UGG FLAGSHIP

AOR Team: QUEZADA ARCHITECTURE

Principal: Cecilia Quezada
Project Manager: Kristen Smith.

Design Team: Florencia Pita & Co.

Principal Designer: Florencia Pita
Team: Rachael McCall (Lead Designer), Alayna Davidson, Jonathan Warner, Sofía Ospina, Srimoyee Sinha, Pin Chih Liao, Ana Antoni, Christina Griggs.

Press:
ThisxThat: Honora Shea and Danielle Rago.

Photography:
Amy Barkow
Michael Czerwonka

Consultants:

T Magen (General Contractor)
Tom Moran, Project Executive

Oculus Light Studio (Lighting Designer)
Joel Weston, Associate

Paradigm Structural Engineers (Structural Engineer)
Aaron Blum, Project Engineer

2L Engineering (MEP)
Jeremy Latterman, Principal

Teecom (Acoustics, Security)
Maria Gonzalez, Principal

Custom Rugs, supplier (Mohawk Group)
Eddie Curiel, account executive

Custom Rugs, fabricator (Sherland & Farrington)
Ross Langhorn

FELBRO
Fixture Manufacture

Los Angeles-based architecture studio Florencia Pita & Co., in partnership with San Francisco-based Quezada Architecture, has designed the new Fifth Avenue flagship store for UGG in New York City. The Southern-California-based company is launching a global expansion, with this flagship store signifying its evolution from purveyor of their classic boot to a broad lifestyle brand. The design of the boutique is inspired by the experience of California and informed by the reinterpretation of traditional craftsmanship, with custom fixtures and furniture made through both advanced and traditional fabrication techniques in downtown Los Angeles. The UGG Flagship store is the first design collaboration between the two female-owned firms, founded by Florencia Pita and Cecilia Quezada respectively. Pita and Quezada are cousins, both born in Argentina and now living in California.
To recreate the experience and ethos of California, the architects looked to architecture, art, film and literature.The Eames’ mid-century case study house, in which a steel structure and modular “kit of parts” were employed to create an open and flexible space that existed in harmony with nature, inspired the layout of the brand’s new headquarters. The quality of light and landscape in California inspired both a glowing LED wall and the store’s soft, curving contours. Like the work of Ed Ruscha and David Hockney, the architects sought to achieve more than just a snapshot of California, rather, a more layered image of California and its ideals, guided by openness and flexibility.
“The flagship is driven by the concept of ‘lifestyle’, which is not only about the products or merchandise, but rather about an ideal of a more free and open space for an open society. The space is fluid, there are no designated men’s or women's areas, they can all be either/or, and the layout can be constantly changed and re-adapted. The custom-made freestanding fixtures, which allow for a more intimate shopping experience, are designed to be movable and flexible, and embrace multiple ‘lifestyles’ and narratives,” says Florencia Pita, principal of Florencia Pita & Co.
The store is arranged across the first two levels of a 26-story tower located on the corner of Fifth Avenue and 45th Street. The street level’s high ceiling and enveloping windows bring in the cityscape, while a large steel-framed structure acts as a modular construct for display, circulation, and the framing of views. This structure can be merchandised in three modules: the front module towards the entry serving as an exhibition display and ‘lifestyle’ feature, the center module as a seasonal display, and the third module as a shoppable display. The ‘store window’ is a delineated bench that begins at the front of the store on Fifth Avenue and continues to the south window at 45th Street. This bench plays a double role as both a seating area and display surface, engaging with the view of the sidewalk.
At the north wall, the structure is backed by a large graphic wall that leads to the back of the store, curving as it welcomes customers to take the escalator to the second level. The graphic surface features LED lights; on the ground level, its graphic will change every season, but as one takes the escalator, the experience changes to one of immersive light, with the translucent programmable LED lighting coming from the wall and ceiling surfaces. The escalator, as a transitional space similar to the open roof courtyard typical of a mid-century house, suggests a soft, glowing, California-inspired sunset . At the second floor, there is a shift towards more intimate and domestic experience: displays and private seating areas are arranged to emulate living rooms and cozy parlors, with details that exude warmth, including soft lighting and textured surfaces.
Two hallmarks of the UGG brand were abstracted to form design motifs throughout the store, and brought to life using craft techniques. The UGG logo pattern was abstracted to a geometric profile and repeated, forming a pattern that was laser-cut into the metal surfaces of furniture, fixtures, and parts of the facade. The geometry of the classic UGG boot undersole also figures into the surfaces throughout. As inspiration, the architects looked at the embossed “sun flake” geometry and the undulating curve of the sole when viewed from the side. The curve was extruded to create a custom-milled panel material with vertical grooves and light and shadow effects, giving texture and character to the walls and surfaces of displays and tables throughout.
Custom-made terrazzo in a soft white hue with gold and grey-silver flecks also figures prominently in the design, but through a reinvented approach. While the material is typically used for flooring, here it is molded to wrap fixtures and furniture such as benches, tables, and risers. Instead of appearing as a flat surface, the material becomes volumetric, with plasticity and softness. Its composition of aggregate stone and bonding polymer provides a textured effect.
The store’s warmth, flexibility, and future-forward attention to craft summon the brand’s newly expansive direction. “An imagined California is one that transcends reality to characterize both the emotion and warmth of the California lifestyle that captivates the world. From nature to home and back again, this journey captures the aura of the UGG brand by highlighting the specific qualities of the California landscape that defines it - light, texture, air.”, says Cecilia Quezada, principal of Quezada Architecture.

