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09 2005

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Date: 2005.09.19 07:19:51 +08'00'
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A P U B L I C AT I O N O F T H E M C G R A W - H I L L C O M PA N I E S

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THE AMERICAN INSTITUTE OF ARCHITECTS 2005 BOARD OF DIRECTORS • OFFICERS: Douglas L Steidl, FAIA, MRAIC, President; Kate Schwennsen, FAIA, First Vice
President; Shannon Kraus, AIA, Vice President; Thomas R. Mathison, FAIA, Vice President; RK Stewart, FAIA, Vice President; John C. Senhauser, FAIA, Secretary; James A. Gatsch,
FAIA, Treasurer; Ana Guerra, Associate AIA, Associate Representative to the AIA Executive Committee; Saundra Stevens, Hon. AIA, CACE Representative to the AIA Executive
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Associate AIA, LEED AP; Glenn H. Fellows, AIA; Robert D. Fincham, AIA; Jonathan L. Fischel, AIA; Marion L. Fowlkes, FAIA; Saul Gonzalez; The Hon. Jeremy Harris, Hon. AIA;
John J. Hoffmann, FAIA; William E. Holloway, AIA; Clark Llewellyn, AIA; Marvin J. Malecha, FAIA; Clark D. Manus, FAIA; Linda McCracken-Hunt, AIA; Carl F. Meyer, FAIA;
George H. Miller, FAIA; Elizabeth E. Mitchell; Hal P. Munger, AIA; Robin L. Murray, AIA, PP; Celeste A. Novak, AIA, LEED AP; Gordon N. Park, CDS, AIA; David R. Proffitt, AIA;
Marshall E. Purnell, FAIA; Miguel A. Rodriguez, AIA; Jerry K. Roller, AIA, NCARB; Jeffrey Rosenblum, AIA; Robert I. Selby, FAIA; Norman Strong, FAIA; Leslie J. Thomas, AIA; J.
Benjamin Vargas, AIA; Bryce A. Weigand, FAIA. • AIA MANAGEMENT COUNCIL: Norman L. Koonce, FAIA, Executive Vice President/CEO; James Dinegar, CAE, Chief Operating
Officer; Richard J. James, CPA, Chief Financial Officer; Jay A. Stephens, Esq., General Counsel; Helene Combs Dreiling, FAIA, Team Vice President, AIA Community; Ronald A.
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09.2005
On the Cover: Template House, by Michele Saee. Photograph by Chen Su
Right: Marmo bar at the Hotel Puerta América, by Marc Newson. Photograph by Ricardo Labougle

News 124 The Modern, New York City by Suzanne Stephens*

29 Calatrava designing massive tower in Chicago* Bentel & Bentel
32 Moynihan Station finally moving forward* 132 Aoba-tei, Japan by Naomi Pollock*
34 Hotel tower envisioned for Baghdad* Atelier Hitoshi Abe
138 Apotheke zum Löwen von Aspern, Austria by Liane Lefaivre*
Departments ARTEC Architekten
19 Editorial: The View from Two Penn* 144 Template House, China by Clifford A. Pearson*
Michele Saee Studio
21 Letters*
152 Bizarre, Omaha by David Dillon*
57 Archrecord2: For the emerging architect by Randi Greenberg*
Randy Brown Architects
61 Commentary: Dashed hopes at Ground Zero by Paul Goldberger
For six additional interiors projects, go to Building Types
67 Critique: Freedom Tower Redux by Robert Campbell, FAIA
Study at www.archrecord.com.
69 Exhibitions: Exotic pavilion lands in London by Hugh Pearman
73 Exhibitions: A lesson in the function of forms by Fred Bernstein Architectural Technology
77 Books: Design, sustainability, and public service 159 Introduction by Deborah Snoonian, P.E.
83 Snapshot: Normandy’s Maxim Gorki Theatre Ingrid Spencer 161 Commercial Buildings Open Their Windows
217 Dates & Events* by Barbara Knecht and Sara Hart*
239 Record House: Price House by Beth Broome* New technologies are helping designers let in some fresh air.
171 Digital Models are Becoming Workhorses
Features by Ted Smalley Bowen*
86 The L!brary goes back to school by Jane F. Kolleeny Firms are combining digital building models with geospacial data.
The Robin Hood Foundation’s vision for public-school libraries. 176 Zoom-In: Pompidou Center by Deborah Snoonian, P.E.*
96 Overnight Sensations by David Cohn 179 Tech Briefs*
A global who’s who of architects and designers create a Madrid hotel. 185 Tech Products by Deborah Snoonian, P.E.*

