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Photos by Bradley Wheeler

Los Angeles International Airport Terminal: Montalba Architects + Fentress Architects et al
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LAX International Terminal

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LAX International Terminal

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LAX International Terminal

  • An addition to the Tom Bradley International Terminal at Los Angeles International Airport (LAX) is a 732 meter (800 yard) long, multi-level, north-to-south arrival-and-departure appendage.
  • Un'aggiunta al terminal dell'aeroporto internazionale Tom Bradley di Los Angeles (LAX) è un'appendice per l'arrivo e la partenza di 732 metri (800 yard) che si estende da nord a sud con più livelli.
  • 洛杉矶国际机场(LAX)汤姆·布拉德利航站楼还包含一个732米(800码)场,多层的,北侧到达,南侧出发走向的附属建构。

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  • A Great Hall was created at the intersection point of the north and south wings, affording ample space (12,542 square meters/135,000 square feet) for the Villaraigosa Pavilion food and shopping court.
  • Una Great Hall è stato creata nel punto di intersezione tra le ali sud e nord, offrendo uno spazio ampio (12.542 metri quadrati / 135.000 piedi quadrati) per il cibo e lo shopping nella corte del padiglione Villaraigosa.
  • 一个巨大的中央大厅设置于南北翼交叉口,为维拉雷戈萨食品和购物广场赋予开阔的空间(12,542平方米/135,000 平方英尺)。
  • Principal aspects of the project recall the 1954 Pereira & Luckman master-plan which included a mega-sized, shallow, open-ribbed, transparent glass dome supported by a giant center column complete with a circular restaurant level/observation platform.
  • Il progetto ricorda quello di Pereira & Luckman del 1954 che includeva una enorme cupola ribassata vetrata, con struttura portante a vista, sorretta da una gigantes cacolonna centrale corredata da una piattaforma circolare rialzata, adibita a ristorante panoramico circolare.
  • 这个项目的主要部分让人联想到1954年的佩雷拉&拉克曼(Pereira & Luckman)总体规划方案,那是一个中心由巨柱支撑,包裹着超大型低矮肋形支撑结构的透明玻璃穹顶,周围环绕圆形餐厅层/观景平台。

The vision for an architecturally significant, cosmopolitan international terminal that captures the zeitgeist for the Los Angeles International Airport is being realized after sixty plus years since its inception. A combination of forward thinking and retrospective insight accounts for this dramatic turn of events propelled by the team of Montalba Architects of Santa Monica (Design Architects), Fentress Architects of Denver (Base Building Architects) and owners Westfield Concession Management.

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In a 1953 master-plan completed by Pereira & Luckman for the then primitive facility, initial concept presentation boards depicted in watercolor a space-age terminal of science-fiction epic proportions. Towering above the main concourse acreage was a mega-sized, shallow, open-ribbed, transparent glass dome supported by a giant center column (with air traffic control on top) complete with a circular restaurant level observation platform. The plan called for shops and additional eateries at the base of the column, with seating clustered among palm trees that were dwarfed by the structure. High in the air, an elevated circulation ring wrapped around the circumference of the space, helping to whisk passengers to their departure gates. Despite being potentially the greatest architectural project of that era, the entire concept was scrapped for a more practical solution consisting of separate terminals around a horseshoe-shaped traffic artery. The domeʼs demise was primarily due to the tremendous cooling load required for the colossal heat gain that would have been produced.

This 50s Buckminster Fuller-meets-Disneyland solution pointed the L.A. design compass toward a bigger and bolder 21st-century airport that was largely a futuristic fantasy for more than a generation. Now, in 2015, the core objectives of over half a century have finally been achieved with an addition to the Tom Bradley International Terminal (by Dworsky Associates, 1984) that has decidedly fast-forwarded LAX "back to the future." In this most recent rendition, a 732 meter (800 yard) long, multi-level, north-to-south arrival-and-departure appendage was designed (by Fentress) to the west of the handsome but outdated Dworsky piece. A Great Hall was created at the intersection point of the north and south wings, affording ample space (12,542 square meters/ 135,000 square feet) for the Villaraigosa Pavilion food and shopping court (by Montalba). This oeuvre checks the boxes of a majority of qualities first conceived in the mid-century master plan, albeit in a smaller size.

As with the dome, scale is manipulated via high ceilings that reveal structural tectonics and provide for plentiful glazing, influxing copious natural light into the composition. Multi levels of decking overlooking the main concourse also take their cue from the past concept boards with large open areas and smaller more secluded nooks for drinks, dining and everything in between. Shopping experiences in the pavilion replicate a "main street" lined with a variety of high-end and duty-free stores. (The "main street" is actually the principal axis alley that connects the northern and the southern "arms" of the nearly .7 kilometer/.5 mile structure). Similar to the original 50ʼs image sketches, clusters of furniture (designed by Montalba) punctuate the pavilion, offering travelers a brief respite prior to their likely 10-hour international flight.