  • Store Location: 530 Fifth Avenue, New York, NY 10036

  • Area: 10,821 SF total (6,178 SF is customer-facing)

EASY HOUSE

Designers: Florencia Pita & Jackilin Hah Bloom

SALTILLO

Designers: Florencia Pita & Jackilin Hah Bloom

Project Team: Esra Durukan

Structural Engineers: Clinker Mexico, Sergio Barrios

Installations Engineers: Clinker Mexico, Sergio Barrios

Saltillo, Mexico. Completion Expected 2019

Saltillo is a region of low, one level dwellings, creating a horizontal roofline only altered by points of interest, such as the Cathedral and Government Palace. The contrast between the horizontal line of the houses and the sinuous line of the profile of the mountainous landscape beyond, produces an opportunity and gap between these two geometries. Our vertical housing building re-establishes the colors, materials and geometries of the context into what is seemingly a stack of individual buildings.

The site is south facing and located on Calle Albaricoque between Escuela Miguel Lopez to the east and Teatro Garcia Cabrillo to the west in Saltillo, Coahila.  Our project inserts itself on a lot that is 6m in width and 15m in depth.  The proposal is 6m wide, 9.5m in depth and 16m in height.  The flexibility of the ground level plan can occupy one or two commercial tenants and there are three identical living units above the ground level with the exception of differentiated balconies and windows.  Located on the north (back) of the lot is an exterior patio that allows light and air to be accessed from the north side of the building.  The main construction system for the project is a concrete block wall system with four different types of cladding for the four “stacked” facades. 

LA MEDIANERA

Designers: Florencia Pita & Jackilin Hah Bloom

Project Team: Leila Khododad

Tetla de la Solidaridad, Mexico. Built 2018

Rural House Prototype for Infonavit's From the Territory to the Dweller

An investigation of the territory of Tetla de la Solidaridad, a rural territory bounded by industry and commerce, produced a collection of ready-made objects, cultural artifacts and ad-hoc building conditions that were used to produce a conceptual collage, or a new way to “see” and evaluate the region of Tetla. This project seeks to observe the 'Medianera' as an architectural element of inclusion rather than one of division.  If the traditional median wall functions as the delineation of the boundaries of adjacent properties, this project establishes the party wall towards the center of the property, in order to create variations and mutiple possibilities for the typology of rural housing. By detatching the party wall from the property boundary and moving it to the center, it frees and extends the space of the landscape, and expands the possibilities of interchange between multiple houses. In the typology of rural housing, the close connection between housing and landscape is accentuated by the repetition of dwellings along a street.  In the Medianera project, exterior spaces can be divided into outdoor living rooms or spaces for utility and work by a decorative, but porous concrete wall. The project also allows for additional dwelling structures to be added to the wall, where new units adhere to the wall, but are separated from the initial structure. The enclosure of the house is defined by half-barrel vault ceilings that allow for natural light, ventilation and a sense of a larger space within a small dwelling.

