

the recurring disconnect between architectural

criticality and

practice: the

failed interface

between the w

orlds of theory, experimentation

and the academy on the one hand and the

professional production of building designs on

the other.

While

expressing m

y ow

ninterest in theory and production in The Big Idea: Criticality and Practice in Contem

porary Architecture (2006), I adm

itted to the following:

“Maintaining these tw

o interests has not been as sim

ple as it sounds. In the university setting, there com

monly exists a clear, if seldom

discussed,

Maginot

line betw

een architects

who teach and w

rite and those who produce

buildings in their offices. I suppose this line is held in place by the m

inor agendas of both parties,

but it

conveys to

an audience

of students

and interested

parties a

typically W

estern dichotomy of thinking versus doing.

It’s a brain versus hand kind of thing. And the

dichotomy seem

s, to me, deeply useless to

any generation of architects.”M

ost of us are familiar w

ith the tacit peda- g

og

ical skirm

ishes

wag

ed

betw

een th

e thinkers and the m

akers of architecture. Over

time, the battles take on different rhetorical

exchanges, the current one growing m

ostly out of the com

pelling “p

erformative logics”

of digital param

etrics. A recent graduate

director of one of Los Angeles’s schools of

architecture stated that “theory is not just irrelevant but w

as and continues to be an

imp

ediment to a culture of innovation in

architecture.” Manuel D

eLanda, the brilliant author of Philosophy and Sim

ulation (2011) and a visiting professor at U

SC has said that “m

ost philosophers and theorists in the 20th century w

ere idealists; that is, they did not b

elieve in the existence of a material w

orld that is indep

endent of our minds. Idealism

is m

ostly useless as a theoretical apparatus for architects b

ecause it cuts them off from

the w

orld, making them

think exclusively about

phenomenological exp

erience.”W

hile this shift away from

explicit theory continues, even am

ong critically-in

clined

practition

ers, our heig

htened

interests in perform

ance, programm

ing, algorithms, engi-

neering and

material

sciences, and

other quantitatively-grounded concerns, now

appear to have overtaken our prior interest in narrative and theory, w

hich historically tended toward

qualitative content.

Speaking

at a

recent sym

posium

, Mohsen M

ostafavi, the dean of

the Harvard G

raduate School of Design, said

to the architects in the audience: “We have

been exp

loring how architecture constructs

its own know

ledge. W

hat’s interesting is that m

any of you no longer take up the project of

signification. You seem fascinated w

ith the d

esign process m

ore than its product. The

emphasis is on design as perform

ance.”K. M

ichael Hays, the author and theoretician,

noted similarly that “the idea is that author-

ship and the aesthetic go away if you can find

the right information source to respond to.

And w

hat’s happening today for me is that

architects are finding different ways to extend

the kinds of information flow

s, technologies and program

s that a building can respond to. The w

hole formal problem

starts to disappear.” Is it possible then that, in addition to the

ebb of theory and narrative, the historically enshrined dom

ain of aesthetics, its reliance on form

-making and the pedestal of authorship

are not far behind?T.S. Eliot m

ay have been the most plain-

speaking about

the link

between

critical thinking and m

aking. Criticism that accom

pa-nies

working,

he suggested,

is of “capital

importance... in the w

ork of creation itself. Probably indeed, the larger part of the labour of sifting, com

bining, constructing, expunging, correcting, testing: this frightful toil is as m

uch critical as creative.” For a year, and in “Six Q

uestions,” we’ll investigate the relationship

between TH

INKIN

G A

ND

MA

KING

, and, if fail-ing to achieve a détente betw

een the thinkers and m

akers in our profession, we’ll hope, at

least, to expand our sense of the architectural universe that accom

modates both.

During the past tw

o decades, I have been asked from tim

e to time to consider a candidacy as president of the

AIA

/LA. A

s it happened, those two decades paralleled our efforts to build a practice at Johnson Fain as w

ell as teaching appointm

ents, some books, lectures and a num

ber of out-of-town com

missions. I had alw

ays declined until Stuart M

agruder, the incoming president, called in the sum

mer of 2011 to inquire again. I asked m

yself if there w

as a particular and attractive challenge in the practice of architecture for which an A

IA platform

and a year’s focus m

ight, if not resolve, then bring into a brighter light. This inquiry ultimately led to a series of six

questions all cohering around the topic of THIN

KING

AN

D M

AKIN

G; and FO

RM m

agazine generously agreed to print and post the inquiry.

