Reimagining what was previously the Jewish Senior Center into an intergenerational cultural hub for the Jewish community
PROJECT TEAMLindsey Sherman Contento Principal Architect
Samantha Choo Lead Environmental Graphics
Michael Mathews Client Rep.
The Jewish Federation of Los Angeles Client
BAR Center
INTERGENERATIONAL CULTURAL COMMUNITY CENTER
2019-2022 ENVIRONMENTAL GRAPHIC DESIGN / BRANDING
In 1923, Venice boardwalk's two-story dance hall thrived as a vibrant hub for locals and seniors. The iconic center suffered damage from the Northridge earthquake, resulting in the removal of its second floor and limited space for programs. Yet, through revitalization, it has been transformed into a cutting-edge inter-generational facility. This renovation fosters strong community connections and harmonizes with its surroundings, catering to all age groups.
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BACKGROUND
I was tasked with designing the building identity, wayfinding elements, and honoring all the donors who made the BAR Center possible.
Being an oceanfront building, it was critical all elements were made to be marine-grade and corrosion proofed. Day to night transitions should be integrated and planned for. The main hurdles I faced were actually with the donors. Getting the designs approved by the architects and client was a breeze; however, it was a whole other challenge ensuring all different tiers of donors felt heard and honored.
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DESIGN CHALLENGES
Coming into a project in later phases, there’s a lot of catching up to do. Kick-off meetings with the developer and architects are critical to getting oriented. File hand-offs are done in advance so I can study the 3D model and existing drawings beforehand.
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ORIENTATION
In the world, of architectural design our research is all around the feasibility and noting the site specific conditions of the project. The architectural team shared all their field notes and basic site conditions at our kick off meeting but I still needed some additional info for my work.
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RESEARCH
With a project involving architecture, the first thing to do is read all the zoning, building, and signage codes. With the main requirements and restrictions noted, I did additional research on Jewish culture, history, and architecture.
WHITE PAPER
When working on a building, it is important to know where and when the sun rises and falls around the building. Noting shadows of neighboring buildings and landscaping, working with the sun and the landscape is the way of good design.
LOCATION & CIRCULATION STUDY
The building itself was owned and donated by the Israel Levin Family. It was important their contribution was highlighted in a premiere location. The space being made for a highly targeted group, is made with bomb proof materials, anyone who enters the building will first walk by security and a metal detector. Once cleared, they are greeted by the front desk who will direct them to the area’s they are allowed.
SITE HISTORY & OPERATIONS
Much of the research helps establish the target areas and tone of the project. Given the scope of the project, we needed a stoic and poetic voice to the design. The designs needed to be timeless, effortless, and thoughtful.
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ANAYLSIS AND INSIGHTS
Presenting 2 concepts through moodboarding and sketches, the client liked both concepts and wanted to see both utilized throughout the building. CHISELLED BY TIME is a concept grown from the limestone finishes throughout the architecture. Reminiscent of stone tablets of biblical times, I wanted the design to feel historic with a modern twist. OF LIGHT AND MEMORY was a more cerebral approach. Memories leaving marks like the cast of light and shadow. I was happy to combine the two concepts.
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CONCEPT
Ideating and sketching, I wanted the client to see what the combination of both concepts might look like. To save time and effort, a lot of the ideating starts with finding existing projects, installations, or art, by compositing the site context to these existing projects. This allows for easier dialog between all parties of what they like and don’t like at an early stage without getting into the weeds.
Once a more concrete direction is chosen or each location, I begin creating quick sketches by using 3D modeling tools (I prefer Rhinoceros 3D) and Photoshop to quickly create concept level designs, providing 2 or 3 options for the next deliverable.
Consulting with the developer, architects and fabricators, we selected the most feasible yet impactful options.
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DEVELOPMENT
By the contribution of a generous naming gift, The BAR Center at the Beach was named after Bennet & Allison Rosenthal. The final naming of the building was decided on by the client and donors. Once the name was approved creating a few studies for the building identity was an exciting task. Selecting the general fabrication methods in previous phases, I designed a building identity that would be as dynamic as the building itself. Working with the ideas of reliefs, glass, transparent or perforated materials, and how light and shadow would interact from day to night, I designed two different dynamic and dimensional building identities for the beachfront corner and the main entryway.
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BRANDING & IDENTITY
Consistently consulting with architects, engineers, and lighting specialists throughout the concept, schematic, development, and construction documentation phases, the designs were chosen and designed with buildability in mind, we therefore luckily didn’t run into too many issues. Although some specialty graphic areas was cut due to budget, the primary donor recognition and identities did not cut any corners.
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FABRICATION & COMPROMISE
I am always awestruck when a project is completed. The left image, a composite render of the project intent I created in 2019, and the right image, a newly constructed building in 2022. After working tirelessly in 3D models and CAD files, it truly feels like lucid dreaming.
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RENDER TO REALITY
The BAR Center was one of the first projects I had full creative control over. The team had put their trust in me and my process and I hadn’t had that experience before. Looking back I wish I had conducted myself more confidently authentic through every meeting, zoom call and email. My second year in the workforce, and working with world known architecture firm I felt unworthy and unsure of myself. If I could travel back in time, with all the thought and work put into the project, I would reassure her, “you are enough”.
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REFLECTIONS
Given the vast options for specialty environmental graphics, I inevitably had my favorite one, the stairwell center core. It was a metaphor as the Jewish Center was the center core for the building, or community, to stand on. Due to budget and donor preferences, the stairwell was cut. It was to be CNC-ed in solid wood panels and cladded onto the drywall. To pay tribute to this beautiful center core, this rendering I had created lives on for you to see.
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CUT BUT NOT FORGOTTEN
