When an architect first chooses a concept on which to base his or her design, the difficult process of designing and building is just beginning. If the established concept was made with a thorough understanding of the needs of the users, the available resources, and existing constraints, then the resulting project will likely be deemed successful. However, if the concept is established without the understanding and respect of these characteristics and pursued to the nth degree solely for the satisfaction of the architect's ego, then chaos ensues. Such is the result of the sanctuary building and other site improvements recently completed at Congregation Beth El in La Jolla.

In the case of this building, Stanley Saitowitz and his designers created a building that is dangerous to its users, creates an extreme amount of discomfort during religious services, and ignores the basic operational needs of building maintenance. The use of materials consistently clashes - acid-washed precast with plastic light switch cover plates, dark hardwood floors abutting WalMart storefront systems, and long expanses of highly finished drywall with light washing across the surfaces showing each and every imperfection.

Modular pavers used in the courtyard (where there modularity is not only ignored but blatantly disrespected) continue into the interior space, where the porosity, joints, and texture make the floor impossible to sweep or clean. Large expanses of single pane glass are etched with scripture and meant to be viewed and read from the outside, but the varying materials, configurations, and light levels and reflections leave the observer struggling to make sense of what exactly is portrayed. Enormous concrete panels are assembled in a way that creates unsightly, uneven, and dissimilar joints as much as 2" wide, all filled with sealant with the care and craftsmanship of an apprentice.

The designer responsible for the site work details spent little time observing the behavior of the users of the site, be they congregants of Beth El or those of a neighboring synagogue who use the property as a path of travel between two parallel streets. Massive stairways are built to the bare minimum standards and are steep, intimidating, and harshly lit at night. The handrail sections have sharp edges and no breaks to allow for users to pass from one side to the other if they choose. For those who cannot use stairs or are pushing strollers, a complete lack of curb cuts between the entry at the bottom of the property to the highest entry point (more than 100 feet in elevation change) must stay in the drives and deal with narrow alleys that only permit two cars traveling opposite directions to pass, with no space left for the pedestrian. Lamp posts placed directly in the middle of sidewalks reduce their effective width such that strollers, wheelchairs, walkers, users of crutches and anyone using a hand cart must divert into the landscaping in order to pass.

On the inside, the symmetry of the seating works against the multiple types of services that are typically conducted within this type of space. With the seats arranged in parallel with facing rows, in all but a few seats the congregants must turn their head for extended periods of time to watch the activity. The rows are spaced such that no one can pass someone who is seated - everyone must stand up. The vertical panels with sharp edges and corners are the cause of constant bruises to the thighs or other more painful parts of the anatomy, and the closed-end rows make egress difficult and lengthy, and often leave multiple seats unused because people simply don't want to deal with the trouble of getting to them. The multiple elevations changes within the space create trip and fall hazards with nearly each event. The seating at the second level is built with stair so steep that most people turn away once they look down from the top level, the designated and only approachable path of travel. The glass panels at the 2nd level completely eliminate any modesty from anyone wearing skirts shorter than ankle length. The same effect occurs from the top looking down onto the first few rows of seats.

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This is a new two-story office building located in the coastal community of Encintas. The 3,268 s.f. building was designed to encompass the ocean beauty of the area and consistent with the electic "Funky" culture of Leucadia. The first floor of approximately 2,200 s.f. has a reception area, conferance room, large storage and work room, large bright open space for offices or working area, kitchen two bathrooms, shower, extra storage, bike rack and ADA compliance. The second story has a bright open office/work area, arched ceiling, contempary lighting fixtures, ocean view, west and east open balconies. The landscaping is designed for low maintenance, drought resistant plantings, low water requirements,flood retention and water transfer.

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Spanning the pristine Los Penasquitos Creek and Lagoon, immediately adjacent to the ocean, is the North Torrey Pines Road Bridge replacement. The bridge replaces the structurally deficient and functionally obsolete bridge located on the old Pacific Coast Highway across the outlet of Los Penasquitos Creek.

The new bridge is a haunched, 3-span, cast-in-place, prestressed box girder with an overall length of 340’. The superstructure depth varies from 13’ at the bents to an ultra-thin 3.5’ at mid-span and at the abutments. The structure has a width of 69’-2” which accommodates two traffic lanes, shoulders, a median, and a sidewalk along one side. The bridge was designed to be constructed in two stages so that vehicular, pedestrian and bicycle traffic be maintained throughout construction. The attention to architecture and details for this unique structure were conceived to respect the combination of the spectacular site and high visibility of the bridge.

The graceful convex curvature of the box girder fascia merges the functions of the exterior girder and deck overhang, providing a smooth monolithic appearance. For pedestrians passing beneath the bridge, this form creates a Gothic arch shape between the left and right structures that very subtly references the adjacent bridge over the railway to the north; a goal established through community outreach. The one-of-a-kind hand railing along the edge of the walkway is a reminder to engineers of the infinite number of possible design variations that can provide interest while maintaining safety. The deeply haunched superstructure goes well beyond customary proportions resulting in an extremely thin superstructure at mid-span and a nearly arch-like profile. Special structural details were required for the exterior box girder webs and near the columns where the box girder soffit becomes nearly vertical.

