Tag: Los Angeles

2012 Fellow Kevin Daly, FAIA

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The Practical Magic of Architecture: 2012 Fellow Kevin Daly, FAIA

Photo by William Staffeld / © Cornell University

Kevin Daly, FAIA’s architecture is based on the belief that architecture has the power to transform the everyday built environment. His work interweaves innovation in technology and fabrication, economy and livability, materiality and form.

Over his twenty-year career, Kevin Daly has defined a design process that upholds the practical magic of architecture—an alchemical conjunction of craft, materials, and form. Bolstered by abundant research, he has demonstrated the benefits of advanced, unconventional building technology in works that are consistently recognized in publications and awards and range from public schools, custom residences, and university buildings to affordable housing.

Camino Nuevo Charter Academy High School, Los Angeles, photo © Tim Griffith

A woodworking-focused design/build practice that Daly founded during his college years was influential as he explored the craft of building and went on to begin his career in the studios of Hodgetts + Fung and as a designer at Frank O. Gehry and Associates. At their offices, he witnessed a depth of understanding of material processes, a willingness to improvise, and the ability to find poetic potential in everyday urban conditions. Daly has carried those lessons into projects of all scales, from residential to institutional. Since founding Daly Genik in 1990, he has incorporated these idioms and broadened their potential to establish his own artistic voice.

Art Center College of Design, South Campus, Pasadena, photo © Benny Chan/Fotoworks

Daly is particularly recognized for reclaiming and transforming sites characteristic of the postwar city, turning generic background buildings into models of community identity. Noted architecture critic Nicolai Ouroussoff, writing about Daly’s inner city charter schools, claimed they are some of “the most inspiring projects built in Los Angeles in years” and models of “a thoughtful, low-cost work of architecture that embodies the kind of civic purpose and progressive ideals that so many public institutions give lip service to but rarely fulfill.” The decade-long series of five projects for Camino Nuevo Charter Schools has garnered numerous awards, including the 2003 Bruner Foundation Gold Medal and a 2010 Honor Award from the AIA, was featured in Newsweek, Architectural Review, Metropolis, Architectural Record, and The New York Times, and is considered a model for urban schools by organizations as diverse as the N.E.A., the L.A. Unified School District, and the National Charter School Association.

Harvard University Art Museums Art Center, Cambridge, MA, rendering by Daly Genik

Projects by Kevin Daly express his belief in an architecture that performs on every level: environmentally, structurally, economically, and aesthetically. The interrelation between technology and sustainability is evident in the Art Center College of Design South Campus, where Daly designed one of the first North American installations of an ETFE skylight system, now a national case study in the integration of high performance building systems with formal objectives. Likewise, at both the Tahiti Affordable Housing and at the Edison Language Academy, environmental strategies operate holistically, with site plans that exceed natural lighting and ventilation parameters while simultaneously managing water resources to create environmentally responsible public buildings. For Daly, sustainability concerns physics rather than features, allowing the architect to bring structure, program, and form together.

Tahiti Housing Complex, Santa Monica, photo © Tim Griffith

Kevin Daly has established a critical practice that is nationally recognized, while simultaneously engaging the profession as well as the local community. Almost every project has been published nationally or received awards for design excellence. He has served on numerous AIA awards juries, won the first AIA/LA Firm of the Year Award, held distinguished university chairs at Berkeley and Michigan, and is a regular faculty member at UCLA. Through this teaching experience, he fosters a next generation of architects across the country. He has a strong belief in creating an architecture that is within the reach of everyone, and he consistently donates his time and expertise to pro bono efforts such as USC’s Center for Sustainable Cities and the Santa Monica Rape Treatment Center. Daly’s practice is the embodiment of architecture that is surprisingly optimistic, inherently innovative, and intrinsically pragmatic.

This article is drawn from Kevin Daly’s AIA Fellowship submittal. Photos of Kevin Daly courtesy of Cornell University, College of Architecture, Art, and Planning.

