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Real projects start with
the industry standard
Before the project started, the Ohio History Connection
ensured the restoration of the notable John Johnston
Farm House was protected with AIA contracts.
AIA Contract Documents used: A105-Owner/Contractor-Short Form.
Learn more about the John Johnston Farm House project at aiacontracts.org/ar-jjfarm
IN THIS ISSUE
Effective Fenestration
for Wellness and Composite Wood Products
Energy Conservation Health-Care Surfaces: in Cladding and
Sponsored by Marvin Windows and Designing for People with Marrying Function Architectural Trim
Doors, NanaWall Systems, and Hearing Loss with Design Sponsored by Geolam
Saint-Gobain SageGlass Sponsored by Contacta Sponsored by Formica Group Credit: 1 AIA LU/HSW;
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*All Architectural Record articles and presentations count toward the annual AIA continuing education requirement. All sponsored exams are available at no charge and are instantly processed, unless otherwise noted.
This course is part of the Zoos, Museums, and Arts academy.
02 2019
NEWS BUILDING TYPE STUDY 1,003 KITCHEN AND BATH
19 ZHA’S LEGAL TANGLES By Tim Abrahams
RENOVATION, RESTORATION,
105 INTRODUCTION
ADAPTIVE REUSE
20 NEW CODES WILL STREAMLINE MASS TIMBER 106 ARGENTONA APARTMENT, BARCELONA YLAB
PERMITTING By Deane Madsen 55 INTRODUCTION ARQUITECTOS By Alex Klimoski
21 MORE CHANGES AHEAD FOR BOSTON CITY HALL 57 M9 MUSEUM DISTRICT, ITALY SAUERBRUCH HUTTON 110 HEARD RESIDENCE, OHIO MACPHERSON
By James McCown By Andrew Ayers ARCHITECTS / 2MA By Leslie Clagett
22 SF QUAKE-RISK STUDY By Deane Madsen
64 FORD FOUNDATION CENTER FOR SOCIAL JUSTICE, 114 SANTA BARBARA RANCH, CALIFORNIA ANACAPA
24 NEWSMAKER: RAYMOND JUNGLES NEW YORK GENSLER By Suzanne Stephens By Sheila Kim
By Suzanne Stephens
70 SMITH CAMPUS CENTER, HARVARD UNIVERSITY, 117 PRODUCTS: KITCHEN AND BATH By Kelly Beamon
MASSACHUSETTS HOPKINS ARCHITECTS
DEPARTMENTS By Robert Campbell, FAIA
78 NATIONALMUSEUM, STOCKHOLM WINGÅRDHS WITH
16 EDITOR’S LETTER: THE PAST IMPERFECT
WIKERSTÅL ARCHITECTS By Ana Martins
27 HOUSE OF THE MONTH: SAG HARBOR HOUSE 133 DATES & EVENTS
84 EMPIRE STORES, NEW YORK STUDIO V AND S9
By Suzanne Stephens
ARCHITECTURE By Linda C. Lentz 140 SNAPSHOT: IDEA EXCHANGE POST OFFICE
31 IN FOCUS: RHINOCEROS BY JEAN NOUVEL By Alex Klimoski
By James Reginato 90 VISUAL CULTURE, ARTS, AND MEDIA (VCAM)
BUILDING, PENNSYLVANIA MSR DESIGN
35 CLOSE-UP: FROST AUDITORIUM By Sarah Amelar
By Josephine Minutillo
41 GUESS THE ARCHITECT
THIS PAGE: EMPIRE STORES, NEW YORK, BY STUDIO V AND S9
A
RCHITECTURE. PHOTO BY RAIMUND KOCH.
BOOKS TECHNOLOGY
45 ARCHIGRAM: THE BOOK, BY ARCHIGRAM; COVER: NATIONALMUSEUM, STOCKHOLM, BY WINGÅRDHS WITH
EDITED BY DENNIS CROMPTON 96 SHAKING THINGS UP ENGINEERS PUSH WIKERSTÅL ARCHITECTS. PHOTO BY BRUNO EHRS.
Reviewed by Deane Madsen BUILDINGS TO HIGHER LEVELS OF EARTHQUAKE
PERFORMANCE By Joann Gonchar, FAIA See expanded coverage of Projects and Building Type Studies as well as
49 PRODUCTS: TILE AND STONE By Kelly Beamon Web-only features at architecturalrecord.com.
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P H O T O G R A P H Y (C L O C K W I S E F R O M T O P, L E F T ) : © B R O O K LY N H I S T O R I C A L S O C I E T Y; E Z R A S T O L L E R / E S T O ( 2) ;
C O U R T E S Y M S R D E S I G N ; S E R T A R C H I V E S , H A R VA R D G R A D UAT E S C H O O L O F D E S I G N , L O E B L I B R A RY ( 2)
Gensler reimagined the
interiors of the 1967 Ford
Foundation building, designed
by Kevin Roche John Dinkeloo
and Associates.
Hopkins Architects
renovated Harvard
University’s Holyoke
Center, designed by José
Luis Sert and completed in
1966, as the Smith
Campus Center.
Follow us on Twitter @ArchRecord Join our group and follow our company page on LinkedIn
www.sonnemanawayoflight.com
Multiple U.S. and foreign patents granted and pending.
16 ARCHITECTURAL RECORD FEBRUARY 2019
editor’s letter
P H O T O G R A P H Y: © M I C H E L A R N AU D
original 1916 Irving Gill building—Selldorf plans to relocate the main But there are lots of positive examples of additions and adaptations. In
entrance and thereby remove the fat Postmodern VSB columns that this issue, we look at half a dozen of them—three that retain reverence
marked it. The protestors who signed a petition against that move failed for the original exteriors while bringing unexpected freshness to the
to prevail, but the controversy begged an uncomfortable question: are design of the interiors, and three that bring vibrancy to the urban realm
all buildings by great architects equally great? Few critics who paid with the bold reinvention of old architecture.
tribute to Venturi when he died last September cited the San Diego
museum as one of his firm’s finest. Is it, in fact, on a par with Venturi
Scott Brown’s Sainsbury Wing of the National Gallery in London, which
the AIA is honoring with this year’s Twenty-five Year award? Cathleen McGuigan, Editor in Chief
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perspective
ARCHITECTURAL RECORD FEBRUARY 2019
news 19
D A I LY U P D AT E S
architecturalrecord.com/news
twitter.com/archrecord
The jostling architecture along the High Line expresses an aesthetic of self-absorbed preening. The area has become
a social club for celebrity architects, who compete by pretending that their fellow members simply don’t exist.
—Architecture critic Justin Davidson, writing in New York Magazine
self-regulating and self-motivating market board members to the practice, against the control of the firm and will be able to appoint
process” would solve the housing crisis in the wishes of its current management. other directors. If the claim is not successful, it
UK. Those comments prompted Rana Hadid, To complicate matters, the four directors of strengthens the hand of Rana Hadid, Clarke,
Clarke, and Palumbo to slam Schumacher the holding company, appointed after Zaha and Palumbo, who will undoubtedly tighten
down in a joint statement. “Knowing Dame Hadid’s death, are also the executors of the their grip on the holding company and make
Zaha as well as we did, we can state categori- architect’s will. Schumacher is asking that Schumacher’s position untenable. An amicable
cally that she would have been totally opposed Rana Hadid, Clarke, and Palumbo be removed settlement is unlikely.
to these views and would have disassociated as executors too, given, he claims, that they The defendants declined to comment. n
P H O T O G R A P H Y: © J E R E M Y B I T T E R M A N
finish in LEVER’s four-story Albina Yards project.
timber, including cross-laminated timber, as structural performance to gain permitting for
outliers from existing categories, and requires over current allowances for heavy timber Framework, which was the first wood high-rise
performance-based design for permitting construction. to win such approval in the United States.
processes. The proposed changes would both Thomas Robinson, founder of Portland, Robinson says his firm’s work highlights the
define mass timber construction and create Oregon–based LEVER Architecture, explains opportunity that code changes present to
three new categories for it, dealing with mass the potential of these code changes from his architects, who will no longer face the same
timber that is protected with noncombustible office in a mass-timber building his firm rigors of testing his team encountered.
materials, partially exposed, and unprotected, designed, Albina Yards: “With this new code, Tentative approval of the code-change pro-
with maximum heights of 18, 12, and nine you could say, ‘If I follow these guidelines, I’m posals in the spring is likely. Final approvals
stories, respectively. Allowable areas for mass pretty confident that I’ll be able to get a per- will occur in October, with the 2021 version of
timber structures would also be increased mit.’ That has a huge impact on how owners the IBC to be published at the end of 2020. n
ARCHITECTURAL RECORD FEBRUARY 2019
perspective news 21
“It was depressing to see how the building the railings, “as a counterpoint to all of the early 2018 for the plaza renovation, selecting
had degenerated over the years,” says firm cast-in-place concrete,” Alexander says. Blue Sasaki Associates of Watertown, Massachusetts,
senior principal Jim Alexander. The room had drapery in the room both adds color and per- in May 2018. Sasaki’s plans have not been re-
leased, and the firm declined to comment for
this article, but the city has indicated construc-
tion is expected to begin this year.
Phase I of the master plan calls for comple-
tion of the plaza’s southern end by 2020, with
its northern portion to follow by 2022. Other
high-priority repairs to the building—such as
replacing aging mechanical, electrical, and
plumbing fixtures—are set to be completed
within this time frame too.
For all its controversial history, City Hall
holds a certain deep, if paradoxical, place in the
hearts of Bostonians. “We have a love/hate
relationship with the building,” says Alexander.
“But it’s great to see that it has finally turned
the corner.” n
22 ARCHITECTURAL RECORD FEBRUARY 2019
perspective news
P I C T U R E A L L I A N C E / D PA / N E W S C O M
P H O T O G R A P H Y: © PAT R I C K P L E U L /
ing plans to address them before the next buildings, the report recommends further earthquake in Southern California revealed
quake hits. study and codification of best geotechnical vulnerabilities in some connections.
Among its many focus areas are building practices, based on deeper understanding The San Francisco Tall Buildings Study provides a
performance and geotechnical requirements. of foundations and the city’s unique soil template that could be useful for cities world-
After an earthquake, many buildings could be conditions. wide—even those not located in regions of high
deemed uninhabitable because of current The study also provides thorough documen- seismic activity. As the climate continues to
regulations. “We design buildings today with a tation of the city’s tall-building stock. One type change, and natural disasters occur more fre-
10 percent chance of collapse in a maximum of construction it calls out is welded-steel mo- quently and with greater ferocity, this type of
considered earthquake as the building code ment frames. Many of these structures have not investigation could help other places prepare for
standard,” says Danielle Mieler, principal resil- been reinspected since the 1994 Northridge the next big one, in whatever form it takes. n
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I got interested in plants in high school in signing a tropical garden as part of the Burle
Columbus, Ohio, and began working part-time Marx show opening at the New York Botanical 40
in a nursery. When I got out, I headed for Garden [in the Bronx] in June. On a larger D J F M A M J J A S O N D
Florida to do more of the same thing. Soon I scale, we are doing the gardens for KPF’s con- 2017 2018
entered a community college, and then trans- dominium project, Water Street Tampa, and INQUIRIES BILLINGS
ferred to the University of Florida at Gaines- we just finished Faena House Condominiums
ville, where I studied landscape design in the in Miami by Foster + Partners. Billings Increase for 15th Month
architecture school. I was very interested in Did you ever think of becoming an architect? According to new data from the AIA, architectural
environmental concerns: Ian McHarg’s Design I was encouraged to think about it in college. I billings increased for the 15th-straight month,
with Nature was extremely influential‚ and still really love architecture. But this way I get to though the Architectural Billings Index changed
is today in my work. work with all these great architects and learn from 54.7 in November to 50.4 in December.
While you were in college, you began develop- from them as part of our collaboration. If I (Scores over 50 indicate an increase in billings.)
ing your particularly exuberant approach to were an architect, I wouldn’t get to meet and The project inquiries index fell by 7.5, to 55.6, and
gardens. How did that happen? talk with all of them. n the design contracts index dipped by 2.5, to 52.1.
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ARCHITECTURAL RECORD FEBRUARY 2019
perspectivehouse of the month 27
Board of Historic Preservation and ernist vocabulary with natural materials. BEDROOM
5
Architectural Review declined to allow The effect is warm (literally, helped in the
7 LIBRARY
significant changes to the street facade. winter by the insulation added to the wood
8 SUN-ROOM
Second, zoning prevented a house on such frame, and a newly redesigned fireplace in
a small site—.22 of an acre—from expand the living room). 4
9 GUEST
6
2 BEDROOM
ing beyond its footprint or height. To create lightfilled volumes, Porter
Not surprisingly, the review board had opened up the rooms to the rear: he lifted
no problem with Porter’s replacing the the ceiling of the living area to a 10½foot 3
aluminum clapboard and asphalt roofing height, and installed a literal “picture 1
—both transmogrifications made some window”— 9½ by 8 feet and tripleglazed—
years ago—with cedar shingles of the origi to frame the view of the lush back garden. 0 10 FT.
nal design. But other than this upgrade Jutting out to the back, too, is a remodeled FIRST-FLOOR PLAN
3 M.
28 ARCHITECTURAL RECORD FEBRUARY 2019
perspectivehouse of the month
screened porch, 10½ feet tall, which overlooks
European beech trees that conceal a small lap
pool beyond.