QU

ESTION

1. THIN

KIN

G AND

MAK

ING

18

J/F.13

4. SNAID

ERO

USA

Snaidero U

SA’s recently unveiled

IDEA

40 kitchen showcases the sub

tle

but sleek up

dates d

esigner Paolo Pininfarina m

ade to the 40-year-old

IDEA

line. Two-tone cab

inetry in high-gloss metallic lacquers, dual-level

countertops and

integrated

lights keep

the timeless cab

inetry turning

heads. snaidero-usa.com

2. AGA

While the cast-iron exterior of A

GA

’s Total Control cooker resem

bles the

company’s classic m

odels, the touch-screen control panel inside hints at

its advanced

capab

ilities. The new d

esign, availab

le in thirteen colors,

allows for its three ovens and

two hotp

lates to be op

erated ind

epen-

dently. aga-ranges.com

5. POG

GEN

POH

L Poggenpohl’s introduction of the +

Artesio kitchen collection aim

s to inte-

grate cooking and living functions into one seamless space. A

new dark

brown lam

inate, Terra, complim

ents coordinating leather banquette seat-

ing as well as a Brushed Terra Pine veneer available as paneled w

all cabine-

try. poggenpohl.com

3. VAREN

NA B

Y POLIFO

RM

Varenna by Poliform

’s new A

rtex kitchen is comprised of m

odular units in

varying sizes. Offered in a w

ide spectrum

of lacquered colors, as well as

woods ranging from

walnut to elm

, the modern system

inspires personal

expression. poliformusa.com

1. BU

LTHAU

P For its iconic b3 kitchen design, Bulthaup is now

offering Solid Walnut doors

as a distinctive finishing option. Made by sandw

iching solid material w

ith

thin layers of aluminum

, the sturdy panels lend a warm

counterpoint to the

b3’s streamlined silhouette. losangeles.bulthaup.com

6. FAGO

R

Known for its built-in induction cooktops, Fagor is expanding its presence

in the kitchen with its new

Dual-Zone W

ine Cooler. The 24-inch appliance

offers two distinct cooling zones and five glide-out racks, w

hich hold up to

forty-four bottles. fagoramerica.com

Chef’s ChoiceTasteful new

designs for the kitchen

SHOW

RO

OM

2

1

4

56

3

10

J/F.13

11

FORMmag.net

TH

E ORIG

INA

L EL CERRITO RECYCLING A

ND EN

VIRO

NM

ENTA

L Resource Center w

as born from a com

munity

need and so, in rebuilding the center, Noll +

Tam

Architects w

ere inspired by the comm

unity’s devotion to environm

ental stewardship.

“It was im

portant for us to create a strong sen

se of place for th

e comm

unity, a g

reat place for the gathering and interaction of the center’s diverse users and visitors, a dem

on-stration p

roject for zero net waste, net zero

energy use, restoration and regeneration, and m

aximizing com

munity value,” says Chris N

oll.A

s a result, the designers conceived a circu-lar canopy structure that creates a strong visual id

entity, enforces the idea of recycling and

reuse, and provides a geometry that efficiently

organizes visitor parking and traffic flow. The

pro

ject also in

clud

es a 2,200-squ

are-foo

t adm

inistrative building and a 6,400-square-

foot operations building.

The d

esign

ers incorp

orated corru

gated

steel, reclaimed w

ood and other highly sus-tainab

le and d

urable m

aterials to echo the industrial function of the facility. The “no frills” strateg

y allows for the m

aximum

use and integrity of all structures and m

aterials, and the facility is anticipated to receive LEED

Platinum

certification. Indeed, the entire building proj-ect is recyclable and can be taken apart and reconfigured to adapt to changing technology. For exam

ple, interchangeab

le mod

ular roof units in the canopy can be m

odified to meet

new or changing activities for the center.

The project, how

ever, was not w

ithout its challenges. The existing center w

as built upon a form

er dumpsite, about 60 feet of landfill of

unknown q

uality. The desig

ners needed

to develop a solution that w

ould minim

ally dis-turb potentially hazardous m

aterials. “A

n ‘inverted mom

ent frame’ w

ith deep grade beam

s was used instead of piles to support the

main shed and circular plaza structures,” says

Noll. “The m

odular office building is supported on a m

atrix of grade beams interconnected by

a thick slab-on-grade foundation.”The d

esigners also m

inimized

regrad

ing, excep

t in the case of imp

roving water flow

and directing storm

water to new

bioswales.