Valley Center House, San Diego County, photo © Grant Mudford

 

Follow Up On A Turnbull Winner

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2012 Turnbull Design Competition winner Robert Lamb, AIA AICP LEED AP, offers an update on his award winning research project, “Silver Lake Reservoir.” One of the goals of this competition is to work toward turning visions into reality. This is one example. Read more . . .

 

Olympic Mettle: Designing the 1984 Los Angeles Games

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architecture, landscape, festival architecture
It is telling that on the CCA website David Meckel, FAIA, is one of the only employees at California College of the Arts without a title. He could be called Ambassador, Dean of all Good Things, Design Guru, or any number of titles. At this year’s AIASF Design Awards event, Snohetta’s Craig Dykers referred to him as a sort of Buddhist baseball coach. He tells me that his official title is currently Director of Campus Planning. But in fact he is the force behind the School of Architecture, a program he started in 1985 after he finished being the force behind the design of the 1984 Los Angeles Olympics. With the Olympics under way in London we thought it would be interesting to check in with Meckel, as everybody calls him, and revisit the mark he made over a quarter century ago. — Kenneth Caldwell

What was your role in the Olympics that took place in Los Angeles?
I was a young designer with the Jerde Partnership in Los Angeles. The firm was brought in to be the coordinating architect for the whole shebang. I ended up being the Project Manager. We set up shop in a warehouse near downtown LA. There were some Jerde folks, but there were sixty design offices represented. In fact, two folks from the CCA community, Lisa Findley and Katherine Rinne, worked with me. We lived and breathed the thing for three years. At the peak, there were six hundred designers there.

The Los Angeles Olympics weren’t as lavish as the London Olympics or the Shanghai Olympics?
Not at all. Quite the opposite. In 1976, Montreal tried to do a very aggressive event, and the stadium wasn’t finished on time. They still owe money from that event. After that debacle, the Olympic Committee wasn’t sure anybody would bid on it, because it might bankrupt a city. I think the Los Angels bid is still the only one where the original estimate came in under budget. They had to figure out a way to use existing facilities in a cost effective manner.

Can you define how the challenge was different and how you responded?
It was much more visual than architectural. We were designing a two-week experience, not an institution. We were not pouring a lot of concrete. It was a celebration, not a building. That spirit of celebration permeated the way we set the studio up. We focused on materials and colors. We wanted to recycle most of what we used and be sure it was low cost. Frankly, the whole thing would never have survived one rainy season. But that was OK, because we were after a festival atmosphere, not something permanent like the stadium that Herzog and de Meuron designed.

What questions did you ask yourselves as the coordinating designers?
How do you leverage the city’s existing assets?
How do you project LA’s vibrancy and cultural mix?
How will it look on television?

Television was a leading design driver?
Absolutely. At the time, we knew the LA Olympics was going to draw the biggest TV audience in history. So the visitor experience was only one part of the equation. We were always asking, “How will this look through the eye of TV?” As a result, we powered up every set shop in LA. We didn’t even need to have this stuff be waterproof, just exciting. The architecture was spartan and lightweight. The look was carried by form and color and being photogenic. Deborah Sussman, who was central to the look of the event, developed the color palette, and it sung on camera. LA was the perfect place for that kind of Olympic event.

architecture, landscape, festival architecture
Tell us more about the design management process.
As with any big project, you have a couple of days where you sketch out the big idea, and you spend the next three years implementing it. At the beginning, working with two of my Jerde Partnership colleagues, Glenn Nordlow and Charles Pigg, we went to the stationery store and bought index cards and spent a weekend in the office drawing every possible temporary strategy for a festival that we could think of. This included landscape, graphics, and pavilions. Those cards were the table of contents of the kit of parts that would follow.

Give me an example.
Landscape design. We sketched where the color might paint the ground plane in a unique way. That meant we had to find landscape architects and contract nurseries who could find the perennials that would work and grow them in enormous quantities ready to look great at the right moment. There is an index card for just that strategy.