Poetic Architecture: Three Works by Johnsen Schmaling Architects
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Stacked Cabin

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Studio for a Composer

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OS House

  • These three projects represent a sober and restrained American Modernism seemingly appropriate for our time.
  • Questi tre progetti rappresentano un modernismo americano sobrio e trattenuto apparentemente appropriato per il nostro tempo.
  • 这三个项目似乎最能代表当下清醒、理性的美国现代主义风格。

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  • All three projects capture the essence of living simply in the Midwest of the United States, and convey a sense of freedom that is evident in the Studio’s design philosophy.
  • Tutti e tre i progetti catturano l'essenza di vivere semplicemente nel Midwest degli Stati Uniti e trasmettono un senso di libertà che è evidente nella filosofia di progettazione dello Studio.
  • 三个项目撷取了美国中西部地区平凡生活的精髓,从设计理念上来看,显而易见地 传达出了一种发自内心的闲适感。
  • All three share a similar and restrained material palette.
  • Tutti e tre condividono una gamma di materiali simili e sobrio.
  • 三个项目非常类似,都使用了内敛而含蓄的板材。

Milwaukee-based Johnsen Schmaling Architects has aptly captured the heart of what it means to live simply in the American Midwest and conveys a sense of that freedom in their design philosophy. Comparing three of their most recent projects (a cabin, a studio and a single family residence), one can easily discern a clear and soulful rhythm in their work—a harmonic cadence in synchronicity with both man and nature.

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Stacked Cabin
Located in Muscoda, Wisconsin, the Stacked Cabin is an 82 square meter (880 square-foot) single family residence hidden away from the twenty-first century world in a remote Wisconsin forest. At first blush, the modest house fits snugly into its wooden hillside with a low- slung, twin-level block punctuated by a subtle third-level bookend. Syncopated fenestration frames exterior views while giving the occasional happy wanderer glimpses of the warm interior.

The material palette is comprised of exposed concrete, cedar, anodized metal and cementitious plaster—subdued hues that blend in with the earth, rock and woods of the picturesque surroundings. A humble yet powerful statement is created by the demur architecture in juxtaposition to the slope of golden leaves blanketing a thinning autumn forest, all capped with a blustery sky. This iconographic presence acts as a sort of modernist mile-marker on one of the paths meandering through the landscape.

Studio for a Composer
This piece (located in Spring Prairie, Wisconsin) was commissioned by an accomplished Country Western musician/composer who requested a tranquil refuge away from the fray, where he could work and literally hear himself think. The architects answered the ownerʼs charge with a finely tuned design that is the physical embodiment of peace and serenity—a state of being to which most everyone aspires.

The studio seemingly floats upon a 36 centimeter (14 inch) clerestory of illuminated translucent polycarbonate that emphasizes the otherworldly aspect of the quiet and dignified work. The entire opera rests upon a type of "podium," which is carved into the steep hill and extends horizontally, providing for a green/vegetated roof that minimizes storm water runoff. This "rostrum" also accommodates storage space below (lit by the clerestory)—all of which is accessed on the lower downhill side of the edifice via a cedar-clad overhead door.

OS House
The OS House is a 177 square meter (1900 square foot) infill project located on the edge of Lake Michigan in Racine, Wisconsin. It occupies a narrow lot which completes a row of housing built during the last century. The single family, detached residence, uses an amusing mélange of simple colors, and even simpler rectilinear form to establish an exterior rhythm which deciphers an interior organization and flow of space.

Individual moments consisting of separate functions push and pull the playful interconnectedness within the project to create a patio, an outdoor terrace, a covered exterior edge, and a look-out study. The project was one of the first LEED Platinum certified homes built in the Upper Midwest.

U.S. Land Port of Entry: Warroad, Minnesota - Julie Snow Architects
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  • This elegant border crossing station impresses both from an architectural perspective
    with its straightforward geometric logic and purity of spirit as well as from the interest it
    has created.
  • Questa elegante stazione alla frontiera stupisce sia dal punto di vista architettomico con
    la sua semplice logica geometrica e purezza di spirito che per l'interesse che ha
  • 这所雅致的边境检查站, 无论是简单几何构造的结构体系, 还是它所营造的情趣对心灵的净
    化 都是令人印象深刻的。

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  • The design’s sensitivity is evident in the structure’s attractive material palette of
    sustainably harvested cedar siding. Indigenous cedar is juxtaposed in both clear and
    black satin stain.
  • La sensibilita' del disegno e' evidente nella scelta del colore, nel cedro del binarion.
    Cedro indigeno e' alternato a macchie di raso chiaro e nero.
  • 从其颇具魅力连续铺装的雪松板材上可轻易地感受到该设计。原始的雪松整齐排列,纹路
  • Life cycle cost analysis was used to ensure that long term cost and energy reductions
    were met and the project received LEED (Leadership in Energy and Environmental
    Design) Gold Certification.
  • E' stata fatta un'analisi del costo del ciclo di vita per assicurarsi che il costo a lungo
    termine e le riduzioni di energia erano soddisfatte e il progetto ha ricevuto il certificato
    d'oro LEED.
  • (建筑的)寿命周期成本分析通常使用确保长期成本和能源消耗的减少作为双重标准,而

This simple and efficient rectilinear 3726 square meter (40,108 square foot) project blends with the environs, thanks to the unassuming massing that captures the harmony of the rugged north. The form’s honest profile is composed of unpretentious lines that cut the sky with bold and confident strokes while overhangs extend space from the interior to the exterior and emphasize key points of entry as well as vehicular zones. Throughout the day, the shifting sun and shadows accentuate slots and notches cut out of the whole like the work of a master woodcarver whose respect for the medium is reflected in his careful incisions.

