“This is our Donald Judd shot,” says Ehrlich, surveying a lineup of trucks parked along the eastern loading bays. The trailers repeat down the length of the façade, recalling that sculptor's trademark boxy artworks. This side of the building is devoted to receiving shipments, with the exception of the eastern entry courtyard and break room. Forty-one loading bays are in continual use.
“The building is a machine,” Ehrlich continues. “As architects, we get turned on by all the bolts and gizmos, by all the technical parts.” The reductive palette of high modernism and minimalism clearly influences Ehrlich (who paraphrases Le Corbusier's ode to function). He points to the translucent channel glass that spans most of the 820-foot-long façade, interrupted only by concrete sheer walls at the middle and two ends.
This 300,000-square-foot addition to a 300,000-square-foot exisitng structure comes at just the right time to continue my turn to bigness.