And you did this in a weekend?

Yes. And then spent the next three years seeing it through. That was the foundation for organizing ourselves. Of course, we expanded on those core ideas. So Deborah Sussman’s firm developed a color palette. Debra Valencia of her office holed up and produced a poster that showed how to use the colors and not use the colors. It was a conceptual kit of parts. The poster was like a notebook of design guidelines. We didn’t have time to create proper design guidelines, so we created a poster.

What prepared you for this kind of undertaking?
I had worked in the Eames office. While there, I worked on an exhibit about the history of the office, so I had a pretty good Rolodex of Eames alumni. When it came time to do this thing, we tapped into that. A lot of people who worked in that warehouse were tied in some way to the Eames office. For example, I had Deborah Sussman for my color class at USC and knew her through the Eames office, as well. You called people you trusted who would understand the nature of the endeavor.

What was the studio like?
The warehouse was like a cleaner and larger version of the Eames office. There were even the great bowstring trusses. We used the walls and overhead volume to mock things up. Visual ideas were being tested all the time—it was a genuinely iterative design process. We put a shop in, and I hired a former Eames colleague and friend, Randy Walker, who had run the prototyping shop there. We could always take things full scale. We had fifty-five sites for the kit of parts. We wanted to be sure you could make a number of things multiple times. We made a lot of full-scale mock-ups. Ray came down and visited us all a few times. She loved it.

architecture, landscape, festival architecture

Tell me a little more about the kit of parts.
Almost every thing could be replicated on any of the sites—columns, trusses, tents, trashcans, or banners. Everybody knows your deadline. Part of the design challenge was to avoid labor disturbances, which can happen when you have these massive deadlines. We had to develop our own operations to deploy all the stuff to the field.

Just the fence fabric was manufactured in miles. At the end, we had depleted all of the available plywood and selected paint colors in the western US. We rented every piece of scaffolding in the country that was not in use. It was like going to war.

Was there a logistical consultant in addition to the design team?
Yes. Once we had our design direction set, Peter Ueberroth hired a super senior guy named Ed Keen from Bechtel to make everything happen. He was one of these guys who could build a bridge in the Middle East during a war. We had a studio full of dreamy LA designers, and he assigned an amazing Bechtel project manager to move on site with us. That PM, Larry Lotspeich, looked at what we were doing and said, “You have so many days left, and this your budget. So you have to spend this many hundreds of thousands of dollars per day for the next several months.” The process was called Supplier Quality Expediting Network or SQEN. We had a SQEN meeting every day at five. He wanted the evidence that we had executed purchase orders in hand each day and that the item in question was in production. It was very Bechtel, and it worked.

Looking back, what were you most pleased with in terms of the project?
The spirit. It was a uniquely LA event. It was not a stuffy or tight. It was full of innovation and joy. The Olympic Arts Festival organized by Robert Fitzpatrick brought in international artists and performers and really helped put the city on the world culture map. After the Olympics, people really saw that new ideas come from LA.

What did you learn personally from the experience?
I was barely thirty. I was a good designer and model builder, but I was a total control freak. I didn’t trust other people to do their job. The scale of the endeavor meant that I had to let go. I shifted from trying to control design to trying to create chemistry with a group of people. That was liberating. I found that I could help harness creative energy towards a common goal. That changed the course of my life.

architecture, landscape, festival architecture

 

La Burbuja (“The Bubble”) wins Sonic Trace Design Challenge

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Architecture, Acoustics, Portable Structures

architecture, acoustics, portable structures

Rendering of La Burbuja in MacArthur Park

KCRW 89.9 FM Los Angeles and KCRW.com, announces the winner of the Sonic Trace Design Challenge: La Burbuja or “The Bubble,” submitted by Hugo Martinez and Christin To, co-founders of MAT-TER Design + Build Studio. The contest challenged designers, architects, builders and visionaries to create a portable sound booth, which will be used to record stories for a new media project and radio series, Sonic Trace.