Other sustainab

le desig

n elements includ

e an 11,000-gallon cistern for rainw

ater collec-tion used

for flushing toilets and irrigating

land

scape. Th

e center relies on ren

ewab

le energies, including 10kW

photovoltaic panels installed on the canopy, to operate.

“We find beauty and inspiration in solutions

that are rooted in what is practical, sim

ple, and resp

ectful of the existing context,” says Noll.

An

d, the n

ew recyclin

g center ep

itomizes

these values.

—Alexandra D

rosu

Zero-Net G

ainsEl Cerrito’s R

ecycling Center serves as a model built

to change with the future

Photos shot by David Wakely

GR

EEN W

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eCicco, H

ugh Vanho SC

HO

OL: C

alifornia College of the A

rts—San Francisco

MA

JOR

S: 4th year Bachelors of Architecture

PRO

FESSOR

S: Katherine Rinne and David Fletcher

PRO

JECT TITLE: FresN

OW

!

PRO

JECT D

ESCR

IPTION

: FresNO

W! focuses on the Southeastern G

rowth A

rea (SEG

A), a 9,000-acre site, located in Fresno, C

alifornia, to develop a new

local, comm

unal and sustainable farming region based on the research

of four types of farming: crop farm

ing, hydro farming, decom

p farming

and energy farming. Through political interventions in Fresno, w

e would

redefine the methods of land ow

nership, water rights and usage via

applications of new policies, w

hich would be set increm

entally over the next 150 years.

DESIG

N TO

OLS: A

dobe Illustrator, Adobe Photoshop, Rhino 3D

INSPIR

ATIO

N: Socialist ideologies, resource scarcity, histories of w

ater distribution and land acquisition, dystopian m

anifestos

DE

SIG

N H

ER

OE

S: G

ordon Matta-C

lark

COMPLETED SITE STRATEGY

SITE STRATEGIES ARE IMPLEM

ENTEDINTO FRESNO CITY

ALE: 1:125,000PRIM

E AGRICULTURE

14

J/F.13

WO

RK

BO

OK

For Workbook credits, please see page 35.

Along the Grain

Adding richness through wood

Animation Studio

Location: Santa Monica, California

Designer: Gw

ynne Pugh Urban Studio w

ith Andy Waisler

Website: w

ww

.gwynnepugh.com

The adap

tive reuse project transform

ed a 1940s

bow

string truss and

brick w

arehouse into a warm

an

d co

mfo

rtable w

orkin

g en

viron

men

t that is

simp

le yet elegan

t. Wh

en d

esign

er An

dy W

aisler ap

pro

ached

the G

wyn

ne Pu

gh

Urb

an Stu

dio

to collaborate on the project, they w

orked together to m

aintain the elegance of the original building while

accomm

odating the needs of the client.In

spired

by Sw

iss architect Peter Z

um

tho

rpe,

the d

esign

ers imb

ued th

e space w

ith warm

th and

a textured

qu

ality thro

ug

h th

e use o

f materials,

specifically W

estern red

cedar, w

hile retain

ing

a m

inimalist feel.

The central feature of the space is an area known

as the “C

ub

e,” ho

usin

g h

igh

-end

techn

olo

gical

elements, includ

ing a screening room, tw

o editing

rooms and an IT room

.“The space around w

as defined by the relationship to the C

ube. It b

ecame an anchor for the vertical

circulatio

n fo

r space creatin

g a m

ore d

ynam

ic environm

ent,” says Pugh. “The Cube floats within the

space like a tem

porary ob

ject and p

eople interact

with it by sitting on its edge as a bench. It also acts

like a theatrical p

roscen

ium

arch, reflectin

g th

e com

pany’s business.”

Photography by @Fotow

orks - Benny Chan

16

J/F.13

17

FORMmag.net

Burton Snow

boards Retail Store

Location: New

York, NY

Designer: Verdego D

esignW

ebsite: ww

w.verdego.net

In order to redesign the Burton Snowboards flag-

ship

store in th

e heart of Soh

o, Verd

ego D

esign

found insp

iration where it all started

, the original

fabricatio

n sh

op

in B

urlin

gto

n, V

ermo

nt. Th

ey m

elded

elements from

the picturesq

ue ski village

with the sophistication of dow

ntown M

anhattan to translate the authenticity and

latest technology of the brand into a 4,000-square-foot retail space.