The desire for higher ceilings required
Porter to raise most of the second floor 3 feet
and push the ceilings of these rooms into the
former attic, where they reflect the slopes of
the gable. Now a guest bedroom, library, and a
new sun-room (above the screened porch)
complement the one-story master bedroom
suite at one end of the first floor.
In connecting the two levels, Porter re-
moved the straight stair perpendicular to the
entrance and inserted a switchback one to the
right of the door. To keep the incline of the
first flight low enough so it would not obstruct
the two windows facing the street, Porter
designed deep treads with shallow risers: as
the stair turns back to ascend to the upper
hall, it reassumes normal dimensions.
Through these basic, if complicated and
painstakingly crafted moves—inserting a new
stair, raising ceiling heights, adding ample
expanses of glass, and cladding surfaces in
White oak tongue-and-groove panels clad all interior wood—Porter has demonstrated a timeworn
surfaces (no gypsum board!), as shown by the switchback
stair (left). On the second floor, Porter pushed the ceiling
precept: innovation is born of necessity.
of a guest bedroom into the attic for height and reused Constraints, to repeat the key word, often are a
preexisting doors for the closets (above). good thing. n
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WIN AN IPAD MINI
Sponsored by:
Rome Redux
Jean Nouvel blends the historical and the
contemporary for Alda Fendi’s experimental arts
organization.
BY JAMES REGINATO
Jean nouvel’s first project in Rome—the new The new foundation headquarters occupies three
headquarters of the multidisciplinary arts historic apartment buildings near the Arch of Janus
(above). The architects inserted steel framing for lintels,
organization Fondazione Alda Fendi - Esperi- pillars, doors (top, right), and stairs in the atrium (above,
3 2
menti—is in Velabro, the quarter where the right). A section (right) shows lodgings and galleries.
3 2
mythic baby twins Romulus and Remus, who 2 4
founded the city, were supposedly discovered 3 2
2
in a basket on a bank of the Tiber. The build- Fendi created her foundation, which aims to 3 2
ing is adjacent to the Arch of Janus, not far break down barriers between art, theater, 5
from the Imperial Fora. literature, music, and performance, after the 3 2
Nouvel created the six-story, 38,000-square- fashion powerhouse established by her parents 1
foot complex, called Rhinoceros—whose name was sold to luxury-goods group LVMH in 2001.
alludes to the resin statue by Urs Fischer that The organization has mounted many provoca-
P H O T O G R A P H Y: © R O L A N D H A L B E
0 25 FT.
sits outside the building, symbolizing the tive, avant-garde happenings in its previous SECTION
7 M.
power of Rome’s imperial history—out of three home, at the Palazzo Roccagiovine, above the
contiguous apartment buildings. Erected be- Forum of Trajan, and at other locations in
1 ENTRANCE
tween the 17th and 19th centuries, the Rome. In this new setting, which Nouvel de-
2 RESIDENCE
structures were in a parlous state when the scribes as an “artists’ village,” Fendi also
foundation, started by Alda Fendi, acquired initiated a partnership to exhibit work loaned 3 INTERIOR COURTYARD
them. Nouvel was selected for his “very strong by the Hermitage Museum. 4 CONNECTIVE STAIR
approach,” says Fendi, which is “hard, some- In addition to galleries and shops, which 5 GALLERY
times. But at the same time, he is very respect- will open at a later date, the building houses a
ful of history and has very poetic spirit.” 24-suite hotel, called the Rooms of Rome, and
32 ARCHITECTURAL RECORD FEBRUARY 2019 IN FOCUS
Insidetheindividualresidences,thearchitectsprintedphotographicimages
onmovablewindowscreens,showingglimpsesoftheapartmentsbeforethe
renovation.Sectionsoforiginalfloortileswereleftuntouchedbutsurrounded
bynewmaterials(above).Stainless-steelkitchenandbathroomfit-outswere
insertedtoprovideastrikingcontrasttomottledwalls(left).
0 30 FT.
James Reginato is writer-at-large at Vanity Fair and the author of
SECOND-FLOOR PLAN Great Houses, Modern Aristocrats, published by Rizzoli.
10 M.
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General Contractor: Hogan Brothers, Aventura, FL • Photographer: Brad Hedges
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“The design included an upgraded façade for the garage and Cascade provided a turn-key
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ARCHITECTURAL RECORD FEBRUARY 2019 CLOSE-UP 35
I M AG E S : © J U L I U S S H U L M A N /J . PAU L G E T T Y T R U S T, G E T T Y R E S E A R C H I N S T I T U T E , L O S A N G E L E S [ 2 0 0 4 . R . 1 0 ] ( T O P ) ; L A N E B A R D E N ( B O T T O M )
onto the scene, the renovation was virtually
done. He was excited to see the Frost celebrat-
ed, but, he says, “I wished I’d been on the
project, working with Hodgetts + Fung from
the beginning. I would have loved collaborat-
The 1,250-seat auditorium, completed in 1964, clearly revealed the engineer Andrew Nasser's concept and massing ing on a building I know so intimately. These
(above). Last year, architects Hodgetts + Fung renovated the building, inserting a 40-foot-high steel proscenium arch
(bottom, left) supporting catwalks and lighting rigs (bottom, right), along with air-handling and acoustical elements. days, most of my work is about finding subtle,
often unexpected, ways to thread modern
from the project. (The junior engineer stayed vidual architectural attribution is not always enhancements into distinctive structures
on because—as his boss, Carl Johnson, pointed clear. But Nasser had never worked at F&M. As and navigate the codes, as I’ve done for some
out—only he could carry out the scheme.) he tells it, Flewelling—who’d used cast-in-place Lautners.”
Nasser had conceptualized the 28,640- concrete in more conventional ways—was Beyond air-handling and acoustics, H+F had
square-foot building, even devising ways to aware of the self-assured engineer’s fascina- transformed the auditorium into a profession-
make its construction affordable (for around tion with thin-shell structures and his affinity al-caliber theater. Now a 40-foot-high steel
$750,000). At the 1962 World Conference on for modern design, and challenged him to proscenium arch spans the stage, supporting
Shell Structures, he presented the unbuilt craft an inspired yet economical solution for a catwalks and lighting rigs. The original seats
scheme, detailing its evolution and methods for 1,250-seat auditorium on the remnant triangu- were refurbished, the ticketing lobby upgrad-
casting the vast roof’s segments on-site without lar site. “He handed me the vacant plot plan ed, and the brick drum’s interior reconfigured
formwork. The building later survived earth- and said, ‘Let’s see what you can do with this with a double-height black-box theater.
quakes, unscathed. It also became a location for one, young man!’ ” Nasser recalls. “So I got Remedying the HVAC maladies, however,
such futuristic movies as Sleeper and Gattica. right to work. Once I had the concept and posed challenges with significant trade-offs.
Last fall, Culver City honored Nasser for the massing, I made sure to dimension every- The supply vents flanked the stage, with long,
design. Of course, with team projects, indi- thing, because I didn’t want to risk them narrow ducts that barely delivered air to the
A
1 1
1 1
4
3
A
0 20 FT.
FLOOR PLAN
5 M.
3 3
SECTION A-A
audience. The new solution had to be forceful yet quiet. “On top of
that,” says Hodgetts, “we had to tiptoe around the structure and never,
ever, even slightly, breach or modify it,” a tall order for a design where
form and structure are essentially one. “By today’s standards, you
couldn’t build it as it is now,” Hodgetts explains. “If you touch the
structure, suddenly it has to comply with current codes—and the whole
thing might have to be demolished.”
After analyzing several options, H+F devised a quiet and efficient
system, with air-handlers projecting overhead along the auditorium’s
curving back wall. Surrounding the ducts, stretched fabric over metal
frames provides acoustic attenuation. Though technically effective,
the HVAC and acoustic treatments compromise the hall’s formal
purity, eclipsing the ends of the long ribs that radiate from the stage,
arcing over the audience. In rendering this monumentally anomalous
structure high-performing, the architects (and the school) made
function a top priority. Yet H+F also chose to renovate so that every-
thing could potentially be returned, without a trace, to its historic
condition.
With the school and community already embracing the reborn
Frost, says Heather Moses, its general manager, “the change has been
phenomenal. Before, no one wanted to be here. Now, everyone does.”
“I’m delighted the building’s finally recognized for what it is and
functioning better than ever,” says Nasser, adding, “At its first inaugu-
ration, I had to sneak in at the back. But this time, I got a standing
ovation.” ■
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In the early 20th century, the Belgian architect Henry van de Velde came to Weimar Germany to
run the School of Arts and Crafts and design two of its buildings, in 1904 and 1911. World War I
caused its temporary closing, but by 1919 Walter Gropius had arrived as its head and changed its
name to the Bauhaus. Later, Gropius moved the Bauhaus to Dessau, where he designed new
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ImagIne that the animated yellow subma renderings, Archigram developed a hightech
rine of the 1968 Beatles film sprouts a dozen or architecture that resonated worldwide. Echoes
so telescoping legs, grows to the size of a city, or aftershocks appeared in renderings by
and walks over to join three or four more just Richard Rogers and Renzo Piano for Paris’s
™
pence pamphlet universities, with movable
PEALE
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led by Warren Chalk, Peter Cook, Dennis of loosely arranged, thematically similar proj
Crompton, David Greene, Ron Herron, and ect images—usually rotated to further disorient
™
LINEN
Michael Webb. These pamphlets, reproduced the reader and linked by snippets of poetic
close to original size, serve as the connective text—on stapled sheets. The current book
tissue binding assorted essays and projects that fleshes out schemes explored by the group
fill the 300 pages of this lively compendium. with longer project narratives and the usual
While Archigram’s drawn output was sub sidecar of plans, sections, and details. Foldout
stantial, its actual built work was limited to a sections and a popup add dimension and a
handful of exhibition designs, including a touch of fun, as does the inclusion of photos
pavilion for the 1970 Osaka World Expo, a from the Archigram Opera, a fourscreen mul
swimming pool for Rod Stewart, a playground, timedia installation that debuted in 1972.
and an underground multipurpose exhibition But by collecting all the farflung remnants
hall in Monaco. of Archigram pamphlets into a single publica
If Le Corbusier’s selfpromoting L’Esprit tion, the urgency of the original message gets
Nouveau journal set the table for Modernism, lost in the pages of a weighty book. Such a
the Archigram pamphlets were a mischievous wealth of images and explanation requires
attempt at a tablecloth swiped from under the slow perusal and runs counter to the wildfire
setting: samplings of the collective’s works, spread of ideas stoked by the pamphlets in
overlaid with thematic text, took deliberate their day, or by widely shareable visuals that
aim at the stale modernism Archigram’s mem go viral in the current media landscape (a
bers encountered in their day jobs. Full of digital archive of Archigram’s output was
colorful pop images and exclamation points, launched in 2010 by EXP, the Research Centre
each Archigram was meant as a caffeinated for Experimental Practice at the University of
jolt to stimulate the profession out of stagna Westminster). Yet in returning to print, the
tion and into renewed conversation. With medium that launched the group, Archigram
speculative projects that incorporated techno reasserts its legacy as one that is far from
logical innovations characteristic of the space ephemeral. n
race—such as the movable towers of Cape
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RENOVATION
RESTORATION
ADAPTIVE REUSE
57 M9 Museum District, Mestre, Italy
64 Ford Foundation Center for Social Justice,
New York
70 Richard A. and Susan F. Smith Campus Center,
Harvard University, Cambridge, Massachusetts
78 Nationalmuseum, Stockholm
84 Empire Stores, Brooklyn, New York
90 Visual Culture, Arts, and Media Building,
Haverford College, Haverford, Pennsylvania
P H O T O G R A P H Y: © A L E X X A N D R A C H E M O L L O
Second City
Just outside Venice, a new cultural center hopes to reinvent the
Italian tourist mecca’s industrial counterpart.
BY ANDREW AYERS
PHOTOGRAPHY BY ALESSANDRA CHEMOLLO
57
M
estre, to borrow an archi-
tectural metaphor, is the
Brick House to Venice’s
Glass House. Just as Philip
Johnson’s workaday ma-
sonry structure houses all
the support systems that
allow his minimalist crystal box to function,
so the municipality of Mestre and its neigh-
boring mainland boroughs—which are
officially part of the Comune di Venezia—con-
tain all the gritty bits that permit a major
modern port to operate: passenger and con-
tainer docks, Marco Polo international
airport, oil refineries and other industry, not
to mention the majority of Venice’s 260,000
inhabitants. But it is of course to the historic
center—home to just 51,000 people at the last
count—that all the tourists flock: 4.4 million
of them in 2017. It was partly to redress this
imbalance that the Fondazione di Venezia,
which supports cultural initiatives in the city,
decided to devote $126 million to creating a
new museum district in Mestre, the Museo
del Novecento, meaning Museum of the 20th
Century but abbreviated M9, for novecento,
which also means 900. Unveiled in December,
it is billed as Italy’s first museum with en-
tirely virtual displays. It is housed in a
startlingly polychrome building by Berlin-
based architects Sauerbruch Hutton (SH), who
beat David Chipperfield, Mansilla+Tuñón, and
Eduardo Souto de Moura in a 2010 competi-
tion for the commission. Its construction cost
$40 million (with the rest of the funds cover-
ing exhibitions and operations).