A multi-platform story-telling experience, Sonic Trace is produced by KCRW in partnership with the Association of Independents in Radio (AIR). It begins in the heart of Los Angeles and crosses into Mexico, El Salvador, Guatemala and Honduras. Part radio, part video, part mapping project, Sonic Trace asks ¿Por qué te vas? ¿Por qué te quedas? ¿Por qué regresas? Why do you go? Why do you stay? And, what makes you return?

architecture, acoustics, portable structures

Plan and Section of La Bubuja

“We are honored and excited to win a competition with which I have such an intimate personal connection,” says Hugo Martinez, co-founder of MAT-TER Design + Build Studio. “I come from that background. I am an immigrant. I came from Mexico at a very early age. I do have a history to tell, and it became something very personal that not only expresses what I went through but what my entire family went through.”

The sound booth, which will travel all over Los Angeles, resembles a silvery orb that would open up in sections like a chocolate orange to reveal a womb-like recording space inside. The concept was for a “non-place,” in which the interviewee would be suspended in time and space, while bystanders would see themselves reflected in a globe both dematerialized and opaque.
“Eric and I were humbled by the response and the chance many designers took to dream of something more than the basic structure we originally anticipated building,” says Anayansi Diaz-Cortez, co-producer of Sonic Trace. “The Sonic Trace project is deeply personal to us, and its success will remain largely on the stories we are able to gather. La Burbuja encompasses all of the elements we were searching for: portable, practical, creative and most of all, inviting.”

Architecture, Acoustics, Portable Structures

The designers, Hugo Martinez and Christin To

You can see La Burbuja and more submitted designs at the DnA website.

 

AIA Broadcastr: Hear the Timeless Voice of Architecture

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architecture, Los Angeles, apps

Bradbury Building, 360-Degree Interior Panorama, photo by Jay Mark Johnson

Los Angeles Metropolitan Area

AIA Los Angeles and AIA National invite you to learn more about Los Angeles’ architecture through the voice of practicing architects and AIA members. Take a tour of the City of Angels with the architecture community as your guide to its best features. Download the free apps to your iPhone or Android.

16thStreet Outpatient Surgery Center
2468 House
700 Palms Residence
Bradbury Building
Neil M. Denari Office
Disney Concert Hall
Eames House
Gensler Building
Getty Center
Grace Chapel
Grace Chapel Children’s Memorial
Helios House Gas Station
Horatio Court
Houses on High Tower Street
L.A. County Museum of Art (LACMA)
LAPD Memorial to Fallen Officers
Metropol
Pacific Design Center
Stealth Building
Venice
Water & Power Building
Water & Power Building Energy System
 

Places to Play: Environmental Justice and the Distribution of Urban Parks and Recreation in Los Angeles

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Los Angeles, environmental hazards

South Los Angeles study area map, courtesy of the author


During the past two decades, environmental racism—the disproportionate exposure of people of color to environmental hazards, as well as their exclusion from benefits associated with environmental amenities—gained broad political and social attention, stimulating the rise of a powerful social movement focused on environmental justice. In major metropolitan areas, lack of access to green space—especially parks and recreation facilities—has become a particularly salient environmental justice issue and focus for organizing. Historically, urban parks were widely deemed to be representations of nature that would promote a better society by combating such social problems as poverty, crime, and poor health, and by providing major benefits such as better public health, social prosperity, social coherence, and democratic equality. Today, many of these same reasons for building parks are offered to justify parkland acquisition and facility construction, especially given mounting evidence that access to parks and recreational resources is critical to obesity prevention. But the distribution of park and recreational resources remains a source of social injustice and public health concern.