Building Types Study 849 Products

107 Record Interiors 2005 by Sarah Amelar 195 Walls & Ceilings by Rita Catinella Orrell
108 Chameleon, Australia by Sarah Amelar* 199 Product Briefs
Cassandra Complex 202 Coverings Show Review by Linda C. Lentz
116 Endeavor Talent Agency, Beverly Hills, Calif. by Joseph Giovannini* 210 Product Literature
NMDA
224 Reader Service* 222 AIA/CES Self-Report Form*

* You can find these stories at www.archrecord.com,

including expanded coverage of Projects, Building Types Studies, and
AR is the proud recipient of a Web-only special features.
National Magazine Award for General Excellence

09.05 Architectural Record 13

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This month in Continuing Education September 2005

In This Issue:
Pages 189-193 Low-Slope Commercial Roofing:
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This month at archrecord.construction.com

Record Interiors
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Hood Foundation and the to visit a vintage Record
service they provide to public House each month in 2005.
schools. Online, read about This month we take another
Common Ground and their most look at Bart Prince’s
recent housing and community Price House.
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 The View from Two Penn
Editorial
F
rom the windows of Two Penn Plaza, the offices of architectural
record survey a tough-talking, broad-shouldered scene straight out
of Miracle at 34th Street: It’s where the garment district collides with
Macy’s, animated by the daily headlong rush of thousands of commuters
inclining toward Pennsylvania Station and home. The renovated interiors may
soften our perceptions‚ street odors fade away and the anachronistic perspective
outside seems almost romantic, if frantic—until we return to the street.
The view of Two Penn Plaza presents a different face. This great
gorilla of a building must be one of New York’s most deplored. Its list of
detractors includes Joseph Giovannini, who, writing in New York magazine
in April 2003, listed Two Penn as one of the eight worst buildings to have
blighted our skyline: “We tore down McKim, Mead and White’s Pennsylvania
Station for this?” (Yes, ironically record occupies the site of the greatest
architectural travesty of the 20th century.)
Or consider the true tale of two British ladies recently overheard by
one of our staff members. “Oh, look, dear,” said she, dutifully pointing to her
guidebook. “It says this is the ugliest building in New York!” At which point,
they shook their heads, clucked their tongues, and marched on—a vignette
straight out of a New Yorker cartoon.
While stone throwing comes easy to any critic, this behemoth pres-
ents an especially broad target. Designed in 1968 by the offices of Charles
Luckman (deceased architect and former president of the Lever Brothers cor-
poration, Horatio Alger Award–winner Luckman had commissioned the
serene Lever House and went on to build Boston’s Prudential Center and
Cape Canaveral), the building combines many of the worst impulses of the
1960s. Set on a large podium, the 29-story building runs for almost two blocks
along Seventh Avenue, sitting athwart 32nd Street and blocking the view of
Madison Square Garden, itself no picture postcard. We’ve learned a lot since
P H OTO G R A P H Y : © A N D R É S O U R O U J O N
1968. Part of our derision comes from comparison with McKim’s masterpiece
and the bad karma that inevitably surrounds any structure that would try to
replace the lofty vaults and smoky recesses of the original homage to the Baths
of Caracalla. Yet Two Penn looms within our city with persistence, offering lit-
tle in compensation for its daily intake and discharge of humanity through its
bowels. While lively commerce occurs inside the pedestrian malls on its lower
levels and at financial institutions up on the podium, the street offers only a
couple of newsstands and a folding table for hawkers for the homeless.
We are struck by its abruptness. Like other big buildings from the
By Robert Ivy, FAIA
’60s, an open plaza separates Two Penn from the avenue. The wall then bolts
up from a travertine-clad lobby toward an unrelieved facade consisting of
alternating bands of precast panels and tinted glazing. That long, unarticu-
lated, unmodulated wall fares poorly when compared to the massive, though
more fine-grained, buildings that surround it, such as the Pennsylvania
Hotel across the street. Lacking architectural detail, scale-giving elements, or
urban amenity, Two Penn breathes the worst kind of architectural arrogance.
So why beat up on poor old Two Penn at this late date? Because,
throughout the United States, we continue to make similar mistakes. Tour any
major city and you will find its siblings—boxy towers covered in mirrored or
tinted glazing that detract rather than add to the fabric of our cities, altering
the psychology of passersby and the people who must enter them each day.
And they are not all 37 years old like the New York version! The sad fact is
that we continue to build such soulless, unrooted structures this year, every
year, in downtown San Diego, or San Francisco, or Chicago. Whatever the
era, they’re not good enough.
We architects often blame others, primarily our developer clients,
decrying their stingy budgets and unenlightened civic sensibilities. The real
world, we say, makes real demands and forces compromises that most people
just do not understand. We have to make a living. The zoning laws are puni-
tive; the financial models control the outcome. However, we architects serve as
guardians not only of health, safety, and welfare, but also of quality of life in
each individual project and for the cities that those buildings add up to. There
is no excuse for a poor design.
Here is an unalterable fact: All of us have to live with the structures
that architects make, whoever the client, whatever the rationalization. Have
you advanced work that you honestly could not defend in a design jury? Did
you ever tell a client “No”? When your city awakens tomorrow morning, what
will it find? What do the guidebooks say about your work? Meanwhile, should
you find yourself in New York, come by Two Penn Plaza for a reminder lesson
and a visit to architectural record. Take a deep breath and plunge on in,
because regardless of the guidebooks, the view is terrific from inside.
09.05 Architectural Record 19
 F A S H I O N T H A T F I T S.

