[Image: All the architectural technologies employed at 3555 Hayden]
Eric Owen Moss – architecturally pimpin’-out Culver City, California since it was still cool to wear turtlenecks.
As with all things in life, architecture is met and conceived with entirely different vantage points. As young students, there is a tendency to veer to things that catch your creative eye, and as one’s architectural senses begin to develop, the understanding of a greater meaning behind a project begins to direct a designer’s thinking [an architectural spirit if you will]. As one further matures, gaining more insight into their projects and themselves, a certain style is achieved that bears the knowledge of continual architectural studies, trials, errors, and successes. Eric Owen Moss falls into this latter category. Quoting Moss
this is absolutely a research project, in terms of the form of the roof, its structure, and the finish.
Each new project that falls into his Culver City studio from developers Frederick and Laurie Samitaur-Smith is a new chance to bring a twist to architecture, reviving previous ideas and expanding the horizon for young archie-geeks everywhere. Say what you will about Moss’s capital-consumerist laced architecture – his designs continue to offer a fresh architectural appeal to America as that of European firms such as Herzog and de Meuron, MVRDV, or Neutelings Riedijk.
[Image: Distant view of 3555 Hayden]
3555 Hayden is a second addition located on top of a previous concrete addition done by Moss [on top of the existing 1950 brick warehouse building]. The fiberglass skinned [varying from 1/8â€ to 1/4â€ thick throughout] building is divided in three parts, with the sculptural roof line gently rolling across the tops to visually connect the gaps. The form of the roof is a response to the height restriction that was met in the design phase. Classic case of knowing the rules and using them to you advantage – Moss averages the height over the whole allowing for the flux of height & shape, resulting in added character to the final product. Where more volume is needed, Moss pushes the roof to its highest points [the roof immediately informs the interior spaces below them].
[Image: The construction process]
[Image: Interior shot of CNC-beams and joists that help create open-floor plan]
Utilizing an open plan design, any company that chooses to inhabit the space will be free to configure it as necessary. the open plan is all due to the structuring of the space from the ground up. New beams are attached to the existing roof structure to add strength for live and dead loads. The columns used to support the fiberglass walls are attached to the new beams in the flooring. Laminated CNC-beveled beams are then placed across the tops of the columns and act as the major structure for the roof. CNC-milled joists run in between each of the beams. Because each piece of the overall structure [constructed from 2×10’s, 2×12’s and 2×14’s] helps give the roof it’s sculptural quality, no two beams or joists are shaped alike.
[Image: Looking out to terrace]
Is it me, or can Moss’s architecture in Culver City sort of be translated into a sort of evolving process of what Robert Venturi was trying to establish in his book Learning From Las Vegas [with Steven Izenour & Denise Scott Brown]? Though it is not a direct linking of the brand being associated with it [building a duck building instead of just making a box and tacking the word duck on it], doesn’t it tie to the consumerist aspect of architecture, working hand-in-hand to help sell a product [the spaces he has created house such companies as Nike, America Online, Kodak, and Ogilvy & Mather]? It’s a stretch, but why not.
[[Post by Dubs]]
Posted: March 21st, 2008
at 9:42pm by Dubs
Comments: 2 comments