Occupying the site of a 16th-century con-
vent, which later became a military barracks,
the M9 development is located just across a
canal from Mestre’s Piazza Ferretto, the his-
toric heart of what was still a village of just
9,900 souls toward the end of the 19th
century. Over the next century, Mestre’s popu-
lation exploded (it now stands at 88,000),
resulting in rapid and uncontrolled develop-
ment that produced a chaotic urban landscape
of different styles, periods, and scales, with
city blocks crisscrossed by pedestrian alleys
and walkways. “I think one reason we won
the competition is that ours was the only
scheme to open up the site,” explains Matthias
Sauerbruch. “There are two pedestrian
routes,” continues Louisa Hutton, “which
intersect at a little piazzetta. In Mestre there
58 ARCHITECTURAL RECORD FEBRUARY 2019 BUILDING TYPE STUDY RENOVATION, RESTORATION, ADAPTIVE REUSE
7 10
12
7
12
7
4
14
5 2
1 10 13
A 11
9 6
A 8
3
7
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SECOND-FLOOR PLAN FOURTH-FLOOR PLAN
20 M. 20 M.
0 60 FT.
GROUND-FLOOR PLAN
20 M.
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0 30 FT.
SECTION A - A
10 M.
GRAND SPACES
The top-floor exhibition
hall is a flexible, column-
free gallery that is daylit
through clerestory
windows within the
sawtooth roof (left).
Board-formed concrete
lines the interiors along
the main staircase
(opposite, top and
bottom).
M9 MUSEUM DISTRICT MESTRE, ITALY SAUERBRUCH HUTTON 61
62 ARCHITECTURAL RECORD FEBRUARY 2019 BUILDING TYPE STUDY RENOVATION, RESTORATION, ADAPTIVE REUSE
SOURCES
EXTERIOR CLADDING: NBK Keramik
CUSTOM WOODWORK: Pollmeier Massivholz
M9 MUSEUM DISTRICT MESTRE, ITALY SAUERBRUCH HUTTON 63
64 ARCHITECTURAL RECORD FEBRUARY 2019 BUILDING TYPE STUDY RENOVATION, RESTORATION, ADAPTIVE REUSE
65
Shifting Gears
A classic landmark is tuned up for 21st-century needs.
BY SUZANNE STEPHENS
PHOTOGRAPHY BY RICHARD BARNES
A
little over three years ago
when the Ford Foundation’s
president, Darren Walker,
announced that the headquar-
ters, based in New York, had
hired Gensler to bring the
1967 structure into the 21st
century, the news prompted a sense of dread.
Nothing against the architectural firm, but
what might be lost? Designed by Kevin Roche
John Dinkeloo and Associates, the granite-
clad steel-and-glass 12-story building,
wrapped around a 174-foot-high, skylit atri-
um, was revered as a gracefully elegant
exemplar of architecture’s late Modern era.
While the foundation needed to meet
current codes for fireproofing, asbestos abate-
ment, and accessibility by 2019, Walker had a
bigger reason for a redesign, one that would
go to the heart of a shift in the Foundation’s
mission. Ford originally bestowed grants to
strengthen democratic institutions and re-
duce poverty worldwide—as well as foster the
arts—but Walker believes it needs to be more
collaborative, working closely with partner
organizations on issues of social justice. That
meant a building plan with more transpar-
ency and less hierarchy—and jettisoning most
private offices. “We will be tearing down the
walls separating us,” he claimed in a video
interview with record in February 2016.
By switching to an open office scheme, the
Foundation could gain two floors to rent out
to like-minded not-for-profits. The reconfigu-
ration of the building’s total 415,000 square
feet of space would also mean an increase of
area for meetings and for the public. The
philanthropy’s new name expresses these
aspirations: the Ford Foundation Center for
Social Justice.
Walker planned other changes as well: his
LANTERN’S GLOW The renovation of the Ford Foundation Center for Social Justice included the interior garden
presidential office suite on the 10th floor was atrium (opposite), for which Jungles Studio was the landscape architect. The garden, entered from the 42nd Street
so big it could be converted into three confer- side (above), will soon open to the public during the week and on Saturday.
66 ARCHITECTURAL RECORD FEBRUARY 2019 BUILDING TYPE STUDY RENOVATION, RESTORATION, ADAPTIVE REUSE
6 9
9
6
6
5
6
6
6
43RD STREET
1
42ND STREET
12
1 8
3 6
2
7
5
11
4
12 9
A 0 30 FT. 0 30 FT.
LEVEL-TWO PLAN LEVEL-11 PLAN
10 M. 10 M.
0 30 FT.
LEVEL-ONE PLAN
10 M.
overlooking the garden. But they and the offices edging the perim-
eter of the building were enclosed by gypsum board walls and
divided by a central corridor; there were few sweeping vistas from
one side of the atrium through to the other.
In tearing down those walls and opening up each of the floors,
Gensler created circulation paths along both the building’s exterior
glazed walls and along the atrium, placing low workstations in be-
tween. “There was no vocabulary for workstations in the original
design. We had to make it up—so we took cues from the legacy furni-
ture and the architecture,” says Robin Klehr Avia, project principal of
Gensler. Fabricated by Knoll, the 42-inch-high custom cubicles are
impressive: made of an FSC-certified mahogany and leather panels
with brass touches, their design took cues from existing furniture
and even elevator-cab details. The architects also worked with Fisher
Marantz Stone on the design of handsome custom linear brass light
fixtures that are suspended over the desks.
Many original furnishings do survive. Gensler restored 1,500
pieces—more than half of those designed by Warren Platner—and
otherwise replicated or reinterpreted the originals, keeping the
dark brown, rust, gray, beige, and cream palette found throughout.
The bold splashes of color that now punctuate common spaces come
from the Foundation’s new collection of contemporary art, which page 24) and his Miami-based Jungles Studio, the plantings are sub-
focuses on work by women artists and artists of color, such as tropical but chosen to resemble the original garden: ficus Amstel
Kehinde Wiley, Carrie Mae Weems, and Dinh Q. Le. Even Nelson King trees with twisted trunks stand where magnolia trees once
Mandela’s own drawings are on display. were located, while elsewhere a variety of plants such as Powderpuff
To meet fire safety laws, Gensler installed a fire curtain, con- and Shady Lady black olive trees and Creeping Charlie fill out the ver-
cealed in the ceiling, above the open steel railing of the 11th floor. dant setting. “We were trying to interpret what Kiley wanted—a quiet
An exhaust system on the same floor can draw smoke out of the forest,” says Jungles, who also wanted to retain Kiley’s “processional
atrium, and sprinklers—which never existed before—have been movement through the space, with concealed and exposed views.”
subtly inserted around the atrium walls. Addressing ADA codes was central to that processional circula-
For the public, the most significant aspects of the renovation will tion. The atrium garden drops 13 feet in grade from the main
be the revamped atrium garden and a new double-height gallery on entrance on 43rd Street down to the secondary one at 42nd. Only a
the first floor, which will present exhibitions on the theme of social broad brick stair brought people down one level before. Now a small
justice. The garden, originally designed by Dan Kiley, used plants glass elevator, discreetly tucked into the southeastern corner of the
geared for a temperate climate, but they did not thrive in the en- garden, will make this public space accessible. And standing inside
closed space. Now reconceived by Raymond Jungles (Newsmaker, the glazed atrium, the visitor will get glimpses of the surrounding
68 ARCHITECTURAL RECORD FEBRUARY 2019 BUILDING TYPE STUDY RENOVATION, RESTORATION, ADAPTIVE REUSE
credits
ARCHITECT: Gensler — Robin Klehr Avia, project
principal; Madeline Burke-Vigeland, principal, project
director; Ed Wood, Lydia Gould, principals, design
directors; Ambrose Aliaga-Kelly, principal, technical
director; Johnathan Sandler, principal, strategy director;
Bevin Savage-Yamazaki, project manager; Jonas Gabbai,
design director; John Bricker, principal, brand and
graphics
ENGINEERS: Jaros Baum & Bolles (m/e/p/fp); Thornton
Tomasetti (envelope, structural)
CONSULTANTS: Jungles Studio, SiteWorks (landscape);
Fisher Marantz Stone (lighting designer); United Spinal
Association (accessibility)
CLIENT: Ford Foundation Center for Social Justice
SIZE: 415,000 square feet
COST: $205 million
COMPLETION DATE: December 2018
SOURCES
METAL PANELS: Centria
COR-TEN: Amuneal
DAKOTA GRANITE: Pullman
PAVERS: Hanover Architectural Products
OFFICE FURNITURE: Knoll
PLASTIC LAMINATE: Formica, Wilsonart
PAINTS AND STAINS: Benjamin Moore, Pratt & Lambert
ACOUSTICAL CEILINGS: Saint-Gobain (Ecophon),
Armstrong
SMOKE CURTAIN: McKeon
SOLID SURFACING: Dupont (Corian, Zodiac)
RESILIENT FLOORING: Forbo (Marmolean)
FORD FOUNDATION CENTER FOR SOCIAL JUSTICE NEW YORK GENSLER 69
70 ARCHITECTURAL RECORD FEBRUARY 2019 BUILDING TYPE STUDY RENOVATION, RESTORATION, ADAPTIVE REUSE
Richard A. and Susan F. Smith Campus Center, Harvard University | Cambridge, MA | Hopkins Architects
T
he new Smith Campus Center at way that trivializes the original. Most of the
Harvard University is a building old Holyoke facades, at these levels, are re-
that, like a lot of good architec- placed by glazing, the goal being to open
ture, can be read in different better views from the Smith out to the city
ways. You can say Smith is a story and from the city back into the Smith. The
about concrete and how we love new glass surfaces can play visual games.
it, hate it, and sometimes restore Some appear to push in or out like drawers.
it to health when it’s old and sick. Or you can So what exactly is the Smith Campus
say Smith is a very different story about a Center? Harvard is quick to note that it isn’t
university shaping architecture to push a just a student center. The Smith is conceived
social agenda. as the school’s private version of a public
First, though, a quick description. The downtown, with places to sit, have coffee, or
Smith Center is a mishmash of two periods of study. It’s meant for everyone, not only for
construction. The earlier work dates from the people affiliated with the university. The
1960s, when Harvard built a 10-story, doors are open to all, and we’re promised that
H-shaped building, the Holyoke Center, to they’ll stay that way. Ideally located, it’s just
house university offices and services. The across the street from historic Harvard Yard
Holyoke’s architect was Josep Lluis Sert, a and from Harvard Square, with its transit
future AIA Gold Medalist known for his love connections.
of raw concrete, who was then the dean of The Smith is seen too as a flagstaff for
Harvard’s Graduate School of Design. strangers, a point of orientation. Tourists,
That old Holyoke, now renamed the parents, and prospective students used to
Richard A. and Susan F. Smith Campus arrive, look around, and ask “Where is
Center, after its primary donors, still has its Harvard?” Smith is supposed to give the uni-
original 10 floors. But the bottom three or versity a visible front door.
four of those floors (it depends how you “Social engineering” has been a no-no term
count) have been imaginatively reconfigured in architecture for decades. But the Smith has
by London-based Hopkins Architects, with to be understood as the embodiment of such a
local firm Bruner/Cott as executive architect. concept, as well as the incarnation—in con-
Those floors, now the heart of the Smith, crete, glass, and steel—of one initiative of
have been radically revamped, but not in a Harvard’s former president, Drew Faust. When
CLEAR IMPROVEMENT The design team increased the transparency of the lower front facade, opening up the
building to a brick-paved plaza (opposite and above) as well as to views of historic Harvard Yard, across the street.
72 ARCHITECTURAL RECORD FEBRUARY 2019 BUILDING TYPE STUDY RENOVATION, RESTORATION, ADAPTIVE REUSE
12 7
7
4
13 8
8
13
14
13 4
4
0 50 FT
0 50 FT. SECTION A - A
LEVEL-THREE PLAN SECTION A - A 15 M
15 M.
9 9
10 9 9 9 9
7 1
8 8
10
7 1
8 8
2
9
8 8
9 6 9 11
2 8 8 8 8
6 66 11 11
8 3 8 66 6
6 9 6 6
0 50 FT.
SECTION B - B
8 3 8 0 50 FT. 15 0M. 50
SECTION B - B SECTION B - B
6 9 15 M. 15
8 8 8 8
CONSULTANTS: ARUP (structural, m/e, lighting, acoustics); Michael Van
Massachusetts Avenue
Massachusetts Avenue
1 1
Mt . Auburn Str
Mt . Auburn Str
4 7 7
7
2 2 Valkenburgh Associates (landscape)
eet
8 8
GENERAL CONTRACTOR: Consigli
Massachusetts Avenue
1
Mt . Auburn Str
7
B B B B
2 CLIENT: Harvard University
6 8 3
6 8 3
8 8 SIZE: 93,000 square feet
B B
5 5
4 3 4
COST: withheld
6 8 8
A A
COMPLETION DATE: September 2018
5
Holyoke Street 4 Holyoke Street
A SOURCES
Holyoke Street
CLADDING: Alcoa Architectural Products, Centria, Roschmann Steel and Glass
Constructions, Construction Specialties
GLAZING: Cristacurva, Oldcastle BuildingEnvelope, Saint-Gobain
LINEAR WOOD CEILING PANELS: 9Wood
0 50 FT. 0 50 FT.