“Our store designs exem

plify the brand’s lifestyle throug

h the overall concept d

esign, the m

aterials used

throughout, feature d

isplay areas, as w

ell as connecting the design and brand to the local neigh-borhood. W

e aim to design spaces that are authen-

tic to the brand

and the consum

er,” says Principal

Tatiana Barhar.H

oused in a historic b

uilding at the intersection

of Spring and Mercer Streets, the designer stripped

100 years of paint from

iron columns and

restored the sp

ace to capture its original b

eauty then incor-porated reclaim

ed barn wood, distressed steel, and

refurbished vintage floors. An A

frame structure over

the cash register, m

ade of reclaim

ed D

ouglas Fir,

brings to mind a cabin and a vintage chairlift banded

with rough saw

n cedar evokes the Burton brand.In ord

er to underscore the evolving technology

of the Burton Snowb

oards, video installations were

integrated into vintage wood surfaces. A

yellow steel

replica of a snow

board

press loop

s videos on tw

o screens to show

the fabrication process.

Photography by Augusta Q

uirk

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18

J/F.13

Kicking H

orse Residence

Location: Golden, B

ritish Columbia

Designer: B

ohlin Cywinski Jackson

Website: w

ww

.bcj.com

The client wanted

to create a year-round fam

ily retreat th

at con

nected

with

the lan

dscap

e and

utilized local m

aterials as much as p

ossible in the

expressio

n o

f the b

uild

ing

. Fortu

nately fo

r the

designer, the Louisiana Pacific Mill is a lifeline to the

local area provid

ing an op

portunity to reflect the

natural diversity of the material.

“The clien

t expressed

an in

terest in th

e warm

m

odernism

of Scandinavian d

esign, so we looked

for opp

ortunities to create a strong connection to the extraord

inary mountain view

s, centered on a

large com

munal sp

ace with the w

armth of a fire,

and a playful expression of spaces for the individual w

indow seats and bunks,” says Principal Ray C

alabro. Th

e living

and

din

ing

spaces ap

pear to

float

above the forest floor w

hile the sleeping areas are

anchored in the earth, emp

hasizing the warm

th and rustic q

ualities of a cabin

. Furtherm

ore, exp

osed D

ouglas Fir glulam b

eams in the b

edrooms contrast

with the sm

ooth plyw

ood panels of the living and

dining rooms.

The designer was challenged to m

aintain a sense of openness w

hile creating privacy for the client. In order to address this issue, the designer deliberately p

ositio

ned

the tw

o m

ain vo

lum

es of th

e ho

use

toward

the northeast views of the river valley and

southwest view

s of the mountain, creating a natural

screen. The exterior is clad in b

oth clear and d

ark stained rough saw

n cedar siding in contrast to the w

inter landscape.

Photography by Matthew

Millm

an

480.298.1616 proximitykitchen.com

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—FIRST PRO

XIM

ITY PRINC

IPLE

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ity basin accessories (see website for m

ore options) are rem

ovable and multi-functional; inserts are safe for:

freezer – fridge – wet prep – cooktop/oven – dishw

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Proximity-layout_ad-3.indd 1

12/14/12 9:32 AM

20 J/F.13

HU

GE

Location: Los Angeles, CAD

esigner: Abramson Teiger Architects

Website: w

ww

.abramsonteiger.com

In order to capture the unique office culture of the global digital agency—

mainly a high-tech com

pany w

ith a fun loving, d

og friend

ly environment—

the d

esign

er chose to com

bin

e crisp w

hite elem

ents

with w

eathered, reclaimed w

ood. “W

e divided the floor plate into large op

en work

areas separated by meeting room

s. These meeting

spaces w

ere articulated in natural recycled

wood

, offering a nurturing w

arm area for creative thinking,”

says Managing Principal D

ouglas Teiger.The m

aterials were selected carefully to reinforce

the balance b

etween the high-tech w

orld and fun-loving personalities, w

hile also being environmentally

friendly. The d

esigners chose Fantoni desks, m

ade

by a 100-year-old factory that grows their ow

n trees and recycles w

aste material into new

products. The Basix International: Prim

a Decora counter top

s are m

ade of recycled content, while low

/no VOC

paint,

Energy Star ap

pliances and

faucets with low

-flow

aerators help minim

ize the company’s environm

ental im

pact. U

sing reclaimed

wood

allowed

Ab

ramson

Teiger to ch

oose from various d

ifferent b

uildin

g types. “For exam

ple, in the kitchen we used reclaim

ed w

ood (Terramai W

eathered Peroba) that had b

een co

lorfu

lly pain

ted in

its previo

us life as a b

arn cladding in Brazil,” adds Teiger.