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A dream of expression
Kudos to ARCHITECTURAL RECORD and
Michael Sorkin for the publication of
Sorkin’s bold plan for a stadium on
Governor’s Island [Critique, August
2005, page 51]. Our society has no
accepted venue for visionaries like
Sorkin to propose their solutions to
our building needs. I love the idea of
a “Request for Expression” column
in newspapers or magazines where
designers can submit proposals for
existing conditions. Developers and
politicians are free to dictate what is
built because there is no venue for
contrarian ideas to be floated into
the public realm. I dream of the day
architects design not only the form
of our built environment but also the
location and function.
—Erik Johnson
Milwaukee
The battle of the big box
Sam Lubell’s polemic on the current
state of “big box” architecture [“Is
There Hope for the Big Box?” August
2005, page 68] reveals a strong
negative bias toward both the idea of
large-format retailers and the design
of the buildings. While conceding
that recent attempts to improve the
design of big boxes has produced
some interesting results, the author
disparages retailers, claiming they
“impose their soulless lack of iden-
tity onto cherished areas.”
What the article fails to recog-
nize is that the “big box” is a highly
evolved design solution that bal-
ances function, cost, aesthetics,
brand image, and technology in a
competitive business environment.
The 1960s strip architecture of
Robert Venturi has matured into a
business model that embraces auto-
mobile culture, including freeways,
parking lots, and other “soulless”
infrastructure. Big-box retail is one
element of the modern landscape
that is highly responsive to a variety
of forces. Contrary to the assertions
Letters
in the article, community pressure is
not the motivating force behind the
move to improving the design of large
retail developments. The real reason
that retailers are embracing high-
quality design is that design is a key
element of their business strategies.
This awareness and the widespread
public impact of mass-market retail
design, including both the buildings
and the products sold within, should
be good news to the architectural
community and everyone else as well.
—George M. Hutchinson, AIA
Minneapolis
Freedom ain’t ringing here
Thank you for your continuing
insightful news pieces in ARCHITEC-
TURAL RECORD. As much as you have
commented in the past on the
Freedom Tower, I would appreciate
your more fully addressing the influ-
ence the design has, and will have,
on this country, by expanding on the
proposed building’s relation to its
urban context, as well as the impact
that will be felt throughout the coun-
try, as the name implies a link to our
fellow citizens.
In the recent piece on the
topic [“Redesigned Freedom Tower
will be sleeker, safer,” August, 2005,
page 23], I see nothing that relates
to a master work. What I do see is
an overly cautious, extremely con-
servative skyscraper that appears
more a reflection of the business
and financial world that the Twin
Towers once represented. Now, I
want the moniker of “Freedom
Tower” removed as an association
to this edifice of power, as I see
nothing in it that relates to me, my
country, or my fellow citizens.
Where is the boldness, the
frontier spirit, the character that is
characterized by the people of this
country? How does this reflect the
tragedy of four years ago? What dis-
tinguishes this monolith from any
other skyscraper, except that its size
dwarfs the surrounding buildings of
Wall Street? Why is there not more
vision in the design—considering the
local, national, and worldwide influ-
ence a multitude of architects might
offer—in this dumbed-down version?
—Vernon Abelsen, AIA
Via e-mail
A memorial makes the grade
Suzanne Stephens did a good job
reviewing this Memorial to the
Murdered Jews of Europe [July
2005, page 120]. We should not
destroy the environment to remem-
ber those murdered. Did we not
learn anything from the destruction
of war besides lives lost? Think
about the buildings and environ-
ment destroyed.
A park of trees, one for each
person lost, in a repetitive grid pat-
tern would have been more fitting.
Trees would have contributed to
the environment and replaced the
gardens that used to exist in this
area. To remember life, we should
celebrate life and the environment,
not destroy it.
—Dan Lawrence, AIA
Via e-mail
Not good enough for all
I was extremely disappointed to see
your inadequate description of
accessibility in Eisenman’s new
memorial featured in the July issue.
ARCHITECTURAL RECORD conveniently
downplayed the fact that the memo-
rial is significantly inaccessible for
visitors with a disability. As stated in
David McHugh’s Associated Press
article titled Germany to Dedicate
Holocaust Memorial, “… wheelchair
users can use 16 of its many rows.”
Considering the abundant pathways
in the project, that number is both
inadequate and deplorable. Your
article heralds the project as one of
abstract remembrance and as a
traverse point for all those in Berlin,
both as inhabitants and visitors.
However, it is not a fully inclusive
DEPARTMENTS
project. I realize the codes for acces-
sible design in America are more
stringent than most countries.
However, as an American architect,
Eisenman should have taken into
account the principles of the
Americans with Disabilities Act and
created an urban memorial which
considered the experiential qualities
of all visitors. It seems severely ironic
that a memorial to a time period of
social segregation and demographi-
cally selected massacre is exclusive
to many of its visitors.
—Danielle S. Willkens
Springfield, Va.
Suzanne Stephens replies:
I am sorry not to have been able
to devote adequate space to the
provisions for accessibility in the
Memorial to the Murdered Jews
of Europe. Peter Eisenman does
indeed provide wheelchair access
in 13 passages, which have a
maximum slope of 8 percent, and
are scored with tracks in the
paving to allow wheelchairs to
comfortably roll through. In addi-
tion, a glass pavilion (mentioned
in the text but not shown in the
photos) contains an elevator to
take the disabled down to the
exhibition space. I did not, during
my several visits, find any prob-
lems with these means of access.
Corrections
In the August editorial, president of
the U.I.A. Suha Ozkan’s designation
as Honorary FAIA was not noted. The
Dates & Events listing for the Sheila
C. Johnson Design Center at Parsons
did not specify that the Dia:Beacon
was a project of OpenOffice, in col-
laboration with artist Robert Irwin.
The image shown is a rendering by
Jessica Stockholder in collaboration
with OpenOffice.
Send letters to rivy@mcgraw-hill.com.
09.05 Architectural Record 21
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 Record News p.32 Moynihan Station finally moving forward
p.34 Hotel tower envisioned for Baghdad
Highlights