NE PLAN LEVEL-ONE PLAN PLASTIC LAMINATE: Wilsonart
15 M. 15 M.
EXTERIOR DECK: Thermory
0 50 FT.
LEVEL-ONE PLAN
15 M.
RICHARD A. AND SUSAN F. SMITH CAMPUS CENTER, HARVARD UNIVERSITY CAMBRIDGE, MA HOPKINS ARCHITECTS 73
A
museum for all” was the found-
ing dictum of Sweden’s
Nationalmuseum, opened in
1866 and designed by Friedrich
August Stüler, architect of the
Neues Museum in Berlin.
Chronic lack of space due to
constant adaptation of its footprint for admin-
istrative and storage purposes, however, meant
that only 30 percent of its area was accessible
to the general public, and only 2.4 per-
cent of its art collection could be displayed at
any given time. In 2013, the museum closed its
doors and went through a comprehensive,
five-year-long, $132 million renovation led by
Swedish firms Wingårdhs—known for its
contemporary architecture—and acclaimed
restoration specialist Erik Wikerstål. The re-
sult, unveiled in October 2018, is an exemplary
reconstruction that draws on Stüler’s original
design while catering to the institution’s con-
temporary needs and potential growth.
After extensive studies on its spatial require-
ments and development strategy, the museum
and the design team created a plan that includ-
ed an expansion of the three-story Neo-Renais-
sance building. Government funds were signifi-
cantly lower than required, however, and the
addition was quickly scrapped. Instead, the
architects sifted through the existing build-
ing—moving storage, administration, and
conservation rooms underground and off-site—
in order to free up more of the museum for art
and the public. “Then we needed much bigger
mechanical rooms,” explains Wingårdhs
founder Gert Wingårdhs. “For that, we blasted
6½ feet below ground level and raised the two HOLDING COURT
courtyards.” This solution not only created a The Neo-Renaissance
building is located
sprawling vaulted underground space for coat
P H O T O G R A P H Y: © A N D R É P I H L (O P P O S I T E A N D B O T T O M ) ; B R U N O E H R S ( T O P )
UNEARTHED A sensuous modern stair (above, left) leads to the sprawling, vaulted underground space for coat rooms and lavatories, which is now accessible (above, right).
Covered since the 1930s, gallery windows (opposite, top) have been exposed, and art is displayed on movable walls. A sculptural elevator tower for transporting art and people
is clad in woven oxidized brass and dominates the southern courtyard (opposite, bottom).
A
8
15
4
7 12 12
4
17 1 2 3
6 5
6 16 6 12 12
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18 9 9 10 11 13
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0 50 FT.
BASEMENT PLAN GROUND-FLOOR PLAN
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credits
ARCHITECT: Wingårdhs — Gert Wingårdh, GENERAL CONTRACTOR: Skanska
12 12
4
principal CLIENT: Swedish National Property Board
12
ASSOCIATE ARCHITECT: Wikerstål SIZE: 215,000 square feet
8 Architects — Erik Wikerstål, Josefin COST: $132 million
Larsson, project leaders
COMPLETION DATE: October 2018
SECTION A - A ENGINEERS: Sweco Structures
(structural); Bengt Dahlgren Stockholm
(mechanical, plumbing); Ingemar Åblad, SOURCES
1 MAIN ENTRANCE 7 RESTAURANT 14 SERVICES
Jonas Schärman (electrical) COURTYARD ROOF GLAZING: KGC
2 FOYER 8 BAR & CAFÉ 15 KITCHEN
CONSULTANTS: Andersson Jönsson COURTYARD ROOF FRAME: Sjölins
3 ENTRANCE HALL 9 OFFICE 16 STORAGE
Landskapsarkitekter (landscape); WOOD FLOORS: Stombergs
4 SCULPTURE COURT 10 ASSEMBLY 17 COATROOMS &
Brandskyddslaget (fire safety); ACC DISPLAY CASES: Goppion
5 SOUTH COURTYARD/ 11 CONSERVATION BATHROOMS
(glazing); ÅF (acoustics); Urban Pihl ELEVATOR-TOWER BRASS: Klass Metall
AUDITORIUM 12 GALLERY 18 WORKSHOP (accessibility); Kardorff Ingenieure LIMESTONE: Borghamns Stenförädling
6 ELEVATOR TOWER 13 ANNEX Lichtplanung (lighting)
NATIONALMUSEUM STOCKHOLM WINGÅRDHS WITH WIKERSTÅL ARCHITECTS 81
ern courtyard—an enclosed space which, over the years, was used as an
auditorium, storage, and offices—in the form of a sculptural elevator tower
clad in woven oxidized brass. This nucleus includes two smaller general
elevators for the public on either side of a huge elevator for the art, which
P H O T O G R A P H Y: © A N D R É P I H L (O P P O S I T E , L E F T; T H I S PAG E , 2) ; B R U N O E H R S
can carry almost 100 people. The lower part of the shaft can be opened,
revealing a video screen, so that the courtyard will double as an audito-
rium. “We think this will be a very active room, and, since it has not been
seen by the public since the 1940s, the experience will be very strong,”
says Wingårdh. The woven pattern is a nod to Gottfried Semper’s ideas
about textile enclosures and hints at the complementary role of the two
structures in the new organization of the museum, whose improved logis-
tical operation will allow for exhibitions to be rotated more frequently.
To continue the textile analogy, great care was taken in intertwining
the technical elements with the fabric of the building, so as to make
them not just unobtrusive, but part and parcel of the design. There are
two major examples of this: one makes use of scientific advances in
materials and acoustic design, and the other is the result of the adapta-
tion of existing decorative elements and architectural features. The two
courtyards around which the building is organized are fitted with
shallow glass domes, a commonly used element which, here, remains
hidden when viewing the building from the exterior. The three-dimen-
(O P P O S I T E , R I G H T )
View from
the Bridge A salvaged remnant of the past engages a
revitalized neighborhood and waterfront.
BY LINDA C. LENTZ
O
verlooking a small cove off the East River in the shad-
ow of the Brooklyn Bridge, a group of four- and
five-story former warehouses, built in 1869 and 1885,
respectively, had been languishing for over half a
century, vacant and disused. Now, nearly 150 years
since their construction, the Empire Stores, as they
were called, are thriving again as an integral part of
New York’s Dumbo neighborhood and the waterfront development in
Brooklyn Bridge Park (record, January 2011). A thoughtful intervention
by Studio V and S9 Architecture not only maintains the integrity of the
existing structures—designated New York State landmarks in 1978—it
knits them into a single entity, transforming the 350,000-square-
foot timber and masonry facility (once largely used for warehousing
P H O T O G R A P H Y: © I M AG E N S U B L I M I N A L (O P P O S I T E ) ; B R O O K LY N H I S T O R I C A L S O C I E T Y ( B O T T O M )
coffee) into a lively blend of commercial and public spaces that includes
a 100,000-square-foot roof addition, 50,000 square feet of green roofs,
and a 7,000-square-foot extension of the park that climbs to the roof.
The brief from the Brooklyn Bridge Park Corporation (BBPC)—the
city’s not-for-profit organization that oversees the park’s planning, con-
struction, and operation—mandated an ambitious mixed-use program
that would engage the community and provide revenue for the park.
(Empire Stores is one of a select group of developments within Brooklyn
3 7
7 7 7
7
9
7
0 60 FT. 0 60 FT.
THIRD-FLOOR PLAN SIXTH-FLOOR PLAN
20 M. 20 M.
A 10
5
7
9
9
6 6
6 6 4
A 0 60 FT
0 60 FT.
GROUND-FLOOR PLAN SEVENTH-FLOOR PLAN
20 M.
7 9
1 STREETENTRANCE 6 RETAIL
9
2 PUBLICLOBBY 7 OFFICESPACE
3 COURTYARD 8 MECHANICAL
7
4 LOADINGDOCK 9 DUMBOHOUSE
7
5 DINING 10 BROOKLYNBRIDGEPARK
3 2
0 20 FT.
SECTION A - A
6 M.
EMPIRE STORES BROOKLYN, NEW YORK STUDIO V AND S9 ARCHITECTURE 87
P H O T O G R A P H Y: © I M AG E N S U B L I M I N A L ( T O P A N D O P P O S I T E ) ; PAT R I C K D O N A H U E ( B O T T O M )
credits
ARCHITECTS: Studio V Architecture — Jay Valgora, principal; S9
Architecture — Navid Maqami, John Clifford, Sital Patel, principals
ASSOCIATE ARCHITECT: Perkins Eastman
ENGINEERS: Silman (structural); Mottola Rini (m/e/p)
CONSULTANTS: Future Green Studios (landscape design);
Tillotson Design Associates (lighting design); Higgins Quasebarth &
Partners (historic); Spiezle Architecture Group (sustainability)
GENERAL CONTRACTOR: Veracity Partners
CLIENT: Midtown Equities, HK Organization, Rockwell Capital
SIZE: 450,000 square feet
CONSTRUCTION COST: $160 million
COMPLETION DATE: October 2017
SOURCES
CURTAIN WALL: KPA Studio
METAL PANELS: Kingspan
WINDOWS AND DOORS: YKK AP; B&B Iron Works
GLASS: Vitro Architectural Glass
TIME TRIP The architects retained one bay of timber columns to support the facade on the courtyard BUILT-UP ROOF: Siplast
(top), creating unique interior corridors that serve as lounge and meeting space for West Elm. The
PAINT: Benjamin Moore
company’s office (above) features exposed structure and unique windows with an internal frame. Visitors
can use the stair or a glazed elevator to access the rooftop extension of Brooklyn Bridge Park (opposite). HARDWARE: Yale; Norton; Rockwood
EMPIRE STORES BROOKLYN, NEW YORK STUDIO V AND S9 ARCHITECTURE 89
90 ARCHITECTURAL RECORD FEBRUARY 2019 BUILDING TYPE STUDY RENOVATION, RESTORATION, ADAPTIVE REUSE
Inside Job
The interior of a century-old gymnasium is
transformed into a dynamic center for the arts.
BY JOSEPHINE MINUTILLO
PHOTOGRAPHY BY LARA SWIMMER
B
uilt in 1900, the gymnasium at Haverford College holds a prized
location across from Founders Hall on the main quadrangle of the
small liberal-arts school’s wooded campus, eight miles northwest of
Philadelphia. Like many of the earlier buildings at the now nonsec-
tarian institution, founded in 1833 by the Society of Friends, the
beautiful stone structure reflects Quaker architectural principles of
utility, balance, and simplicity. Its recent transformation into an arts
hub reflects a complementary principle: first, do no harm.
Dressed in a rubblestone pattern of the local Wissahickon schist, which was
repointed in the renovation, the three-story building features two protruding
wings originally containing offices, an alumni lounge, and an attic filled with a
treasure trove of century-old sports memorabilia and equipment discovered just
prior to construction. A lower level had locker rooms and a swimming pool. The
soaring central volume was used for any number of physical activities, including
Swedish Gymnastics, popular on college campuses at the time the building was
completed. Curiously—though not unheard of in older buildings—a suspended
running track circles that main space, 12 feet above its floor.
Yet despite its noble presence and prominent position, the building met with a
lamentable fate. As the gamut of athletic and sporting activities moved to mod-
ern facilities farther south on campus, the little edifice, known for years as Ryan
Gym, was abandoned, becoming nothing more than an unkempt hangout for
students. With a nascent plan for a new interdisciplinary arts curriculum to take
91
2 1 10 16
10 14
3
2 2 2 2 2
5 5
4
12 2 5
13 8 15
11 7
6 6 9
5 2 2
5 5
2 2 14
OLD NEW
Restored cupola
Exposed roof
truss system
Screening room
Faculty offices
Original entry on
Founders Green credits
Removed portion of ARCHITECT: MSR Design SOURCES
Repurposed running gym floor and added stairs
track for circulation ENGINEERS: Bruce E. Brooks & Associates MASONRY: Zavorski Masonry Restoration
Reinstalled/reoriented
Portion of gym floor (m/e/p); Keast & Hood (structural); Nave SLATE SHINGLES: Greenstone Slate
gym floor boards
left in place
Newell (civil) ACOUSTICAL CEILINGS AND
Filled-in
swimming pool CONSULTANTS: Keystone Preservation SUSPENSION GRID: USG, Owens Corning
Group (preservation); LaSalle Engineering METAL DOORS: Assa Abloy
(code, fire protection); Gallina Design
WOOD DOORS: VT Industries
(lighting); Threshold Acoustics (acoustics,
CUSTOM WOODWORK: Glick
Restored AV); WC Consulting (specifications)
building shell TILE: Appiani, Ann Sacks
GENERAL CONTRACTOR: Whiting Turner
FELTED WALL COVERINGS: Wolf Gordon
CLIENT: Haverford College
AUDITORIUM SEATING: Sedia Systems
SIZE: 25,000 square feet
New entry/connection SHELVING: Alias
to lower campus COST: $15.5 million (total); $13 million
FURNITURE: Knoll, Allermuir, Vitra, Tolix,
(construction) Emeco, Muuto, Leland, Andreu World,
AXONOMETRIC DRAWING COMPLETION DATE: October 2017 Haworth, Herman Miller, Artless, Rypen
VCAM HAVERFORD, PENNSYLVANIA MSR DESIGN 93
architecturalrecord.com/books
96 ARCHITECTURAL RECORD FEBRUARY 2019 SEISMIC DESIGN
Shaking Things Up
Engineers push buildings to higher levels of earthquake performance.