The designers used wood strategically to delineate

formal an

d in

formal m

eeting

spaces th

roug

hou

t th

e 20,000-square-foot office. Th

e meetin

g areas

also were delib

erately placed on the interior sp

ace allo

win

g lig

ht fro

m th

e perim

eter to p

enetrate

through and transforming the tw

o-level traditional office into a light-filled w

orking environment.

Photography by Lindsay Stuart-Doig

LOS A

NG

ELES CH

APTER

RECOGNITION

KNOWLEDGE

NETWORKING

RESOURCES

www.usgbc-la.org

USGBC

22 J/F.13

Morley B

uilders Office

Location: Santa Monica, CA

Designer: H

OK

Website: w

ww

.hok.com

Wh

en M

orley Builders d

ecided

to upd

ate their

office sp

ace they ch

ose to

reno

vate a 70s era building in Santa M

onica, bringing it up to LEED G

old standards, rather than build on a new

site. “N

ow on the heels of our 65th anniversary, I can’t

think of a better w

ay to renew our com

mitm

ent to the city, com

munity, our em

ployees and our clients than to create an efficient, environm

entally conscious sp

ace that w

e can all b

e pro

ud

of,” says M

ark Benjam

in, president and CEO

of Morley Builders.

To acco

mp

lish th

is go

al, they tu

rned

to H

OK,

with w

hom they had just com

pleted a design/build p

roject and d

eveloped

a trusting relationship. The

app

roximately 26,000-sq

uare-foot space p

rovides

an open, light and airy office environment m

eant to p

romote collab

oration. The space also w

as used as a kind of building laboratory highlighting m

aterials used

by th

e comp

any in

its projects, in

cludin

g a

wood

framed

roof, structu

ral steel seismic b

race fram

es and roof diaphragm connectors.

The building’s original roof w

as an old panelized

system attached to tilt up concrete w

alls. In order to m

eet current seismic standards, they strengthened

the roof using new or upgraded glulam

beams and

Douglas fir p

urlins that were left exp

osed to reveal th

e richn

ess of the w

ood. A

previous ow

ner h

ad p

ainted some of the larger b

eams w

hite and black.

Rather th

an strip

pin

g th

em, th

ey opted

to pain

t them

in a faux wood finish. A

ttractive olive paneling w

as used to decorate various spaces, including the

large pivoting door that separates the lobby from a

multi-p

urpose conference room

, while an installed

wood joist trellis serves a visual reference point.

Photography by Scott McD

onald

MA

ST

ER

OF

INT

ER

IOR

AR

CH

ITE

CT

UR

E

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merges interior design, architectural thinking, and

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achelor’s degree required. Internships and job placem

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ith its Interior Design C

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or call (310) 825-9061.

13465-12

13465_make_good.indd 1

10/4/12 11:47 AM

24 J/F.13

Crossing boundaries is at the core of G

raft’s design philosophy so it’s no surprise that the collective continues to provoke w

ith different combinations of

creative experimentation. Founding m

ember C

hristoph K

orner discusses the past, present and future of Graft.

How

did

Graft start?

It started in 1998 in Los Angeles. A

t that time,

all of the founders [Lars Krückeberg, Wolfram

Pu

tz, Tho

mas W

illemeit, G

rego

r Ho

heisel,

and Korner] were either studying or had just

graduated. During that tim

e period, we w

ere living together, talking about the future, and w

e decided let’s start an office together. We

were young and m

otivated; we trusted each

oth

er. The first step

was estab

lishin

g th

e nam

e. We did not w

ant it to reflect the names

of the peop

le. We w

ere drin

king w

ine and

we rem

embered this story about w

ine. Wine

culture is a very ancient, aristocratic culture in Europe, but they started experim

enting with

native Am

erican grap

e roots [and inad

ver-tently] brought a parasite over that attacked the roots of the grap

e plants in Europ

e. The only solution w

as to graft a European scion

OPPO

SITE: The W

New

Yo

rk ho

tel pro

vided

Graft an

op

po

rtun

ity to co

mb

ine th

e “sim

plicity o

f the classics” w

ith a fresh

, futu

ristic loo

k.

SCION

OF

INN

OVATIO

N

GRAFT

to an

Am

erican ro

ot. W

e loved th

at story

because w

e were Europ

ean tran

splants in

Am

erica, and we liked the idea of com

bining tw

o things to create one.