In this article, I focus on the scale of environmental justice problems associated with access to public “places to play”—namely, parks and recreational resources. I also raise the prospect of potential solutions that ask us to recast the “negative” space of the city—alleys, vacant parcels, vacated streets—as green infrastructure for physical activity, play, and ecosystem services that make for a healthier city. Drawing on my past research, conducted with colleagues and graduate students, on the distribution of park space in Los Angeles, the congestion of park space, and the pattern of public recreational programming across the region, I highlight the profound race/ ethnic differences that exist in access to parks and playspace. At the same time, our new studies of a neglected urban land resource show that one productive strategy to address lack of access to environmental amenities in Los Angeles is to look, if not exactly in your own back yard, then out to your own back alley as a source of inspiration and place to play.

Los Angeles, environmental hazards

Existing LA alleys, photos courtesy of the author


Access to Urban Parks and Recreation as an Environmental Justice Issue

Environmental justice issues have long been especially salient in Los Angeles. Historically, LA’s low-income people and communities of color faced not only economic discrimination and social marginalization, but also environmental racism. For example, in the early years of the 20th century, on the east side of Los Angeles, industrialization prompted growth. As more factories were being built, a greater need for low-wage manufacturing workers arose. Some evidence suggests that communities of color—which are typically weak politically— were preferred sites for certain types of polluting facilities, such as toxic storage and disposal. Also, some cities deliberately created housing for minority workers in close proximity to industrial facilities. Not surprisingly, people of color are currently more likely to be exposed to environmental hazards in Los Angeles and face higher rates of lifetime cancer risk.

Public policy played an important role in shaping patterns of environmental injustice. For example, the City of Los Angeles’s 1904 zoning code, the first in the nation, protected the affluent, predominantly Anglo Westside from such industrial uses. Higher-density housing, commercial, and industrial activities were allowed to locate by right in the city’s eastern and southern areas in which lowerincome workers, including people of color, were concentrated. Public park resources, never very generous in a city whose domestic ideal was the single-family home with private backyard, were disproportionately allocated to other parts of town.

Past discrimination in housing and employment, ongoing environmental racism in the siting of industrial and other polluting facilities, and inequitable distribution of parks and other urban services, mean that low-income households and communities of color in Los Angeles are apt to be relegated to “park-poor” neighborhoods. This deficit in parklands is particularly problematic for older, high-density, low-income LA communities where children tend to utilize park resources more intensively than kids in newer, suburban areas, where most housing units have gardens and there are more recreational opportunities in the environment. In addition, urban nature offers more than just amenity value. Rather, soil, trees, and other vegetation provide ecosystem services that reduce ambient heat levels, act as pollutant and carbon dioxide sinks, and absorb polluted urban runoff, thereby helping to mitigate issues of disproportionate exposure to environmental hazards. Therefore, not surprisingly, the issue of parks and recreation is commonly cited as one of the most critical among residents of the city’s low-income communities of color.

Los Angeles, environmental hazards

A basic alley redeisn scheme, courtesy of Ahbe Landscape Architects


Patterns of Park-Poverty in the Los Angeles Region
The distribution of park resources is highly uneven across racial/ethnic communities of the city. In a study that defined communities according to their predominant race/ethnic population and then considered local access to park space, John Wilson, Jed Fehrenbach, and I found that Latino and Asian-Pacific-Islander neighborhoods had the highest population densities, followed closely by African-Americans; densities in all three types of neighborhoods were two to five times higher than in White-dominated neighborhoods. Latino areas, with two-thirds of a million children, had almost three times as many children, living at five times the density as residents in heavily White areas. Yet those areas with 75% or more Latino population (188 census tracts, with over 770,000 residents) had only 0.6 park acres per 1,000 population, and heavily African-American dominated tracts (11 census tracts with almost 50,000 residents) had 1.7 park acres per 1,000 population. In comparison, heavily White dominated areas (117 census tracts with almost 480,000 residents) enjoyed 31.8 park acres per 1,000 residents.