By Joann Gonchar, FAIA
Resilience is the ability to bounce back after destruction that might make a building unin- alternative to the prescriptive, code-based
a disturbance or interruption, or the capacity habitable for an extended period of time or approach. “As a general notion, performance-
to withstand, recover from, or adapt to stress, even necessitate demolition. In fact, recent based design can allow project teams to
misfortune, or change. By now, design teams studies often quoted in engineering circles choose a performance level for any event or
are at least accustomed to considering this estimate that code-compliant buildings could hazard, with resilience as the most ambitious
concept and a building’s response to such haz- suffer two years of downtime after a signifi- goal,” says Jon Heintz, the executive director
ards as flooding, intense wind, and drought. cant quake. “By design, codes focus only on of the Applied Technology Council (ATC), a
You might assume that for one threat in safety, and therefore tolerate lots of damage,” nonprofit that promotes engineering research.
particular—earthquakes—modern codes as- says David Mar, partner at Berkeley, California- This focus on enhanced performance is a
sure resilience, essentially guaranteeing that based Mar Structural Design. global trend. Seismic resilience might not be
recently built structures can be quickly reoc- But while engineers are still prioritizing necessary for all buildings, but it is certainly
cupied, or at least readily repaired. It sounds human safety, they are also working to raise relevant for those that represent a significant
totally reasonable—right? But that is not the the bar, thanks to better simulation tools and investment, house critical business activities,
case. Codes were devised to protect lives, not the maturation, over the past two or three provide essential services, or are important
property, so they do little to limit the kind of decades, of performance-based design, an community or cultural assets. One such recent
97
project is Turanga, the new central library in The new central library
(above) in Christchurch,
I M AG E S : © A DA M M Ø R K (O P P O S I T E , A N D B O T T O M , R I G H T ) ; C O U R T E S Y S C H M I D T
collapsed.
Local engineering firm Lewis Bradford
Consulting Engineers developed what they
term a “low-damage” seismic solution for
Turanga. In addition to safeguarding the occu-
pants, the strategy is intended to protect the
structure, the fabric of the building, and its
contents. A folded, perforated metal veil sur-
rounds much of the library’s five-story rec-
98 ARCHITECTURAL RECORD FEBRUARY 2019 SEISMIC DESIGN
tangular volume, but is selectively omitted in Ushaped flexural plates (UFP) that connect the es, allowing the architects to create flexible
some sections to reveal terraces and allow core walls to corner columns. The UFP energy floor plates and open the center of the build
views to the surrounding landscape. Under dissipation devices are considered sacrificial, ing to a skylit atrium. “Braces would have been
neath this skin, at the building’s perimeter, is since they could be damaged in a very large a barrier and constraint, but we managed to
a largely conventional steel momentresisting quake—one with a 1,000year return period. get rid of them,” he says.
frame providing approximately 30 percent of However, all of the damage should be confined In recent years, tools and standards have
the structure’s earthquakeload resistance. to these elements, which have bolted connec emerged to assist engineers in understanding
Most of the seismic work, however, will be tions, enabling their replacement, explains the tradeoffs and risks implicit in seismic
done by three “rocking wall” cores that allow Tim Shannon, Lewis Bradford’s technical design decisions. One example is FEMA P58, a
the building to sway and then return to its director. performancebased analysis methodology
original position. In addition to enhanced seismic perfor developed by the ATC and funded by the
These vertical cores consist of 82foottall mance, the scheme was desirable from Federal Emergency Management Agency. It
posttensioned, sitecast concrete walls with an architectural standpoint, says Morten provides quantitative descriptions of damage
high forcetovolume extrusion dampers link Schmidt, Schmidt Hammer Lassen cofounder. for both existing and new buildings, consider
ing the walls’ bases to the foundation and The strategy limited the need for lateral brac ing structural components as well as nonstruc
1 TILT-UP
2
CONCRETE WALL
2 POST-TENSIONING
1
3 CORNER COLUMN
4 U-SHAPED
FLEXURAL PLATE
5 SUPPLEMENTARY
3
4 DAMPING DEVICE
I M AG E S : C O U R T E S Y L E W I S B R A D F O R D C O N S U LT I N G E N G I N E E R S
CHRISTCHURCH CENTRAL LIBRARY
CORE AXONOMETRIC
The Christchurch library’s structural system comprises a largely conventional steel moment
frame and three “rocking wall” cores (right). The cores (top, right), which recenter the building CHRISTCHURCH CENTRAL LIBRARY
after a quake, include 82-foot-tall post-tensioned, site-cast concrete walls (above). STRUCTURAL-SYSTEM AXONOMETRIC
100 ARCHITECTURAL RECORD FEBRUARY 2019 SEISMIC DESIGN
days
NEW BUILDINGS
Protective
System
days to weeks
Enhanced
Code
weeks to months
Basic Code
months to a year
OLDER BUILDINGS
Basic
Retrofit
a year or more
Unretrofitted
OPTIONS FOR EATHQUAKE-RESISTANT DESIGN, FEMA P-58-7, BUILDING THE PERFORMANCE YOU NEED, A GUIDE TO STATE-OF-THE-ART TOOLS FOR SEISMIC DESIGN AND ASSESSMENT
The analysis tool FEMA P-58 can be used by project teams ards, such as flooding and high winds, the for the formerly homeless, making its en-
to understand the trade-offs and risks implicit in seismic- current versions of both systems are still hanced performance goal particularly
design decisions for both new and existing buildings. It can
help them develop quantitative descriptions of initial
focused on seismic design and are intended to appropriate, points out Coliver. “After a quake,
investment, potential damage, repair costs, and downtime. help teams achieve beyond-code performance. there would be few options for affordable
While Arup’s REDi targets high-profile new- housing for these seniors,” she says. “There is
tural elements, including facades, finishes, construction projects, the USRC’s system is so little of it anyway.”
and mechanical systems. It helps project teams geared for a range of existing as well as new The project’s seismic resilience has been
estimate the repair costs and the amount of structures. To date, the nonprofit’s certified accomplished primarily with elements found
time a building might be uninhabitable as a projects include the seismic retrofit of a in many Bay Area multiunit residential build-
consequence of design choices. It even can nondescript retail building in San Gabriel, ings, including reinforced-concrete floor
help determine the amount of greenhouse California, and an elaborate, recently dedi- plates, columns, and shear walls. But at Casa
gases that would be generated as the result of cated Mormon temple in Concepción, Chile. Adelante, these largely conventional compo-
necessary repairs. The aim is to “couple struc- “The program is aimed at a broad swath of nents have been tuned through sophisticated
tural behavior with losses,” says Mar, who is owners,” says Evan Reis, the organization’s computer simulations. “Their dynamics have
one of many engineers who has served as a executive director. been considered all together, as a system,
consultant on the P-58 effort. First released in One project seeking USRC certification is to make some parts stronger and others weak-
2012, a P-58 update will be published in the Casa Adelante, now under construction in San er,” explains Mar, the project’s structural
first quarter of this year. It will include a new Francisco’s Mission District. When complete engineer. The idea is that the building will
set of design guidelines and, for the first time, late this year, it will provide 93 apartments realign itself after an earthquake’s shaking,
a section targeting clients, developers, and for low-income seniors in a neighborhood that behaving in a manner similar to the new
other non-engineering decision-makers. the building’s architect, Susie Coliver, princi- library in Christchurch.
Along with evaluation tools like P-58, LEED- pal of Herman Coliver Locus, describes as The only somewhat exotic components at
like frameworks to rank building performance “ground zero for gentrification.” The approxi- Casa Adelante are a set of four dampers spe-
in the face of seismic threats have also been mately $40 million nine-story project is cially manufactured in New Zealand and
emerging, including one created by the non- aiming for USRC Gold (the second-highest designed with the help of Geoffrey Rodgers, an
profit U.S. Resiliency Council (USRC), and level of certification), which means that, in engineer and professor at the University of
another developed by the engineering firm addition to protecting occupants against Canterbury in Christchurch, who also had a
Arup, known as the Resilience-based Earth- major injury, Casa Adelante should sustain hand in Turanga. The dampers, necessary
quake Design Initiative (REDi). While both the damage amounting to less than 10 percent of because the shear walls are located close to the
USRC and Arup are working to expand their its replacement cost, with minimal disruption building’s exterior, sit between a mat slab and
respective programs to encompass other haz- to operations. The building includes 19 units the foundation’s piers, permitting the slab to
101
lift but then be pulled back. Because Rodgers the tower might be unusable for two years
donated his time and convinced other collabo- after a major quake. They therefore opted for a
rators involved in creating the devices to do beyond-code approach, targeting REDi Gold,
the same, the project’s nonprofit developers the program’s second-highest level of certifica-
I M AG E S : © F E M A (O P P O S I T E ) ; C O U R T E S Y H E R M A N C O L I V E R L O C U S ( T H I S PAG E )
are paying only $4,000 for each damper. This tion, which includes immediate reoccupancy
marginal cost would have been considerably after a 475-year earthquake, with limited
higher had all the fees normally associated disruption to functionality.
with design and fabrication been included. The tower’s seismic strategy comprises a
Keeping added expenses low while improv- dual system of a perimeter moment frame and
ing performance is one of the main aims of composite megacolumns and a steel mega-
the larger seismic-resilience endeavor. “Our brace, all rising from a foundation that
mission is to substantially reduce risk with includes piles socketed into bedrock, more
very little premium—between 0 and 5 per- than 200 feet below the street. Earthquake-
cent,” says Ibrahim Almufti, an associate resistance is dependent almost entirely on
principal in the San Francisco office of Arup these perimeter elements, since the slender-
and one of the primary authors of REDi. He ness of 181 Fremont—with a base that is only
says that many clients are unaware of the 120 by 90 feet—did not permit a structural core
potential consequences of meeting only the in the office portion, which occupies the lower
prescriptive requirements of the building 37 floors. But above, in the residential levels,
code, citing his firm’s experience as structural there is a secondary system, with a core rein-
and geotechnical engineer at 181 Fremont, a forced with buckling restrained braces. The
56-story office and condominium tower de- tower is designed to uplift slightly, about an
signed by Heller Manus and completed last inch, in a large quake—one known as a maxi-
Casa Adelante (top), under construction in San Francisco’s year, directly adjacent to San Francisco’s mum considered earthquake, or MCE, defined
Mission District, will provide 93 apartments for low-
income seniors. It is aiming for USRC Gold certification,
Salesforce Transit Center. The building’s own- by code as a seismic event that has a 2 percent
with a seismic system that includes dampers (above) ers were surprised to learn that if typical chance of occurring in 50 years. Each megacol-
developed for the project in New Zealand. seismic-performance objectives were pursued umn includes a shear key, which was devised
102 ARCHITECTURAL RECORD FEBRUARY 2019 SEISMIC DESIGN
year quake.