p.36 Louvre planning Islamic art wing

p.38 Transportation, energy bills impact designers

Calatrava designing massive tower in Chicago

Spanish architect and 2005 AIA Gold
Medal winner Santiago Calatrava,
FAIA, on July 27 proposed a residen-
tial tower design for Chicago’s
lakefront that could become the
tallest building in the United States.
The 115-story-tall, glass-and-metal-
clad design is dubbed Fordham
Spire. It spirals at 2 degrees per
floor, swirling toward its rooftop
mast, which is included in the overall
height of 2,000 feet. “It’s related to
the skyline,” explains Calatrava. “A
building in the middle of the skyline
is like a flower in the prairie,” he says.
Not counting the mast, the building’s With its mast, the swirling Fordham Tower would be 115-stories tall, rising above the Sears and Hancock Towers.
roof is actually 1,458 feet, a mere 8
feet taller than the current record 200 to 250 condominium units and a familiar with the local real estate mar- Trump reduced the height of his
holder, nearby Sears Tower. similar number of hotel rooms. ket question whether the Fordham Trump International Hotel & Tower
The tower, part of the city’s River Calatrava, also working on sky- Company, the proposed building’s in the wake of the September 11
East development, on the north side scrapers in New York; Valencia, Spain; developers, can successfully market attacks. Trump’s project is currently
LO W E R M A N H AT TA N D E V E LO P M E N T C O R P O R AT I O N / P L A C E B O E F F E CT S , FO R S N Ø H E T TA ( B OT TO M )