The bridge structure itself is a prime example for engineers of the unique forms that are possible with modern construction materials and techniques. It reminds engineers that adherence to standard solutions is not requisite. The construction of the bridge required overcoming the challenges of building a bridge over water, and a constant threat of wave storm surges, during the 3rd rainiest year on record. Measures such as rip-rap and sheet pile retaining walls were implemented to protect the bridge falsework during construction from wave, tidal, and stream flow forces. Temporary sheet pile retaining walls allowed most of the bridge to be constructed in the dry with only a short span over the inlet.

The harsh marine environment required some unusual design measures. For instance, all bar reinforcement was epoxy coated to provide an extended design life of the structure. Concrete was densified through the use of high proportions of fly ash, thereby reducing chloride penetration into the concrete. The anodized aluminum finish on the railings was specified as marine grade. Working in close coordination with City staff, decision makers and stakeholders, the design team developed a project that met or exceeded all project needs to the extreme satisfaction of the owner and client, by providing the community and region with an architecturally significant landmark and a structurally and functionally safe bridge.

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Second Street Studios is a 10,000 sq. ft. mixed use development located in downtown Encinitas consisting of the adaptive reuse of two adjoining auto repair facilities integrated into a new complex of offices, studio space and residential units on the second levels. Ecological considerations were paramount from the initial design stages; including reuse of existing structures rather than demolition, carefully arranged commercial and residential spaces, and low energy use through natural daylighting, ceiling fans and cross ventilation/cooling with coastal breezes. Exterior materials were chosen for permanence, low maintenance and compatibility with surrounding buildings. No bamboo floors, waterless urinals or LEED people were consumed during construction. With the inclusion of the Encinitas Visitor Center as a prime tenant on the street corner, Second Street Studios has served as a further catalyst to the dynamic, walkable street scene in downtown Encinitas.

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Renovating an old, outdated industrial facility ordinarily would be seen as a boring task. The Sorrento Glen Business Park, however, was beautifully transformed into for-sale offices that exude a modern appeal. A total of 14 offices and light lab condos totaling 44,900 square feet of space have been completely renovated. The new design makes the building stand out in its surroundings. Native landscaping and improved hardscape was also utilized at the project. Metal canopies with aluminum accent trim have been incorporated along with tall stone entry towers.

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When Oceanside Museum of Art planned the construction of a new, Central Pavilion that would join its Irving Gill designed building (Oceanside's 1934 City Hall) with the Gill Firehouse #1 (1929), a chief concern was to select a modernist architect who works in a clear 21st century style and whose design aesthetic reflected Gill's proto-modernist sensitivity for proportion, scale, and simplicity. Frederick Fisher understood the need to respect and honor Gill's legacy while delivering to the museum an important new building with its own identity and integrity.

His design gives the museum a new entry with a spacious lobby that through the use of large sliding glass doors can join the lobby and terrace, seating 250 guests for al fresco dining and special events. It also provides two handsome gallery spaces, a catering kitchen, and a complex of administrative offices and board room. The full basement is completed with exhibition/publication production shops and museum collection storage facilities. The 16,000 sq. ft. structure was designed and built for $5.8 million. It was completed and opened to the public on March 2, 2008. General Contractor was PCL Construction Services, Inc.

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Hmmm. The architect obviously took his/her inspiration for the trellis from the power pole on the street. Nice touch.

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Wow, what happened here...the grand onion perhaps? And check out the incredible job they did to make sure the children feel incarcerated.

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Lux Art Institute, slated to be the first LEED-certified “green”art museum in California, opened its doors on November 11, 2007. Designed by renowned architect, Renzo Zecchetto, AIA (whose other significant architectural projects include the award-winning Church of the Nativity in Fairbanks Ranch, Calif., and the Alusa Printing Company in Santiago, Chile), the contemporary crafted “Artist Pavilion” is the first permanent structure for the ambitious Lux Art Institute that had been more than nine years in the making.

The building, expected to receive a LEED-certification from the U.S. Green Building Council, is nestled amidst a wildlife preserve above the San Elijo Lagoon Ecological Preserve and blends seamlessly into the native landscape. Zecchetto designed Lux to have minimal impact on its natural surroundings while capturing the views of the lagoon and vistas of the nearby Pacific Ocean. The structure is designed to use renewable-energy sources (making up more than a third of the Institute’s energy use), green cleaning products, bike racks, ample recycle bins, and multiple skylights providing natural sunlight. Lux’s mission to be “green” will also extend to the landscape with a native xeroscaped garden.

Lux is one of the first facilities in the United States with an artist-in-residence program in which significant international, national, and regional artists are invited to live and work on site while producing a commissioned work of art. This one-of-a-kind institution promises not only to let visitors “see art” but also to “see art happen.” The structure includes living space and a working studio for the artist, as well as state-of-the-art exhibition space, administrative office, library and conference room. The opening of Lux marks the completion of the first phase of construction of the expansive project. When done, Lux Art Institute will have two face-to-face buildings separated by a series of gardens. Indoor paths will guide the way through vaulted exhibition spaces, public lecture areas, a library, administrative offices, a museum store, and an event plaza at the top of the knoll.

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This three-story steel frame office building is the fourth building at the Towne Centre Drive Campus for San Diego based BioMed Realty Trust Inc. This world-class laboratory and office complex is 100% leased to Illumina, Inc. and represents an expansion of their San Diego corporate headquarters which includes: administration offices and additional research facilities for Illumina by adding laboratories, offices, campus amenities, cafeteria, an all-hands meeting space, structured parking, and a 144 foot pedestrian bridge spanning between the Illumina Campus buildings B and C. The shell of this building will be LEED™ Silver Certified.

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