The tower’s sophisticated engineering solu-
tions, and those employed at Casa Adelante
and Turanga, should help the structures and
their occupants quickly recover from a major
earthquake. If such beyond-code projects
become commonplace, more owners can ex-
pect buildings that not only safeguard human
life but are genuinely resilient. n
Continuing Education
To earn one AIA learning unit
(LU), including one hour of
health, safety, and welfare (HSW)
San Francisco’s 181 Fremont, which sits adjacent to the
currently closed Salesforce Transit Center and its rooftop credit, read “Shaking Things Up,”
I M AG E S : © S T E V E P R O E H L ( T O P, L E F T ) ; C O U R T E S Y A R U P ( M I D D L E , A N D T O P, R I G H T )
garden (above), has composite megacolumns and a steel review the supplemental material found at
megabrace (right) to help it perform in an earthquake. architecturalrecord.com, and complete the quiz
Dampers are integrated into the megabrace (far right). at continuingeducation.bnpmedia.com or by
using the Architectural Record CE Center app
to allow forces to be transmitted to the founda- available in the iTunes Store. Upon passing
tion without the tower moving side to side, the test, you will receive a certificate of
explains Almufti. completion, and your credit will be automatically
At the very top of the building, engineers reported to the AIA. Additional information
were able to omit a tuned mass damper (TMD) regarding credit-reporting and continuing-
that had been included in an earlier scheme. education requirements can be found at
Such devices are often incorporated into the continuingeducation.bnpmedia.com.
crown of slender towers to reduce the sway Learning Objectives
and acceleration caused by wind, which can 1 Distinguish the performance objectives of
make occupants uncomfortable. But at 181 code-compliant seismic design from those of
181 FREMONT, PERIMETER-BRACING DIAGRAM
Fremont, Arup instead used viscous dampers, resilient seismic design.
incorporating them into the perimeter mega 2 Describe tools and standards that project
braces. This approach freed up valuable real decrease the size of the steel sections, as well teams can use to understand the trade-offs and
estate, allowing for an additional residential as the overall seismic demand,” he says. risks implicit in seismic-design decisions.
penthouse, while also benefiting seismic per- As part of their work on 181 Fremont, the 3 Explain how nonstructural components can
formance, since the devices mitigate both engineers also considered nonstructural contribute to or detract from seismic resilience.
wind and earthquake forces. The approach elements, since repairing or replacing such
4 Describe the seismic-design strategies and
also allowed engineers to reduce the struc- components can be costly and delay reoccu-
systems deployed in the three projects profiled.
ture’s weight and stiffness, which in turn pancy. For instance, a full-scale, three-story
further reduced seismic loading, explains facade mockup was used to confirm air- and AIA/CES Course #K1902A
Almufti. The damper system “allowed us to watertightness after the shaking of a 475-
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RECORD
KITCHEN
& BATH
106 Argentona Apartment, Barcelona, by YLAB
109 Heard Residence, Ohio, by MacPherson
112 Santa Barbara Ranch, California, by Anacapa
115 Products
P H O T O G R A P H Y: C O U R T E S Y Y L A B A R Q U I T E C T O S
ARGENTONA APARTMENT,
BARCELONA, YLAB ARQUITECTOS
106 ARCHITECTURAL RECORD FEBRUARY 2019 RECORD KITCHEN & BATH
HIDE AND SEEK The combined living and dining area features oak cabinets
that store and conceal kitchenware and appliances.
doors can be slid closed. Together with the closets that the
P H O T O G R A P H Y: C O U R T E S Y Y L A B
REFLECT AND REFRACT White lacquered walls and cream-colored natural stone
floors multiply daylight, illuminating the windowless anterior rooms (left and above). The
1 ENTRY bathroom can be accessed from the kitchen via sliding oak doors (above).
5 VESTIBULE
P H O T O G R A P H Y: C O U R T E S Y Y L A B A R Q U I T E C T O S B A R C E L O N A
2 LIVING/DINING
2 piers and lintels. The only source of daylight was punched windows
3 3 GALLERY
along a south-facing wall overlooking a courtyard, but the light was
4 HOME OFFICE blocked by an interior wall running almost the whole width of the
1
5 BEDROOM apartment to make a long, narrow gallery. So López and her team
4
replaced it with fully glazed doors that fold out of the way, while in-
stalling enormous windows on the exterior, essentially removing the
masonry facade except for structural columns. Light now pours not
0 10 FT.
FLOOR PLAN only into the gallery but most of the apartment.
3 M.
The combined kitchen and living areas run alongside this solarium,
which, when its doors are open, extends the social space. White-
credits
lacquered cladding and warm-toned Capri sandstone floors reflect
ARCHITECT: YLAB Arquitectos Barcelona SOURCES
daylight to illuminate the interior.
— Yolanda Yuste López, Tobias Laarmann, FLOORS: Levantina
The apartment has a polished and fresh aesthetic, the capability to
principals WALLS: Neolith adapt to its inhabitants’ needs, and significant space for gathering with
SIZE: 970 square feet CUSTOM WOOD FURNISHINGS: Blum family and friends. “It breaks down the classical functions of an apart-
COMPLETION DATE: May 2018 LIGHTING: Delta Light; Santa & Cole ment to make everything more fluid,” López says, “so that the owners
FAUCETS: Vola can do what they want, however they want to do it.” Alex Klimoski
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Heard Residence
Perrysburg, Ohio
MacPherson Architects / 2MA
Few materials signify contemporary design the way glass does, espe-
cially when it’s used to delineate space inside a 144-year-old house. P H O T O G R A P H Y: © RYA N S O U T H E R N
7
5
3
2
4 6
9
1
0 10 FT.
SECOND-FLOOR PLAN
3 M.
1 MASTER BEDROOM
2 MASTER BATH
3 CLOSET
4 MECHANICAL ROOM
5 GYM
6 BEDROOM
7 SUNROOM
8 ROOF DECK
9 BATHROOM
GLAZING OVER
Glass entry doors and a
pocket door screening a
closet in the master bath
(opposite and right) add
contemporary drama, in
contrast to the Victorian
details of the 1875 exterior
(insert opposite). In
recesses above doors, the
architects added LEDs,
which illuminate the
openings and highlight the
profiles of base moldings.
112 ARCHITECTURAL RECORD FEBRUARY 2019 RECORD KITCHEN & BATH
OLD MEETS NEW Plumbing was run through existing chases in the wood-frame
structure. Subfloor levels were aligned to ensure a seamless continuity with new
flooring, including hydronic radiant heat in the bathroom (left).
Jaimie L. Deye, associate project Textures (low-iron velour) practical benefits of a more easily maintained environment,”
manager LIGHTING: Seagull (LED tape); Juno MacPherson says.
GENERAL CONTRACTOR:
(downlights); Legrand Adorne (controls) As for the etched glass elsewhere in the house: an additional
BATH FIXTURES: Duravit 6-foot slider will be installed to close off the kitchen; a 36-foot-
Roman Construction
FAUCETS: Hansgrohe long, 12-foot-high wall of operable glass windows will provide
CLIENT: Alex and Sandra Jane Heard
DOOR HARDWARE: C.R. Lawrence access and views to a backyard terrace; and floor-to-ceiling glass
SIZE: 5,000 square feet (hinges); Dorma (sliding system) will enclose the second-floor landing. “It’s like putting together
COST: withheld SOLID SURFACING: DuPont Corian the story of a stylistic interjection in a Victorian house.”
COMPLETION DATE: October 2018 RADIANT HEAT: Uponor; Schluter Leslie Clagett
SAVE THE DATE
This event will offer
MARCH 27 | SAN FRANCISCO
1.5 AIA LU | HSW. Merchants Exchange Club | 75 Leidesdorff St.
Join us for a free symposium where San Francisco’s foremost leaders in design
will showcase their recent projects before being joined by Architectural
Record Senior Editor, Joann Gonchar, for a panel discussion on Designing
for the Big One: Seismic Resiliency.
RecordontheRoad.com
114 ARCHITECTURAL RECORD FEBRUARY 2019 RECORD KITCHEN & BATH
Greene Ranch en. The white custom cabinetry in the rest of the space offers plenty of
storage to keep it clutter-free. The pristine palette underscores the
Santa Barbara, California link between the stucco and the white-painted millwork, the bianco
Anacapa Architecture bello marble-top island and white-tile backsplash.
In the evening, one can switch on a series of downlights and a dra-
When the owner of an unremarkable 1,100-square-foot 1950s ranch matic brass chandelier that hovers above the island. “The owner had a
house commissioned Anacapa Architecture to replace it with a new very clear vision for the design: she wanted a bright, minimalist
2,450-square-foot dwelling with an open plan, she described the kinds space,” says Weber. “The island is the central gathering place for rich
of materials and finishes she wanted indoors. Principal Dan Weber social interaction that revolves around meal preparation.” It holds the
used these strong palette choices as a jumping-off point for his archi- sink, dishwasher, storage, and concealed trash bins. The client selected
tecture and interiors. This is especially evident in the kitchen and the marble for the countertop.
bathrooms, which are key to his design. Weber carried the elegant palette into a nearby guest bath, suspend-
Besides doubling the house’s footprint, Weber and his team bal- ing pendant versions of the kitchen chandelier above a walnut vanity
anced the slatted ipé panels and white stucco of the exterior by using complemented by brass faucets, hardware, and a mirror edged in the
the same wood in the kitchen’s clean, white environment. From the same metallic finish.
street, the combined living/dining/kitchen area is visible through a The open plan of the kitchen-living wing extends to the master
large window, neatly framed by the house’s cladding. Used for its suite. Here, a full-height wall forms the bed’s headboard, but the room
durability as well as its visual appeal, the street-facing ipé wall turns a is devoid of doors at either side. These two thresholds lead into the
corner inside the entry vestibule and reappears as striking millwork master bath, which features polished-concrete floors with radiant
to conceal the bottom-mount, built-in refrigerator-freezer in the kitch- heating and large-format gray tiles. The fixtures in this room include
115
3 4
6 5
0 16 FT.
FLOOR PLAN
5 M.
1 ENTRANCE
2 KITCHEN
3 MASTER BEDROOM
4 MASTER BATH
5 GUEST BEDROOM
6 GUEST BATH
COOK OUT
A sliding glass wall on one
side of the house (opposite)
spans 36 feet, connecting
the kitchen to the outdoors.
Custom appliance doors of
ipé conceal the refrigerator-
freezer and pantry, and tie
in with the facade. The
guest bath (top, right)
features the same subway
tile and brass fittings as the
P H O T O G R A P H Y: © E R I N F E I N B L AT T
COOL CONTRAST A skylit corridor (left) leads to the master suite. In the master bath (above),
walnut and brass fittings punctuate the gray-tiled walls and concrete floor.
a tub; an open shower shielded by a single glass panel on one side; an en-
closed toilet; and a custom double vanity fabricated by the same cabinet-
maker who worked on the kitchen. While the vanity was constructed with
walnut, the same brass fittings and luminaires punctuate the calm gray
space. Timber slats lining the shower floor and a custom bench are com-
posed of the recurring ipé that ties the indoor and outdoor spaces of the
house together in many details.
The minimalist design and carefully curated palette work in concert to
present a visually serene and uncluttered home, from every nook to the
main attraction that is the kitchen. Sheila Kim
credits
ARCHITECT: Anacapa — Dan Weber, principal SOURCES
architect; Geoff April, Jose Sanchez, design CUSTOM CABINETRY: Lotus Cabinetry
team HARDWARE: Buster & Punch; Colonial Bronze P H O T O G R A P H Y: © E R I N F E I N B L AT T
Circular Lamp
Counter Intelligence Dutch firm Studio WM
has designed an organic-
Unexpected finishes and subtle high-tech features looking LED pendant
mark these innovative product offerings. users can control with an
app. Made of anodized
By Kelly Beamon powder-coated aluminum
and spanning 21¾" in
diameter, the fixture is
available in bronze, brass,
and black finishes. Users
can control brightness
and color temperature
with a phone or tablet.
menu.as
K7
The height of this cooking island can be adjusted from
29" to 44½" at the touch of a button. The ergonomic
design is by Berlin-based Team 7 and combines work
surfaces for cooking, dining, and entertaining in one
bar, which also incorporates a sink, cooktop, and storage.
team7.at
Undercounter Collection
Refrigerator manufacturer True Residential has Ombré Vibrant
rolled out an undercounter line that includes The graduated finish on Kohler’s new faucet sets extends
refrigerators, refrigerated drawers, wine cabi- design options available for the manufacturer’s
nets, beverage centers, and drink dispensers in a Component and Sensate plumbing collections. Called
choice of 36 colors. More than the space-saving Ombré Vibrant, the finish is available in Vibrant Rose
size, hues such as Gold, Copper, Brass, and Cobalt Gold, Polished Nickel, and Titanium, with a physical vapor
(shown) help distinguish the condo- and hotel- deposition (PVD) coating, a treatment that makes it
friendly units. scratch- and tarnish-resistant.
true-residential.com us.kohler.com
This year marks our 21st anniversary as an official AIA
continuing education provider, and soon our two millionth
continuing education test will be taken.
The more tests you take, the more chances you get!
CONTINUING EDUCATION
CONTINUING EDUCATION
In this section, you’ll find four compelling courses highlighting creative solutions for tomorrow’s buildings brought to you by industry leaders. Read a course, and
then visit our online Continuing Education Center at ce.architecturalrecord.com to take the quiz free of charge to earn credits.
Photo courtesy of Saint-Gobain SageGlass
Effective Fenestration for Wellness and Designing for People with Hearing Loss
Energy Conservation Sponsored by Contacta
Sponsored by Marvin Windows and Doors, NanaWall Systems, and
Saint-Gobain SageGlass
p130 p131
Health-Care Surfaces: Marrying Function with Design Composite Wood Products in Cladding and
Sponsored by Formica Group Architectural Trim
Sponsored by Geolam
CATEGORIES
Courses may qualify for learning hours through most Canadian provincial architectural associations.
120 EDUCATIONAL-ADVERTISEMENT
P
roviding fenestration in exterior walls allow more heat loss than an insulated wall 1. Identify and recognize the health, well-being,
is driven by a variety of factors. In or too much heat gain from sunlight passing and energy aspects of providing natural
daylight into buildings.
some cases, it is a primary form giver through the glazing, either of which could
in the design of a building and has certainly increase the need for energy to heat or cool a 2. Assess the advances and options in
manufactured window units related to
been the key to many approaches leading to building. Recognizing this array of intercon-
increasing daylight, providing a cleaner
award-winning designs. In the interest of pro- nected variables, manufacturers of fenestra- appearance, and better performance.
moting well-being and healthy environments, tion products offer choices in how these prod- 3. Explain the significant design and
fenestration has also been seen as an essential ucts can be sized, specified, and assembled so performance aspects of opening glass walls
component in that effort. At the same time, that architects can select and customize their used as fenestration in buildings.
fenestration has been the focus of intense products to suit the overall design, human 4. Describe the different methods of solar and
advancement and development to address the needs, and energy performance requirements daylight control that are possible through the
need for energy conservation in buildings. of many different buildings. With all of these use of electrochromic glazing.