of the Chicago River, is much larger
than the structures envisioned in
the area’s 1980s master plan. The
tower’s base will include an undeter-
mined mix of retail and parking uses.
Its 920,000 square feet will include
and Mälmo, Sweden, is well-regarded
in the Midwest for his addition to the
Milwaukee Art Museum. Several
years ago, he produced a design for a
lakefront pedestrian bridge in Chicago
that the city has shelved. Experts
the high-priced residential units in a
luxury market many consider mature.
Previous schemes to break
the Sears Tower’s lock on the city’s-
tallest-building title have repeatedly
stumbled, most recently when Donald
under construction and will be the
city’s second-tallest tower at 1,360
feet, including its spire.
Completion of Calatrava’s tower
is scheduled for 2009, pending city
approval. Edward Keegan

Drawing Center and Freedom Center could both soon be out at Ground Zero
Development Corporation, the
status of Ground Zero’s cultural
center tenants is in doubt.
I M A G E S : C O U R T E SY T H E K R E I S B E R G G R O U P ( TO P ) ;
board on September 23 for approval. SoHo, acknowledges that its officials
On July 27, the UFA sent a letter to “are looking at other options, on the
the Memorial Foundation saying the possibility that The Drawing Center

Families and others,
including members of the
World Trade Center (WTC)
Memorial Foundation board,
have assailed The Drawing
Center and International
Rendering of Snøhetta’s cultural complex. Freedom Center (IFC) for
potentially presenting offensive
After complaints from family groups, or “anti-American” exhibitions at
a “request for appropriateness” from Ground Zero [RECORD, August 2005,
Governor George Pataki, an attack page 26]. In response, LMDC chair-
from the Uniformed Firefighters man John C. Whitehead said on
Association (UFA), and an ultimatum August 11 that the IFC would have to
from the Lower Manhattan present exhibition plans to the LMDC
IFC’s presence would “strongly dimin-
ish” firefighters’ sacrifices on the site.
But some, like the Lower Manhattan
Cultural Council, which supports local
artists, feel that removing the organi-
zations would be censorship.
The two organizations, despite
their stated opposition to limitations
on content, still appear ready to stay
for now. An IFC statement in early
August said, “We remain fully and
enthusiastically committed to the
project and location.” Fraser Seitel, a
spokesman for The Drawing Center, in
won’t be invited” downtown. But he
says the gallery has not decided to
leave Ground Zero, and hopes to
remain welcome. Still, he adds, “The
Drawing Center, as a cultural institu-
tion, has to stand for artistic freedom.”
Snøhetta, whose design for the
cultural complex was unveiled in May,
might reduce the building’s size by
about 30 percent. Firm principal Craig
Dykers says the reduction is meant to
meet budget constraints and to main-
tain enough distance from the voids
of the WTC Memorial. Kevin Lerner

09.05 Architectural Record 29

 Record News
Updated plans approved for World Trade
Center transit hub
Just days after unveiling renderings
for a Chicago skyscraper, Santiago
Calatrava, FAIA, on July 28 revealed
plans for his World Trade Center tran-
sit hub that are both more refined
and more security-conscious than
his original design. The new scheme,
shown at a presentation to
the Port Authority of New
York and New Jersey’s
Board of Commissioners,
slightly reduces the size of
the station’s exterior,
decreases the amount of
glass to be used, and
includes structural redun-
dancies such as freestanding
interior columns. The station,
expected to cost about $2.2
billion, was approved at the The “oculus” will include more steel and less glass.
meeting. Groundbreaking will occur
on September 6.
Calatrava presented his first
plans for the hub, which will be
located on the eastern side of the
World Trade Center site, in March
2004. Those plans, which maximized
natural light entering the under-
ground station, included a soaring,
winglike metal-and-glass entrance
structure rising more than 200 feet
into the air. Its massive, ribbed-
concrete interior comprised a grand
entry hall, two mezzanine levels,
and track levels. Those core ele-
ments remain essentially the same.
Exterior changes, largely
intended to minimize damage in the
event of a bombing, include twice as
many steel columns supporting the
“oculus,” or entrance canopy. Glass
between those columns has
been removed after they
intersect at the structure’s
apex. The oculus’s length
was reduced to 330 feet
from 360 feet, and two large,
horizontal steel protrusions
from the structure’s ends
have been added.
Interior changes
include a hardening of the
hall’s base, removal of a
pedestrian corridor under
Church Street, and the addition of
six to eight freestanding support
columns, to be made of a steel-and-
concrete composite. These columns,
meant to better support the struc-
ture and minimize damage in an
attack, produce a mezzanine roof
that undulates, rather than forming
a single, gentle arc. Concrete ribs
above, notes the architect, will be
rounder and more elegant.
The recent changes help further
develop what was a preliminary plan.
“It is the same project, it is just more
mature,” notes Calatrava. The project,
expected to be completed by 2009,
will serve PATH and New York City
subway trains and will likely support
rail links to local airports and the
Long Island Railroad. Originally slated
at $2 billion, the station’s cost now
includes another $221 million for
slurry-wall improvements and the
hardening of the hub’s east–west cor-
ridor under Fulton Street. The hub’s
design team also includes STV Group
and DMJM + Harris. Sam Lubell