Did

the firm

have a sp

ecific mission

state-m

ent wh

en it w

as establish

ed?

We did have a m

ission statement, m

ore about o

ur d

esign

app

roach

than

ou

r com

pan

y goals. W

e were taking our European roots and

applying them to a free space; it’s an incred-

ible freedom to take inspiration and apply it

to architecture. It was the good old A

merican

dream that you can m

ake it if you are moti-

vated. We had

a larger intellectual freedom

than w

e had in Germ

any. Our belief w

as that a cro

ss breed

is gen

etically stron

ger, an

d one of our first p

rojects was called

“Genetic

Bastard”. In this [research] project, w

e played

27 FORMmag.net

26 J/F.13

training the next generation. For others, it’s creating at least one project that w

ill change the w

ay architects look at architecture. Also,

we w

ant to leave the world b

ehind a better

place than when w

e were born. W

e can now

do a lot of non-profit projects in order to help, like the reb

uilding of the Low

er 9th W

ard. A

lot of families have m

oved back, it’s a part of establishing a com

munity again.

How

imp

ortant is it to d

evelop a strateg

y or g

oals?You need

to have high g

oals to get som

e-w

here. Lofty g

oals drive us forw

ard. Some

goals you never reach but that’s fine. I think

in the end we strongly believe in serendipity,

which is one of our favorite w

ords. We believe

that by being clear and formulating our goals

with the concept of style and visual language.

A design w

as developed as a m

ixture of the g

enetic codes of p

ure, contemp

orary style, creating a crossbreed.

How

did

this m

ission evolve?

The first year, we w

ere more concerned about

surviving. W

hen

we realized, “Th

is thin

g is

wo

rking,” w

e started th

inkin

g w

here w

e w

anted to be in five years, in 10 years. It was

a little different for each one of us. We [also]

knew that if w

e wanted to be here in 20 and

30 years, we needed to be over a certain size.

We w

ere willing to grow

. [Today,] we all agree

that we w

ant to have an impact on this w

orld, w

hich can mean different things. M

y personal ap

proach is through teaching, that is how

I see m

y impact on the architecture w

orld, by

we are preparing ourselves to jum

p on them

wh

en th

e opp

ortunity arises. A

t the sam

e tim

e, we d

on’t w

ant to

force o

urselves b

y targ

eting

them

specifically.

How

imp

ortan

t is it to d

evelop

a specific

identity or b

rand

for a firm?

One thing that w

as important to us w

as that w

e didn’t want to create a signature style for

our office. It help

s with

marketin

g b

ut we

thought it was lim

iting. We q

uickly realized that it’s [difficult] to m

arket yourself to clients, so w

e decided we needed to create a brand

versus a signature style. Signature style is a recognizab

le language whereas a b

rand is a concep

tual app

roach. For examp

le, Versace is a b

rand, you know w

hat you’re going

to get—

sexy, colorful clothes—b

ut each label

[within the brand] has its ow

n style. We tried

to work in that d

irection with the help

of a good

friend w

ho called us the “young G

er-m

an rockstars” and w

e loved that. W

e were

running with it as our unofficial, official brand.

We w

ere young, w

hich

was ob

vious to cli-ents, G

ermans are reliab

le, and the rockstar

we liked because it’s a rebel im

age but works

within the constraints of the industry.

In 2009, G

raft desig

ned

the W

New

York

ho

tel in M

anh

attan, w

hich

was d

escribed

as “p

un

k min

imalism

.” Did

this lab

el help

or h

urt th

e firm?

I thin

k it help

ed u

s tremen

dou

sly. People

knew w

hat to expect from us. If they w

anted som

ething m

ore traditional, they should

n’t call us. “Punk m

inimalism

” was g

reat for us because it’s this am

biguous pairing.

Wh

en d

id you

feel that it w

as time to sh

ed

the you

ng

rockstar bran

d?

The d

iscussion

started b

ecause of clien

ts; th

e term of reb

rand

ing

would

come up. Is

the brand

still an accurate representation?

Young? Not that young anym

ore. I don’t want

to be an old rockstar—so w

e were searching

to rep

lace it. We’ve sw

itched

to G

erman

avant-gard

e with exp

erience. It’s a working

title. It’s a natural evolution that we influence

by talkin

g ab

out ou

rselves differen

tly. We

don’t want to m

ake it a big announcement.