In this regard, bringing natural light into a points in mind, this course will look at some
building can be an energy saver by allowing of the driving forces behind incorporating To receive AIA credit, you are required to
artificial lighting to be switched off, as long as fenestration into buildings, latest technolo- read the entire article and pass the test. Go to
ce.architecturalrecord.com for complete text
that natural light doesn’t overpower the inte- gies and products available, and design ap-
and to take the test for free.
rior and create glare or a light level that is too proaches to help balance light, connectivity, AIA COURSE #K1902D
intense. On the other hand, fenestration can and energy conservation.
MODERN
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122 EFFECTIVE FENESTRATION FOR WELLNESS AND ENERGY CONSERVATION EDUCATIONAL-ADVERTISEMENT
THE POWER OF LIGHT attributed to unhealthy or stressful factors since it brings the feeling of being in nature into
Many people are attuned to the cultural senti- in the working environment.6 This has been the built environment. Manny Gonzalez, FAIA,
CONTINUING EDUCATION
ment for well-lit spaces, but some scientific recognized in Japan in a particular way where LEED AP, is principal and director at KTGY, a
evidence based on research indicates that increased skyscrapers and intense urban density led to Los Angeles-based architecture firm. He is sensi-
exposure to light makes people more productive the concept of “nissho-ken,” which trans- tive to this biophilic approach, saying, “The feel-
and improves their sense of well-being, therefore lates to “a right to sunlight.” After a string of ing of being in nature stays with you, even while
improving overall wellness.1 Some specific studies “sunshine suits” in the late 1960s and early inside looking at trees, a garden, or patio. Your
have also looked at particular aspects of the impact 1970s, more than 300 Japanese cities adopted mind may not realize it, but your body wants
of natural light on people, such as the following. “sunshine hour codes,” specifying penalties that feeling of getting back to nature.”
• Biophilic design: Human beings have moved that developers must pay for casting shadows. Applying this human longing for con-
relatively quickly from spending most of our “Sunshine is essential to a comfortable life,” nectivity to the outdoor environment is what
time outdoors to most recently spending up the court opined, “and therefore a citizen’s Gonzales and others cite as designing around
to 97 percent of our time indoors.8 Nonethe- right to enjoy sunshine at his home should be natural light. “Being able to control the
less, we still have some psychological and duly protected by law.’”7 lighting— whether it’s the natural light that
deep-rooted connections to things in the In response to the significance of daylight, you have, the UV rays that you get through a
natural world that have been traced to the then, it becomes incumbent on architects to take window, visibility, or window coverings—all
earliest days of living on terrain like mead- this into account in the interest of designing those things start tying together when you’re
ows and the savanna.2 Recognizing these buildings that protect and promote the health creating the proper environment,” Gonzalez
connections has become the impetus behind and welfare of the people who occupy them. adds. “If you do a good job as an architect, the
an effort known as biophilic design. There are, of course, many different ways to meet resident won’t even know that they’re experi-
• Exposure to light: Exposure to natural light these needs that center on “designing with light.” encing biophilic design. They don’t even think
has been shown to play an important role in about it—it just feels good.”
a healthy sleep/wake cycle. More specifically MANUFACTURED WINDOWS When a building design embraces and en-
the rhythmic pattern of dawn, day, dusk, and Manufactured unit windows are a common hances the benefits of natural sunlight through
night affects our inherent circadian rhythms, staple of many buildings whether residential, deliberate window choices that strengthen
influencing us in physical, mental, and behav- commercial, or even institutional. As a fabricat- our connection to the outdoors, those much-
ioral manners. The rhythms of light and dark- ed product, they need to have their own physical desired feelings of well-being are the natural
ness in a person’s environment are recognized integrity for internal support and durability result. The more exposure to the outdoors and
by a type of receptor in our eyes, while the over time. In the past, that has meant heavy light, the better we feel because we’re more in
sun as a light source connects to our internal frame and sash members, usually made out of sync with the rhythms of daylight, and there-
clocks, telling us when to wake and sleep.3,4 wood, which reduced the size of the glazing and fore more in tune with nature. “All of these
• Lack of light: Research has shown that a lack therefore reduced the amount of light entering things tie into healthy living, the ability to get
of exposure to light can actually make people through the window. the sleep that you need, the wellness everyone
sick. In the 1980s, U.S. software firms discov- Modern buildings tend to have more is talking about trying to get,” Gonzalez says.
ered one of the most detrimental factors to windows made with narrower frames. This in- Window manufacturers recognize this point
engagement and productivity of their employ- creases the capacity for light to pass through the and have responded with updated products
ees was a lack of natural daylight.5 Even worse, windows while also offering better views. that provide minimal sightlines with larger
doctors began to diagnose patients who spent Those views to the exterior allow a direct expanses of glass. This combination helps
too much time in artificially lit, poorly ven- connection to the healthy, natural state that peo- provide a seamless, clutter-free appearance that
tilated spaces with Sick Building Syndrome, ple experienced when they spent most of their makes it easier to engage with the outside world
a condition affecting office workers that is time outdoors. This speaks to biophilic design, through windows and doors.
The concept of “designing with light” involves the judicious use of fenestration to provide connections between the indoor parts of a building and
the natural, outdoor world.
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124 EFFECTIVE FENESTRATION FOR WELLNESS AND ENERGY CONSERVATION EDUCATIONAL-ADVERTISEMENT
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L I G H T & CO M F O R T
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126 EFFECTIVE FENESTRATION FOR WELLNESS AND ENERGY CONSERVATION EDUCATIONAL-ADVERTISEMENT
PRODUCT REVIEW
Effective Fenestration for Wellness and Energy Conservation
www.nanawall.com/hsw
Saint-Gobain SageGlass
SageGlass HarmonyTM
Marvin® Modern Multi-Slide Door and Direct
SageGlass HarmonyTM is a unique glazing solution for designers seeking to
Glaze Window enhance the occupant experience by maximizing visual and thermal com-
fort. While traditional solar management solutions compromise aesthetics
Every Marvin Modern product works together as part of a visual system and impede views, Harmony dynamic glass provides daylight, heat, and
to help you design and configure with ease and confidence. Consistent glare management while maintaining a natural and seamless connection
profiles across all products—along with special innovations like our inte- to the outdoors.
grated mull channel—maintain the narrow and clean sightlines central to
modern design.
www.marvin.com/modern www.sageglass.com/harmony
128 EDUCATIONAL-ADVERTISEMENT
Learning Objectives
After reading this article, you should be able to:
A closer look at the advantages of specifying a hearing 1. Define the different categories of hearing
loss and the reasons why people with
loop assistive listening system hearing aids may still struggle to follow
performances in large assembly areas.
Sponsored by Contacta | By Jeanette Fitzgerald Pitts 2. Describe the three different assistive listening
systems that can be used to make large
I
venues more hearing accessible.
magine going to the theater but being According to the World Health Organization
3. Compare and contrast the performance of
unable to hear the dialogue clearly and (WHO), an estimated 22.1 percent (57.1 million
hearing loop systems, FM/RF systems, and IR
missing the punchlines over and over, individuals) in the United States over the age of 12 systems in terms of usability, sound quality,
despite constantly adjusting the volume on have experienced hearing loss in at least one ear, user preference, potential interference, ease
your hearing aid. Imagine trying to fill a pre- and 13.8 percent of the population (35.5 million) of maintenance, and universality.
scription and struggling to communicate with have lost hearing in both ears. The number of 4. Detail the differences between using a
the pharmacist about the dosage and timing. people with binaural hearing loss (in both ears) is counter loop system and a speech transfer
Imagine standing on a subway platform and expected to grow to more than 41 million by 2025. system to help aid people with hearing loss
not being able to hear the announcements over While many people with hearing loss have in one-on-one communication scenarios.
the group of rowdy teens a few feet away. This is hearing aids, the technology still struggles to
the daily experience for millions of Americans find the signal of interest in a loud room, often To receive AIA credit, you are required to
read the entire article and pass the test. Go to
who have hearing loss, and designers can do drowning the wearer in ambient noise and caus- ce.architecturalrecord.com for complete text
something about it. ing incredible frustration. Designers can improve and to take the test for free.
It is estimated that one out of seven the experience of people with hearing loss in AIA COURSE #K1902B
Americans has some degree of hearing loss. the built environment by specifying an assistive
EDUCATIONAL-ADVERTISEMENT 129
listening technology that inconspicuously delivers Low-frequency sounds include the beat of a bass then the amplified and altered signals are convert-
the lecture, presentation, or dialogue directly to drum, the blast from a tuba, and the grumble of ed back into sound waves and delivered to the ear
CONTINUING EDUCATION
the person’s hearing aid, minimizing the ambient thunder, while high-frequency sounds are found in through the speaker.
noise that can be so distracting. This assistive lis- whistles, chirping birds, and the squeals of a child. Unfortunately, one of the shortcomings of hear-
tening system enables people with hearing aids to As it relates to the level of sound, a person’s ing aids that regularly frustrates the people who
clearly hear the featured performance and more hearing threshold describes the level of sound that use them is their struggle to filter out extraneous
easily participate in regular day-to-day activities, can be detected by that person’s ear. The hearing noise. Hearing aids lack the ear’s natural ability to
such as making a deposit at the bank or purchas- threshold of a normal, healthy ear is 0 dB across identify the signals that a person wants to focus
ing a ticket at a bus station. the full range of 20–20,000 Hz. A soft whisper is on and dismiss background noise. A hearing aid
This course will take a deeper dive into the often measured at 30 dB, while an ordinary con- amplifies all the noise it detects in the surrounding
different systems available to designers to im- versation is carried on at around 60 dB and a loud area, both the important signals and the ambient
prove hearing accessibility in both large venues radio produces sound at about 80 dB. ones, and that creates a lot of different noises for
and one-on-one encounters and provide insight When a person has hearing loss, he or she may a person with hearing loss to wade through. As a
into the dramatically different user experience have a higher hearing threshold, meaning that result, a person wearing a hearing aid will still miss
that each solution offers individuals with hear- sound levels must be louder to be detected by that key parts of a lecture, directions, or other impor-
ing loss. To better understand the various assis- person’s ear. Mild hearing loss is categorized as a tant information because the hearing aid detects
tive listening devices available and the strengths condition where the quietest sounds a person can and amplifies those signals as well as the conversa-
and weaknesses of each, it makes sense to start hear is between 25 and 40 dB. For people with tion occurring a few feet away, the footfalls on the
with a quick overview on the mechanics of hear- moderate hearing loss, the hearing threshold is even concrete, the rustling bag of chips, and the whir-
ing loss, a few of the terms used to discuss this higher, between 40 and 70 dB. People with moder- ring of the HVAC unit.
issue, and an explanation of why hearing aids ate hearing loss can have difficulty keeping up with Background noise and distance from the speaker
just aren’t enough. conversations if not using some type of hearing aid. often create barriers to comprehension for people
with hearing loss, even if they are wearing a hearing
DEFINING SOUND AND HEARING LOSS A Closer Look at How Hearing Aids Work aid or have a cochlear implant. Even with making all
Sound waves are often described with two met- Hearing aids are designed to help a person hear the noises louder, people with hearing loss can still
rics: decibels (dB), which measure the intensity by making sounds louder. The basic design for a have significant problems understanding speech,
of the sound, and hertz (Hz), which refer to the hearing aid consists of a microphone, amplifier, exert high levels of effort to comprehend and deci-
frequency of the sound wave. The human ear battery, and speaker. The microphone picks up pher what they are hearing, and experience poor or
can hear a wide range of frequencies broadcast the sounds from the person’s immediate environ- unnatural sound quality. “The ability to understand
at a number of intensities. More specifically, ment, the amplifier converts the sound wave into speech in the presence of noise is often degraded in
sounds can be detected by the human ear from electrical signals that are adjusted based upon the people with hearing loss,” explains Andrew King,
the very low 20 Hz to the very high 20,000 Hz. unique needs and preferences of the wearer, and auditory neuroscientist at the University of Oxford
in England. “It’s the single biggest challenge of some-
one with a cochlear implant.”1
In order to help people with hearing loss more
easily comprehend and participate in what is going
on around them, they need to increase the signal-
to-noise ratio (SNR) in their environment. SNR
compares the level of signal strength to the level of
background noise. It is generally expressed in dB.
Higher SNR values indicate that the audio signal
is louder than the surrounding noise, meaning the
signal will be clearer and easier to understand.
In the article “Hearing Loops: The Preferred
Assistive Listening Technology” published in the
Journal of the Audio Engineering Society in April
2015, the authors wrote, “Research has indicated
that hard-of-hearing listeners may require an
increase in signal-to-noise ratio of more than 10
dB, some as high as 25 dB, to achieve the same
word recognition as a normal-hearing person in
the same situation.