Wilson, and I employed the “park service area” approach to understand “who’s got green?” in the broader southern California region. This approach assumes that every resident utilizes the nearest park at some uniform rate, a broad but generally supportable assumption. This allowed every neighborhood space—and thus every resident—in the region to be “assigned” to his or her closest park, thus delineating a park service area (PSA) and its associated population. The ratio of PSA population to acres of park space is an estimate of potential congestion or “park pressure” for each service area. The National Recreation and Parks Association (NRPA) historically recommended 6 to 10 park acres per 1,000 residents; although a rough measure and no longer officially utilized, this standard captures distributional equity across metropolitan regions. Translated to park pressure, this standard equates to approximately 100 to 167 persons per park acre (or “ppa”).

Only 403 PSAs or 24% are within this range or better, leaving 1,271 PSAs or 76% with park pressure levels higher than the recommended standard. In terms of population, only 16% enjoys levels of park access that fall within the NRPA standard. Not surprisingly, PSAs with lower park pressure typically contain larger greenspaces, while high park pressure areas have small parks and high population densities, and are mostly located in the central LA basin. Latinos are more likely located in PSAs with high park pressure, with the proportions of Latinos increasing as park congestion levels increase. The African-American population also exhibits this same trend, although to a less extreme degree. The proportion of Asian-Americans in the region did not exhibit a consistent discernible trend relative to the park pressure classes. Not surprisingly, PSAs with relatively high densities of children tend to have worse park access, as do low income people.

Park space is an important amenity, but recreation programs are also crucial, especially in terms of rates of physical activity, with attendant implications for public health. Recreation activities are not evenly distributed across metropolitan Los Angeles. In a study that I conducted in collaboration with Nicholas Dahmann, Pascale Joassart-Marcelli, Kim Reynolds, and Mike Jerrett, we analyzed data on the location and characteristics of recreational course offerings that provided opportunities for moderate-to-vigorous physical activity in cities across the region. We found that recreation programs were profoundly uneven in their distribution, with variations particularly stark with regard to race and ethnicity. Cities with greater proportions of White residents tended to have more opportunities for recreation programs in comparison to those with more Black and Latino residents. Similar variations existed based on fiscal capacity, whereby cities with limited fiscal resources suffer from reduced recreation opportunities. Even when controlling for a variety of socioeconomic and demographic characteristics of cities, these patterns of environmental injustice prevail.

Los Angeles, environmental hazards

Table 1: Alley density and park poverty, by subregion


Alley Greening as an Environmental Justice Strategy One innovative strategy starting to gain currency among cities, including Chicago, Baltimore, Vancouver, and Los Angeles, is to “green” long-neglected back alleys to enhance access to urban park and playspace, achieve public health goals, and increase urban sustainability. Alleys are a significant but typically overlooked public infrastructure resource of the urban landscape—they are classic examples of “terrain vague.” In the city of Chicago, for example, there are approximately 1,900 miles of alleys, comprising more than 3,500 acres. The city of Los Angeles has an estimated 12,309 alley blocks, a network of more than 930 linear miles, or approximately 1,998 acres, while Baltimore’s alley network encompasses over 600 linear miles. This represents a sizable underutilized urban land resource, particularly for those neighborhoods that suffer from park poverty.

Why are alleys so neglected? For more than two thousand years, alleys have been a feature in urban design, serving as spaces for neighbors to interact, as access points for infrastructure services, and for a variety of other purposes. In the U.S., alleys fell into disfavor in the late-nineteenth century, because they were often seen as dangerous, unhealthy places. By the 1930s, federal housing policy officially disallowed alleys, and urban design and municipal services evolved to focus attention on front yards.

But revitalizing alleys as a means to provide social and green infrastructure for urban areas has great potential. Green alleys can provide a variety of ecological services, such as urban rainwater management through runoff filtration, groundwater recharge, heat island reduction, wildlife habitat, and urban forest cover. As safe, attractive, usable social spaces, converted alleys can help renew neighborhoods by fostering increased visibility and use of previously underutilized, feared spaces. And they can provide park and recreational space for park-poor neighborhoods.