SIGNATURES

Designers: Florencia Pita & Jackilin Hah Bloom

Project Team: Agustina Alaines, Rachael McCall

Princeton, NJ. 2016

Princeton School of Architecture Entry Facade Installation

Signatures plays on authorship. It combines curved geometries traced from campus architecture to form columnar shapes and calligraphic outlines, juxtaposed with a collage of ready-mades, themselves a commentary on authorship and appropriation. As a decorative appliqué to AROs glass link between the two original School of Architecture buildings by Fisher, Nes, Campbell and Partners, it coalesces architectural imprints on the façade, producing an oeuvre of signatures.

The outlines generate three-dimensional forms that are column-like but not of a particular style.  Residual curves are expressed as mullions that align to the vertical rhythm of the existing glass façade. Two- and three-dimensional forms play between front and back, night and day, challenging the visual stability of the image. A collage of textures sit in for an interior condition, where concrete pipes, an Olivetti typewriter, a violet, and a Max Ernst etching, are set behind the columns and mullions. Perforated vinyl makes the image visible during the day, and recede into silhouettes of outlined signatures at night.

BALLOON FRAME

Designers: Florencia Pita & Jackilin Hah Bloom

Project Team: Kyle Branchesi,Tristan Brasseur, Emily Chen, Christina HyunKyung Cho, Adrian Cortez, Shane Griffin, Pil Sun Ham, Ida Hammarlund, Smita Lukose, Rachael McCall, Edwin Nourian, Kyle Onaga, David Ramirez, Mark A. Santa Ines, Marie-Sophie Starlinger, Freesia Torres, Asli Tusavul, Florencia Vetcher, Ruby Wu

Visualization: Axel Friedman

Large Model Fabrication: Alley 36 Collaborative - Vincent Pocsik, Brandon Vickers

Structural Engineer: Burro Happold - Filbert Apaney, Ron Elad, Greg Otto

Long Island, NY. 2014

MoMa PS1 YAP - Invited Competition Finalist

Balloon Frame is a space of delineated planes that outline the shape of a familiar, yet unrecognizable form. The project aims to echo contemporary pop culture, local street art and the vivid perceptual experiences of watching parade balloons. Our proposal is made up of ten intersecting vertical planes which are contoured along its outer edge and inner voids. It is simultaneously an open and continuous space as it is a series of “frames” and doorways that act as a backdrop for PS1’s summer weekend events and as a destination for everyday play. Each plane is surfaced with a vivid color rendition of an inflated and voluptuous three-dimensional form, challenging one’s perception of materiality while creating an immersive experience. The planes are the last iteration of a back and forth process where detailed and figural two-dimensional geometry is used to generate a balloon-like three-dimensional form. Horizontally the form is sliced at 18” above the ground to generate seating platforms, while the contours on the ground reflect what would be the shadow of the planes during a late afternoon in June. Balloon Frame looks to synthesize contemporary fabrication techniques with basic but innovative materials. In the same spirit of “balloon frame” construction that was developed to speedily construct lightweight framing to be lifted into place, Balloon Frame is prefabricated into large components and assembled on site. The color and graphic texture is printed on removable and recyclable vinyl which is then applied onto honeycomb torsion panels which can be re-used by industries such as door manufacturers and furniture fabricators. Structural steel is embedded within the honeycomb panels wherever the planes intersect as columns. The crisscross nature of the vertical planes describes the volume in its entirety, becoming a skeleton of a balloon-like form.

GRAND PARK SUNSHADE

Designers: Florencia Pita & Jackilin Hah Bloom

Project Team: Rachael McCall

Los Angeles, CA. 2016

“A Cooler Grand Park” Competition

Our proposal for a sunshade structure in Grand Park of downtown Los Angeles is a synchronized combination of color and shapes that piece together imagery and objects of everyday life within an immersive enclosure. Nuances of the familiar and ordinary are used to evoke a new sense of comfort and palpability of exterior public space. There are four continuous, steel framed structures that delineate pitched angles and arch-like shapes that were derived from reconfigured outlines of typical marketplace canopies and pitched Southern California house rooftops. The imagery for the sunshade fabric is a collage of plastic flowers, office objects and domestic wallpaper patterns. We imagine the color and imagery of the sunshade to be projected on the ground paving through natural light and shadow, but could also be printed directly on to concrete paving tiles to produce a more immersive space. The color infused canopy interrupts the experience visitors have of Grand Park with a new and heightened sense of consciousness about the beauty of everyday life.