Continues at ce.architecturalrecord.com
Contacta is a leading assisted listening system manufacturer working closely with designers/installers across North America to
provide quality hearing loop, IR, and FM systems in a wide range of venues and one-to-one environments. www.contactainc.com
130 EDUCATIONAL-ADVERTISEMENT
CONTINUING EDUCATION
Learning Objectives
After reading this article, you should be able to:
How cutting-edge surfacing products create hygiene, 1. Examine the challenging environments inside
a health-care facility with attention to the
durability, and beauty in hospitals, health-care facilities, need for durability and cleanability as well as
advanced antimicrobial qualities.
and pediatrician offices 2. Discuss the move away from visually sterile
health-care environments toward attractive and
Sponsored by Formica Group | By Kathy Price-Robinson comforting design.
3. List various stations in a health-care facility
I
and the ideal coordinated surface product
n every health-care facility, several wars families, and even the staff. The goal for the specifications for durability, cleanability,
are being waged. First and foremost is the designer of a health-care facility should be harmony, beauty, and microbial resistance.
battle against disease, executed by science, specification of surface products that fulfill 4. Explain testing, standards, and certifications that
medicine, and human efforts. But another four criteria: cleanability, durability, micro- ensure hard-surfacing products are safe and
battle is simultaneously being waged, and bial resistance, and healing aesthetic. appropriate for demanding health-care settings.
that is a battle between sterility and design. 5. Review several case studies that demonstrate
It’s true that a glistening white environment Continues at ce.architecturalrecord.com various surfaces within health-care facilities that
of sterile hard surfaces may look laboratory marry form with function.
clean. But such an aesthetic ignores the very Kathy Price-Robinson is an award-winning hous-
real human need for comfort and beauty in ing and construction writer. Her series on home To receive AIA credit, you are required to
read the entire article and pass the test. Go to
the healing process. The antiseptic aesthetic remodeling ran 12 years in the Los Angeles Times. ce.architecturalrecord.com for complete text
might radiate confidence in the cleanliness She has profiled more than 500 projects and devel- and to take the test for free.
of the facility, but such starkness devoid of oped more than 100 continuing education courses. AIA COURSE #K1902C
warmth can cause anxiety in patients, their www.linkedin.com/in/kathypricerobinson
Formica Group is a leading provider of branded, designed surfacing solutions for commercial and residential customers worldwide. As
the world’s largest manufacturer of high-pressure laminate (HPL), ongoing product design and development process underscores the
Formica Group commitment to innovation. www.formica.com
EDUCATIONAL-ADVERTISEMENT 131
CONTINUING EDUCATION
CONTINUING EDUCATION
1 AIA LU/HSW
1 GBCI CE HOUR
Learning Objectives
After reading this article, you should be able to:
1. Understand sustainable wood-plastic
composite, its characteristics and types, and
how it differs from traditional wood.
2. Explain the manufacturing process involved
in producing sustainable wood-plastic
W
code compliance.
ood-plastic composite products This course will provide an overview of wood-
offer a compelling alternative to plastic composite cladding and trim, with an
To receive AIA credit, you are required to
traditional wood cladding and emphasis on the sustainability benefits. read the entire article and pass the test. Go to
architectural trim. These products replicate ce.architecturalrecord.com for complete text
the look of natural wood but offer superior and to take the test for free.
color retention and life-cycle performance Continues at ce.architecturalrecord.com AIA COURSE #K1709S
GBCI COURSE #0920014614
while requiring little to no maintenance.
Geolam is an importer and distributor of state-of-the-art Japanese hybrid aluminum/wood-plastic composite architectural trims
(louvers, sunscreens, pergolas), rainscreen cladding, and decking. We have 30 years of history with installations around the world.
www.geolaminc.com
132
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New and Upcoming Bauhaus school of art and design, this travel Patchwork: The Architecture of Jadwiga
ing exhibition will display a range of work Grabowska-Hawrylak
Exhibitions from masters including Mies van der Rohe, New York
Walter Gropius, and Marcel Breuer. The show February 28–May 18, 2019
Dimensions of Citizenship: Architecture
will be split into eight themes, with each also The exhibition will present the work of one of
and Belonging from the Body to the
highlighting Bauhaus student projects, the the most important Polish architects of the
Cosmos
school’s impact on the international avant 20th century. Through models, films, and
Chicago
garde, and how students and instructors photographs, visitors will learn about Grabow
February 15–April 27, 2019
sought to rethink their world. At the Elm skaHawrylak’s studies in the 1940’s and her
The official U.S. entry at the recently con
hurst Art Museum. For more information, see involvement in almost all stages of the recon
cluded 16th International Architecture
elmhurstartmuseum.org. struction and creation of Wrocław, in what
Exhibition of the Venice Biennale will be on
view for the first time in the United States. will be the first comprehensive presentation
Devoted to exploring the notion of citi Derrick Adams: Interior Life outside Poland of her work. At the Center for
zenship today and the potential role of New York Architecture. Visit centerforarchitecture.org.
architecture and design in creating spaces February 26–April 20, 2019
for it, Dimensions of Citizenship comprises Inspired by a tenet of Catholic theology that HOOPS
seven unique installations, each created describes “a life which seeks God in every Washington, D.C.
by a team of architects and designers. At thing,” this exhibition is a meditation on the March 9, 2019–January 5, 2020
Wrightwood 659. For more information, visit intimate spaces of one’s mind and home, each This exhibition will present photographer Bill
wrightwood659.org. an analog for the other. It includes new por Bamberger’s images of private and community
traits on paper from the artist’s ongoing basketball courts, around the United States
The Whole World a Bauhaus “Deconstruction Worker” series, which is and abroad. A selection of photographs will
Elmhurst, Illinois installed on custom wallpaper depicting take viewers from the deserts of Arizona and
February 16–April 21, 2019 imaginary domestic environments. At Luxem Mexico to the playgrounds of South Africa. At
In celebration of Bauhaus100, the centenary bourg & Dayan’s New York gallery. For more, the National Building Museum. Visit nbm.org.
anniversary of Germany’s influential visit luxembourgdayan.com.
134 ARCHITECTURAL RECORD FEBRUARY 2019
dates&events
Ongoing Exhibitions response to the global refugee crisis. The notably designed the Friendship Centre in
title installation, Life Cycle, using the tradi- northern Bangladesh. More than a dozen
Edward Burne-Jones tional Chinese medium of kites, depicts the buildings and projects are presented via mod-
London inflatable boats refugees use to cross the els, photographs, film footage, and plans. At
Through February 24, 2019 Mediterranean Sea. At the Marciano Art the Aedes Architecture Forum. For more
The exhibition charts the rise of the Pre- Foundation. For more information, see information, visit aedes-arc.de.
Raphaelite artist’s path from outside the marcianoartfoundation.org.
British art world to being a leading figure of Paul Rudolph: The Hong Kong Journey
fin de siècle Europe. More than 150 works in Dior: From Paris to the World New York
different media are on display. At Tate Britain. Denver Through March 9, 2019
Visit tate.org.uk. Through March 3, 2019 Through a series of drawings, sketches, and
This exhibit surveys 70 years of the House renderings not previously shown to the pub-
Elemental: Alejandro Aravena So Far of Dior’s legacy and its global influence. A lic, this exhibition at the Center for Archi-
Humlebæk, Denmark selection of more than 200 dresses, as well as tecture focuses on the American architect’s
Through March 3, 2019 accessories, traces the history of the haute three significant projects in Hong Kong. See
The second in a series devoted to a single couture fashion house, its founder, and the paulrudolphheritagefoundation.org.
architect or firm, this show offers a look at subsequent artistic directors who carried
the working process of Pritzker Prize–win- Dior’s vision into the 21st century. At the In Practice: Other Objects
ner Alejandro Aravena’s firm, Elemen- Denver Art Museum. For more information, New York
tal Studio. At the Louisiana Museum of visit denverartmuseum.org. Through March 25, 2019
Modern Art. Visit louisiana.dk/en. This exhibit presents works by 11 artists and
Faraway So Close: A Journey to the artist teams that probe the slippages and
Ai Weiwei: Life Cycle Architecture of Kashef Chowdhury/ interplay between objecthood and person-
Los Angeles URBANA, Bangladesh hood. From personal belongings to material
Through March 3, 2019 Berlin evidence, sites of memory, and revisionist
Chinese artist Ai Weiwei’s first major institu- Through March 6, 2019 fantasies, the artists highlight curious and
tional solo show in this city features new and This exhibition documents the work of the ecstatic moments in which a body becomes a
previously unseen sculptural work made in Aga Khan Award–winning architect, who thing or a thing stands in for a body. At
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Lectures, Conferences,
and Symposia
Stockholm Design Week
Stockholm
February 4–10, 2019
Architects, designers, buyers, and influencers will come together
for a week of events centered on Scandinavian design at various
venues across Sweden’s capital. See stockholmdesignweek.com.
Q4 2018
nesses. At the Las Vegas Convention Center. For more information,
go to kbis.com.
Architectural League Prize for Young Sir John Soane’s Museum Foundation California Mass Timber Building
Architects + Designers Graduate Fellowship Competition
Deadline: February 11, 2019 Deadline: March 1, 2019 Deadline: March 18, 2019
Young architects and designers are invited to Students in graduate-degree programs in art Applicants are encouraged to present viable
submit work to the annual Architectural history, architecture, interior design, and the and repeatable mass timber solutions for com-
League Prize competition. This year’s theme decorative arts are invited to apply for the mercial or multifamily projects in California.
is “Just,” inviting competitors to explore the fellowship, which awards $6,000 and funds A total of $500,000 in grants will be distrib-
tensions between just so materials and a call a research residency at the Soane Museum uted between two or more winning project
to act justly. For more information, go to that is related to the work of the English ar- teams. The grants will fund activities that
archleague.org/competition/lp19. chitect or his museum. Fellows will work in include cost studies, permitting fees, and
concert with staff and curators to utilize the information-exchange sessions with code
2019 World Landscape Architecture existing collections. For more information, go officials. More information at govops.ca.gov.
Awards to soanefoundation.com/fellowship.
Deadline: March 1, 2019 Lyceum Fellowship: A Sanctuary
This annual awards program honors land- International Finsa Award for Architects & Deadline: March 22, 2019
scape architects around the world for their Designers 2019 Founded in 1985, the awards program’s mis-
outstanding work. Members of landscape- Registration deadline: March 1, 2019 sion is to advance the profession of architec-
architecture organizations or those who This awards program aims to encourage and ture by engaging students in design and travel.
have studied landscape architecture at a challenge architecture students to explore the Prize money is targeted for travel grants dur-
university are eligible to enter. Any client use of wood and other ecological and recy- ing their academic study years. This year,
or organization that wishes to enter a proj- clable materials in construction. This year’s candidates are asked to design a place of ref-
ect must have written permission from the edition asks applicants to design a temporary uge and protection. More information at
landscape architect or design firm. Projects structure that can house practical art activi- lyceum-fellowship.org.
must be built, between 2015 and 2018, or ties for a local community in England. For
may be a concept. For more information, more information, visit ifa.finsa.com. E-mail information two months in advance to
visit worldlandscapearchitect.com. areditor@bnpmedia.com.
indowwindows.com | 503.822.3805
139
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140 ARCHITECTURAL RECORD FEBRUARY 2019
snapshot PROJECT
LOCATION
IDEA EXCHANGE POST OFFICE
CAMBRIDGE, ONTARIO
ARCHITECT RDHA
constraints, due largely to its location against a flood wall, so the team
inserted two volumes that cantilever out over the water. Clad in glass,
fritted with patterns alluding to decorative elements of the historic post
office, the addition provides views onto the old building as well as the river
below. Although the resulting “library” lacks books, what it offers is an
invaluable service: endless possibilities to create. Alex Klimoski
Steel reduces waste and features a material recovery rate Steel is the most The American
greater than 98%! Structural steel features an incredibly resilient material, Institute of Steel
sustainable manufacturing process. Consider these facts: designed to last, Construction
whether it’s exposed provides
The structural steel making process boasts to fire, blast, or the environmental
a 95% water recycling rate with no external ravages of time. And product declarations
discharges, resulting in a net consumption when a steel building (EPDs) for fabricated
of only 70 gallons per ton. reaches the end of hot-rolled structural
its life, the steel is sections, fabricated
Steel is the most recycled material in the
recycled and retains all steel plate and
world. Domestic mills recycle more than 70
of its fantastic physical fabricated hollow
million tons of scrap each year and structural
characteristics. Today’s structural sections.
steel has a 93% recycled content!
beams and columns These EPDs cover
are nearly 40% the product life
Steel production productivity levels are
stronger and offer cycle from cradle to
up by a factor of 24 and labor hours have
greater constructability fabricator gate and
been reduced from 12 to just 0.5 per ton.
benefits! are available at
Steel’s carbon footprint is down 37%, www.aisc.org/epd.
energy use has decreased 32%, and
greenhouse gas emissions have
dropped by 45%.
Are you
Earth-friendly? www.aisc.org/earthfriendly