I1tCllt. focus. essay. design. practice. departments. Cover: Steve Johnson's XFX; photogmphed by Tom Bonner; page 116.

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Duane Webb
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2 I1tCllt focus 96 Take Me Away If you think that hospitality textiles seem to be veering away from their notorious image of wild colors and patterns, you're right 98 All in the Family Haworth proves that you can choose your relatives wisely with the X-99 line of seating 100 A Breath of Fresh Air With the introduction of the O;.,:ygen T.\I collection, Milliken and Gensler provide a world view while creating a fresh look in interiors essay 102 Learning From the Masters Walt Disney Imagineering explores the importance of total immersion in entertainment design design 106 Because They're Really Smart The talented people who work long hours to make your kids happy are happier now too, since moving into Nickelodeon's new digital animation studio designed by Kapell and Kostow 110 No Business Like It Gensler's upda ted designs for a show biz big-wig make 20th Century Fox's post-production studios look like a whole new animal 116 Creature Comforts Beckson Design Associa tes crea ted a very specia I effect for L.A. -based Steve Johnson's XFX 120 Into the Big Leagues Heinlein Schrock and NBBJ have collaborated to finally give the folks of Columbus, Ohio, a major league sports arena-but it was worth the wait 126 Media Melange Ross Power and David Wallack transform a private studio in Miami into a tribute to all forms of art with help from Holly Brennan Studio 132 Sum Drama Chinese dim sum meets Spanish tapas in the mod and exciting jeffrey Beers-designed restaurant Z-Dim 136 We're Listening And looking at the hot new design of Seattle's KUOW radio station, designed by Russ Berger Design Group 140 Eye Candy Fire + Ice in Providence, R.I., designed by Prellwitz/Chilinski Associates, gets patrons thinking about design as much as their next meal practice 144 Survivor Is it possible to recession-proof your design practice? Contmct solicits the advice of two very different types of design firms departments 12 editorial 16 industry 37 exhibition 149 classified ads 150 ad index 151 web index 152 perspectives Cover: Steve Johnson's XFX; photogmphed by Tom Bonner; page 116. issue 5 volume

3 design Creature Comforts l (

4 Beckson Design Associates created a very special effect for L.A.-based Steve Johnson's XFX By julie A. Raimondi Steve johnson's office was filled with monstersnot to mention ghosts, aliens, and other assorted creatures that began to take over all of the 10,000 sq. ft. of space he had in his Sun Valley, Calif., warehouses. As an accomplished special effects house responsible for Clive I3arker's hellish fiends and Robin Williams' robotic persona in Bieelltel1l1inl Mal1, Steve johnson's XFX was quickly moving into big-time Hollywood territory and needed a space to reflect this new status. More importantly, the company had run out of space to house the complicated industrial ovens, spray rooms, and machine shops necessary for taking on larger and larger projects. In 1986, johnson started his own company after working for legendary makeup artist Rick I3aker and heading up Boss Films' creature shop. His first space was a mere 3,000 sq. ft. and eventually expanded to encompass six separate warehouses in an industrial space with neighbors like furniture manufacturers. "It was not a good area of town," johnson admits. "I3ut it was cheap." As the company's credits list grew to include A NightliInre Street, GhostlJIIsters, The Auyss, Species, and Emmy-award-winning work on The Slnlid and The Shillillg, Johnson realized it was time to move. The spaces were cramped and climate control in the chemical-laden shops consisted of opening large roll-up doors and portable fans. "We were ready to move up," johnson recalls. "We needed more of an imagecreating machine, and I wanted a lush workspace." Johnson had worked with a previous design firm to find a rental property in Pasadena, but when Los Angeles-based Beckson Design Associates (BOA) came on board, they thought differently. "\!lie realized it was wrong for him," says Mike Salazar, an associate at BOA. "It was not only the wrong image, but they were growing too fast so there was not enough space. He needed to be able to take on

5 a big job without having to rent space." Plans were halted, and BOA led Johnson to a soon-to-be-built, two-story, tilt-up warehouse in Burbank that XFX purchased and was able to tailor to its very specific needs. "It made no sense not to buy a place," Johnson points out. The teams worked closely with the developer of the building to adjust its creation, and the cost of buying versus renting was more than offset by the fact that they didn't have to tear the space apart before moving in. Johnson wanted XFX to stand apart from his two old-school (albeit accomplished) competitors: Stan Winston and Baker. "Vlie wanted to say that we're young, hip, edgy," explains Johnson, "and to come up with great ideas for it to look like an advertising agency. It looks nothing like creature shop." The solution begins with what Salazar calls a "small but mighty" entry space. "Clients always want to meet in this office, and they are blown away by the space," he continues. Johnson's three-dimensional creatures float in space, but the lobby is still contained from the real magic that happens beyond the honey-stained maple doors. "We wanted people to wonder what happens behind the door," Salazar says. "The function was most important, besides being a showplace," Johnson notes of the 20,OOO-sq. ft. space. The creature shop and the offices on the mezzanine level have dedicated areas along the perimeter with flexible work areas in the center. Clients visit the make-up studio and computer lab on the ground floor whije meeting space, offices, and graphics department are 118 contract may 2001