Why is it im

portant to take you

r bran

d into

your ow

n h

and

s?It ultim

ately is your dream that you have to

realize and this vision has to be reflected in

your brand and in the structure of your office. There’s a danger in having som

eone else do that for you. For us, w

e would be w

orried that they w

ouldn’t understand us.

What if your brand isn’t appealing to others?

You have to be willing to take the risk. You have

to be passionate about it and love what you do.

Wh

at are you cu

rrently workin

g on

?The M

ake it Right Foundation in New

Orleans,

the project for the Lower 9

th Ward, is still con-

tinuing. A lot of fam

ilies have moved back and

are establishing a comm

unity again. We are

working on several D

uty Free stores in airports. In the larger context of the D

uty Free store there is a sm

aller area that focuses on local products. W

e just finished one in Frankfurt and we are

working on one in Berlin. For each place, w

e have to com

e up with a different look because it

has to reflect the local context.

LEFT, CLO

CKW

ISE FROM

TOP: The p

refabricated

units were d

esigned to p

ay homage to

the traditional N

ew O

rleans “shotgun house” at the front, transform

ing through the m

id-section until finally exp

ressing a contem

porary m

odernism

at the rear. O

PPOSITE, TO

P: Graft exp

ressed G

ermany’s

wood

lands through its rooted

“Mad

e in G

ermany” D

uty Free Installation. O

PPOSITE BELO

W: In “G

enetic Bastard”, the

founding m

emb

ers played

with the

concept of a style and

visual language.

Signature style is a recognizable language w

hereas a brand is a conceptual approach.

Virginia Miller

Momenta Virginia Miller

Oliver Heinemann

28 J/F.13

29 FORMmag.net

HIS

MIN

D’S EYE

BY JACK

SKELLEY

PHO

TOG

RAPH

Y BY K

ENN

ETH JO

HAN

SSON

Malibu architect Ed N

iles, FAIA, uses tried-and-true m

ethods to find futuristic forms

IF T

HE

RE

IS A

N A

RC

HIT

EC

TU

RA

L C

OU

NT

ER

PA

RT

to artist R

ichard

Die

be

nko

rn—

wh

ose

pain

ting

s captu

re the lig

ht an

d co

lor o

f co

astal Califo

rnia—

it is Ed N

iles. Creato

r o

f som

e of th

e mo

st dram

atic ho

uses in

Beverly H

ills and

the H

ollyw

oo

d H

ills, N

iles fashio

ns m

od

ernist g

ems o

f glass

and

steel with

vast, pan

oram

ic vistas. Like a D

ieben

korn

pain

ting

, or th

ose o

f the

oth

er abstract artists th

at the arch

itect also

reveres, a Niles h

ou

se is a three-

dim

ensio

nal can

vas floo

ded

with

the

interp

lay of lig

ht w

ithin

its surro

un

din

g

enviro

nm

ent. “Im

agin

e a pain

ting

on

the

wall, b

ut o

ne th

at is con

stantly ch

ang

ing

,” exp

lains N

iles. “The o

cean, th

e ligh

t, the

sky, the

mo

un

tains—

that d

ynam

ic is essen

tial to m

y ideas.”

No

wh

ere is that m

ore essen

tial than

in M

alibu

, wh

ere Niles h

as wo

rked fo

r 45 years an

d w

here h

e con

tinu

es to w

ork,

no

w w

ith h

is dau

gh

ter, architect Lisa

Niles-G

utierrez, fro

m h

is stud

io o

n th

e P

acific

Co

ast

Hig

hw

ay

. N

iles

ha

s an

“emo

tion

al con

nectio

n” to

Malib

u stem

min

g fro

m h

is colleg

e days at th

e

Un

iversity of So

uth

ern C

aliforn

ia’s Scho

ol

of A

rchite

cture

, wh

en

he

wo

uld

ride

the b

us to

the o

cean to

escape u

rban

Los A

ng

ele

s. “It was th

e b

eau

ty and

free

do

m th

at attracted

me

he

re,” h

e says.

Th

at w

inn

ing

co

mb

inatio

n

has

allow

ed an

d en

cou

raged

him

to h

atch h

is intern

ation

ally recog

nized

and

un

con

-ven

tion

al con

cepts.