A detailed study of alleys in Los Angeles that I conducted with Josh Newell, Mona Seymour, Jennifer Mapes, Kim Reynolds, and Hilary Bradbury, provided the empirical data and policy design necessary to transform alleys into green urban infrastructure. The central question was: What if the city’s 930 miles of alleys were transformed from ambiguous spaces into valued places? Alleys are widely but unevenly distributed across the city, with alley density (alleys per square mile) being much higher in older communities in South LA and the South Bay, than in West LA or the San Fernando Valley (see table opposite).

Los Angeles, environmental hazards

An "active" alley designed for walking and play can transform the urban fabric,
images courtesy of Ahbe Landscape Architects


To highlight possibilities, one particularly park-poor, low-income community in South Los Angeles with a dense alley network was studied as a hypothetical planning scenario.

A low-income community of almost 60,000 Latino and African-American residents, this part of South Los Angeles is characterized by older single family and multifamily housing. Obesity and related chronic disease rates are high, and so are rates of failure in the State of California body composition test of school children in grades 5–12, highlighting the future health risks facing this community’s children and youth.

Park poverty is severe here; the community has just three parks (22 acres), roughly one park acre for every 2,593 persons. Yet this park-starved area is alley rich, with 577 alley segments or 160 alleys per square mile, almost eight times the city average. With 40.12 linear miles, the area of this network is approximately 87.5 acres, or more than four times the community’s existing parkland. Converting these alleys into greenspace would dramatically reduce park congestion or “pressure” to roughly 528 people per park acre. Although this is still much higher than the citywide average, and not all alley space could literally become parkland, an alley conversion strategy would still entail a radical reduction in park poverty.

In such contexts, the alley network is a significant untapped public resource. Redesigned in simple, cost-effective ways, safe, clean and green alleys could facilitate walking and informal recreational use via the provision of micro-exercise equipment sites, park benches, swings, and other infrastructure for local residents.

Conclusions
The extent of residual urban land varies widely from city to city. Few studies have systematically considered how such parcels could be aggregated and reconceptualized as green infrastructure that might simultaneously address environmental injustices in the distribution of places to play. Yet the days of expansive single-purpose suburban-style parks and playfields may be over. Environmental designers can create alternative, multi-benefit networks of urban greenspace and, in so doing, promote social and environmental justice in the city.

 

Thirsty City

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places.designobserver.com

water, Los Angeles, Places, Design Observer, places.designobserver.com, Henry Augustus Wise, aqueduct, California State Water Project, California Aqueduct, Edmonston Pumping Plant, desalination, Central Arizona Project, Imperial Valley, aquifer, desert, agriculture, Sun Belt, Corps of Engineers

Photo courtesy of California Department of Water Resources

“Metropolitan Los Angeles could not support a fraction of its current population without imported water . . . . Water distribution and treatment alone account for about 18 percent of all energy consumed in the region . . . .” Austin Troy explores the delivery of water to Los Angeles on Places/Design Observer. Read more.

 

St. Thomas the Apostle School, Los Angeles, CA

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2011 Merit Award for Architecture

St. Thomas the Apostle School, Los Angeles, CA

Architect: Griffin Enright Architects


This K-8 catholic grade school is located in a densely populated part of the city on an extremely small site. The basic strategy is to accomplish maximum effect with resourceful design strategies. The project is extremely cost- effective and employed an economy of means by turning every constraint on the project into an architectural opportunity. It was completed at ½ the cost of comparable LAUSD schools.

 

reALIze, Los Angeles, CA

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2011 Merit Award for Small Projects

reAlize, Los Angeles, CA

Architect: Oyler Wu Collaborative and Michael Kalish
Consulting Engineers – Buro Happold


This traveling installation is built as a tribute to the life and cultural significance of Muhammad Ali. The project is aimed at exposing a new generation to this larger than life character by building an appreciation for the nuanced emotional, aesthetic, and technical principles that collectively form experience ‐ a concept that holds true as much for human person.