6 Project Summary ( I.~OlOSHOP.-., T- >. c -. ~' T=~~ CREATURE SHOP.. /',I. I upstairs. Even on this upper floor, employees and clients are still immersed in the business at hand with l'lrge windows in an informal gathering space Ihat overlooks the studio. "Now there is plenty of lounge, computer, makeup, and librar}' research space spread out, which gives us more room to think and be creative instead of sitting on the floor," johnson Sill'S. ",t's made it more conducive to creativity." Not to mention safer. "In Sun Valley they didn't care what I did," he continues. "There were so many crack fumes that [law officials] weren't worried about polyurethane." In addition to healthier working conditions, hard-working employees now have a lounge with a pool table, kitchen, and plenty of comfortable seating/nappiilg areas with full A/V and surround sound systems, expanded restrooms, and new showers. Employees are never far from the creature shop, the heart of the business, which is outfitted "'ith metal halide lighting, a new 1600 ilmp electrical service, and over 2S Ions of I,eating and cooling for its industrial ovens and spray booths. In separale rooms along the perimeter, a machine shop, foam room, and mold studio, each with mezzanine space 'lbove, arc all working to make some of the most ingenious effects in Hollywood. Gut it's the Hollywood producers th,lt are truly blown aw,ly by the built-in furniture, burgundies, dark browns, and warm maple throughout the clients' areas. "They walk in and say, 'Oh, my God, I'm not paying for this,'" johnson says. "l3ut I've kept my prices the same. Jt's worked so well that we've been able to diversify into retail licensing and manufacturing prototypes." And johnson credits GDA, which had never done such an industrial workspace. with his newfound sensation. "The first day I walked in I got a business call from Madonna," he recalls. "I put my feet on my desk. and I felt like a mogul. I actually felt successful in this space. And if you walk in feeling successful you will be a success." ~ Who ~._~~ r I c r 'I>~ L\ - n 1. ~ - LOUN GE It.- \ :] 1.-~'t Project/client: Steve johnson's XFX. Design firm: l3eckson Design Associates (GOA); Michael Beckson, principal in charge; i'dike Salazar, architect and project interior designer; Paul Simpson, design and production support. Structural engineer: Karagozian & Case. Mechanical engineer: c.j. Gars<:cz & Associates. Electrical engineer: V & Iv! Engineering. Code consultant: The Permit Pullers. Lighting designer: GDA. Furniture dealer: Purchase Planners Group, The Sheridan Group. Photographer: Tom Bonner. What Paint: Dunn Edwards. Laminate: Wilsonart. Flooring: Gead Glasted. Southland Stone, Dal Tile. Carpet: Prince Street, Fortune Contract. Carpet fiber: Solutia. Ceiling: Donn Fineline, Armstrong. Lighting: Visa. Del Ray. Lunlark, Flos, Indy, Prudential. Door hardware: Schlage. Glass: 3M Translucent Films. Window treatments: Levolor. Railings: CMC Fabricators. Workstations: Haworth Premise. vvorkstation seating: Herman tvliller, United Chair. Lounge seating: Bernhardt, Martin Brattrud, Grayton, Moroso. Lunchroom seating: Kush. Other seating: Bernhardt, Montis, Steelmobil. Upholstery: Sina Pearson, Donghia, Robert Allen, Arc Com. Conference table: Valid Woodworking. Outdoor aluminum desks: Neinkamper. Colorline. Other tables: Zanota, Herl1lan Miller. Brueton. Files: Office Specialty. Plan files: tvlayline. Bleachers: Sierra School Equipment. Shelving: IvlTM Shelving. Architectural woodworking/ cabinetmaking: Millcraft. Accessories: Ikea. Signage: ABC Lelterart. HVAC: HVAC Mechanical. Security: Kastle Systems, Instant Replay. I Storybol1rds I1re discussed arol/ild the custo/ll-llll1de Illl1ple collferellce tl1ble slashed with /11/illl/lil "X" to help bralld the 1'00/11 (opposite). All illfor/1/111 gl1therillg spl1ce overlookillg tile aem/lre shop is 11 pll1ce 10 kllock I1TOUl/(i idel1s I1l1d /IIeet I\'ilh cliellts-the bloodthirsty werewolfsettles crentive debntes (l1bove). Where Location: Burbank, CA. Total floor area: 20,000 sq. ft. No. of floors: Ground floor plus mezzanine. Average floor size: 12,950 sq. ft. (ground floor). Total staff size:

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