Tho

ug

h N

iles’s style is ultra-co

ntem

po

-rary, h

e creates pro

totyp

e desig

ns th

e o

ld-fash

ion

ed w

ay: with

draw

ing

s and

scale mo

dels. “Th

e desig

ns co

me fro

m

30 J/F.13

31 FORMmag.net

Photo by Ike Bahadourian

draw

ing

and

thin

king

and

that evo

lves in

to m

od

el-makin

g,” h

e says. “We h

ave a m

od

el sho

p, w

here w

e wo

rk ou

t ideas.

Arch

itects, such

as Frank G

ehry u

se very so

ph

isticated p

rog

rams as a stu

dy d

evice, b

ut h

ere it’s just m

e and

my d

aug

hter. W

e are very h

and

s-on

. We m

ake the d

rawin

gs

and

turn

on

the saw

.” O

f cou

rse, Niles d

oes u

se CA

D an

d schem

atics, but as sup

port for the concep

-tual essen

ce emb

odied

in th

e site mod

el, w

hich

inclu

des su

rrou

nd

ing

top

og

raph

y. “It’s a historical p

rocess going back to cave-

man d

ays, when a rock rep

resented a b

ed,”

he explains. “It’s a m

ajor help for clients, too. There is

always a b

ase mo

del to

con

sider th

e forces

of the project. This g

ets them to the p

oint w

here we all see a direction and can refine it.”

Model m

aking is part of Niles’s prelim

inary d

esign

ph

ase, wh

ich en

com

passes ab

ou

t a quarter of the total tim

e comm

itment. It is

at this stag

e, as well, th

at Niles ad

dresses

environ

men

tal issues, and

he’ll often

take h

is mo

dels to

city bu

ildin

g an

d p

lann

ing

departments for project approvals.

“It’s a tool that tests and resolves questions very quickly,” he says. “W

e can visibly move

space around. Whereas if you had to draw

every

change, the process would m

ove too slowly.”

In addition to studying at USC

, Niles served

as professor from 1964 to 2004. It w

as in this environm

ent that he rubbed shoulders with

pro

min

ent C

aliforn

ia mo

dern

architects,

includ

ing

Greg

ory Ain

and

Craig

Ellwood

, and

subm

erged

himself in the thinking

of Rudolph Schindler and Richard N

eutra.

“All o

f these d

esign

ers were su

per-

critical to th

e evolu

tion

of arch

itecture,”

he says. “Th

eir lives were arch

itecture.

An

d d

urin

g th

is perio

d, th

ere was a lo

t o

f experim

entatio

n, b

ut if yo

u co

uld

no

t p

erfo

rm

the

b

asics o

f d

rawin

g,

you

were d

ead.”

A

ltho

ug

h

Malib

u

is th

e

ho

me

o

f m

any m

ovie stars—

even so

me o

f Niles’s

pro

jects, like the strikin

g Sid

ley and

Mo

ss h

ou

ses,

have

e

nd

ed

u

p

on

th

e

big

screen—

the arch

itect iden

tifies his o

nly

celebrity clien

t as Joh

nn

y Carso

n, fo

r w

ho

m h

e created a g

iant eq

uilateral

triang

le on

a po

int o

f land

on

the Pacific.

In ad

ditio

n to

the trian

gu

lar residen

ce,

wh

ich in

clud

es a 26-foo

t-tall ceiling

in th

e

livin

g

roo

m

to

acco

mm

od

ate

a forest o

f trees, an ad

jacent p

rop

erty h

ou

ses a tenn

is facility and

mu

seum

. C

arson’s g

iant trian

gle join

s the m

any

wed

ges, cu

bes, cylin

ders, con

centric arcs

and other bold geometric shapes that define

the architect’s houses.

“Certain form

s in our world b

etter fit the conceptual resolution of a design than oth-ers,” explains N

iles. “They all have a different lang

uage, and

each h

as its own

dem

ands

when you assem

ble them

. But they are all b

onded

by a structural id

eal and an em

o-tional id

eal. Historically, m

ost architecture did evolve out of an em

otional ideal, and the geom

etry is not based

on style, but on the

function of the space.” It is this conceptual process, w

ith a strong em

otio

nal elem

ent, th

at un

derlies N

iles’ w

ork. “I dig the concept out of the solution,” he says. “A

nd I have to dig very hard some-

times to find it.”

LEFT: The livin

g ro

om

at the M

oss Resid

ence ju

ts ou

t into

the O

cean as if settin

g sail fo

r Catalin

a.A

BOV

E: A view

from

the to

p: D

rawin

g o

f the M

oss resid

ence.

The geometry is not based on style,

but on the function of the space.

32 J/F.13

33 FORMmag.net

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