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The studio’s typical sensitivity is similarly evident in the structure’s attractive material palette of sustainably harvested cedar siding. Indigenous cedar is juxtaposed in both clear and black satin stain. The clear and welcoming nature of the wood is reserved for the vehicular inspection areas and interior of the facility. The black exterior "shell" conversely succeeds at camouflaging the edifice against the expanse of forest and
enhances the charm of the more natural, lighter fields of cedar. The black motif against a landscape that is often covered in a blanket of white snow, is visually strong and further adds to the composition’s iconographic symbolism as an outpost in the wilderness. When one arrives at the station, the inviting material warmth and richness of the architecture goes down easily, much like hot apple cider on a blustery winter day.

The success of the building is propagating additional commissions from the U.S. Government. Currently under construction is the Van Buren Land Port of Entry in Maine. It is of a similar size and is scheduled to complete in the fall of 2013. As is prevalent of the équipe’s work, this new complex is also characterized by its robust sensibility to its environs and responsive sense of place.

The Warroad project is impressive both from an architectural perspective with its straightforward geometric logic and purity of spirit and from the interest it has created. Its effortless shape and intelligent use of materials make it stand out easily from the rest of the "forest.

Interdisciplinary Science & Technology Building III (Arizona State University) - Jones Studio
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  • This state-of-the-art research laboratory uses Mexican haciendas as a precedent for introverted buildings focusing daylight and view from interior garden space.
  • L'ultra moderno laboratorio di ricerca utilizza le "haciendas" messicane come un esempio di edifici introversi che mettono a fuoco la luce del sole e la veduta dall'interno del giardino.
  • 把墨西哥庄园的布局应用到国家最先进的科研实验室建筑,这在这个国家是个先例,其布局含蓄内敛,强调日光照射和室内花园的视野。

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  • The large thick concrete walls with small openings glazed with colored glass were influenced Frank Lloyd Wright’s Florida Southern College.
  • Le grandi e spesse pareti hanno piccole finestre con vetri colorate sono imili a quelle di Frank Lloyd Wright al Florida Southern College.
  • 这面开着小小彩色玻璃釉面豁口的巨大而厚实的混凝土墙,弗兰克·罗德·怀特是由一次对佛罗里达南方学院观光而得到的启示。
  • It was ASU’s first Gold LEED certified project on the Polytechnic campus.
  • E' stato il primo progetto certificato "Gold Leed" di ASU nel campus del Politecnico.
  • 在理工类学院中,这是亚利桑那州第一个获得Gold LEED认证的项目。

The design brief was to create a new state-of-the-art research laboratory on the decommissioned Williams Field Air Force Base for Arizona State University (40 minutes south east of downtown Phoenix). The facility would need to help recruit and retain top faculty and students on a national as well as an international level.

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The 3,251 square meter (34,994 square feet) project (located at Unity & 2nd Street), was designed in nine months and constructed in one year. It is an excellent example of modern architecture responding to vernacular challenge—in this case, the extreme summer temperatures of the Sonoran Desert reaching as much as 46 degrees celsius (115 degrees fahrenheit), with a diurnal temperature differential of 17 degrees celsius (30 degrees fahrenheit).

The architecture responds to this blast furnace-like desert heat with a restrained form that provides monastery-esque privacy with 9 m (30 ft) tall, 30 cm (12 in) thick precast concrete panels that were craned into place and attached to the steel post and beam structure. The panels are used for the structure’s exterior shell and certain interior partitions. A sea of mosaic perforations are uniformly repeated across every panel articulating a Mayan-like (think Frank Lloyd Wright) expression.

The FLW influence, which concedes more than a mere coincidental intonation, was spawned when the architect visited a group of projects by the American master at Florida Southern College (Lakeland, Florida, 48 km /30 miles east of Tampa). Jones Studio took away from the visit Wright’s use of repetitive patterns and colored glass to enhance his environments. The Phoenix-based studio applied the experience to accent their introspective design with occasional colored glazing within certain perforations, thereby creating a sense of the "higher calling" and solemnity of science—the perfect ambiance for the scientific research facility.

In referring to the building’s inward form, architect Eddie Jones, AIA, Principal of Jones Studio, notes the planning is modeled after Mexican haciendas where "the typology is extremely introverted with high walls which contain succulent oasis gardens." The architect further points out: "Our studio wanted to create an environment concentrating on the beauty from within, helping to foster privacy and promote greater focus for both scientists and students."