Architect’s lawsuit over Freedom Tower moves forward

Judge Michael B. Mukasey of Federal
District Court in Manhattan ruled on
August 10 that Massachusetts-
based architect Thomas Shine could
proceed with his lawsuit against
architect David Childs, FAIA. The suit,
originally filed in November 2004,
alleges that, for his original design for
the World Trade Center Freedom
presented the idea, a twisting tower
with a faceted facade, called Olympic
Tower, to Childs in the fall of 1999.
In March, SOM had filed a
motion to dismiss the case, claiming
that Childs had not copied Shine’s
design, and that both Olympic Tower
and an earlier design, called Shine
99, were unoriginal and ineligible for
substantially similar to Olympic
Tower, and therefore an improper
appropriation of copyrighted artistic
expression.” Still, the judge said, “It is
possible, even likely, that some ordi-
nary observers might not find the two
towers to be substantially similar.”
The Freedom Tower design was
changed on June 29, but according
Kubany says that three of Shine’s
tower images, thrown out of the case
because they had been doctored,
were “clearly an attempt at decep-
tion.” She calls the appearance in the
suit of Shine 99, also thrown out by
the judge, “another attempt by Shine
to make a case where there is none.”
Shine says the three pictures

Tower, Childs, a principal at Skidmore,
Owings & Merrill (SOM), copied a
skyscraper design that Shine had
developed while a master’s student
at Yale Architecture School. Shine had
copyright protection.
In his ruling, Mukasey said that
some “might find that the Freedom
Tower’s twisting shape and undulat-
ing diamond-shaped facade make it
to the court, “because defendants’
original design for the Freedom Tower
remains in the public domain, Shine’s
infringement claim stands.”
SOM spokesperson Elizabeth
I M A G E : C O U R T E SY P O R T AU T H O R I T Y O F N E W YO R K A N D N E W J E R S E Y
were unintentionally switched, and
that the Shine 99 project was a rela-
tively insignificant part of his case.
“We’re very pleased that the case is
moving forward,” he says. S.L.

Goldman Sachs will move to Ground Zero after all

After months of looking elsewhere for office space, Goldman Sachs has
decided to build its $2 billion headquarters at Ground Zero after all,
according to a report on August 11 in The New York Times.
On April 4, the financial firm halted the planned construction of its
40-story glass building, located just northwest of the 1,776-foot Freedom
Tower. The company had been worried about a now-scrapped plan to sub-
merge West Street near the building’s entry. Goldman had also expressed
concerns about financial incentives and the state of other projects at
Ground Zero. The new tower, which is being designed by Pei Cobb Freed
Architects, sits on the last vacant commercial parcel in Battery Park City.
Goldman officials could not be reached for comment, but according
to the Times, the firm had been enticed back to the area with a slew of
financial incentives, including at least $150 million in new city and tax
credits, as well as $600 million of new Liberty Bonds to add to $1 billion in
already-issued bonds. The move gives Lower Manhattan, whose viability
as an office center has been facing recent scrutiny, a boost. But some
have said the price is too high, pointing to what they call exorbitant tax
breaks for the company. S.L.

30 Architectural Record 09.05

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 Record News
Plans for New York’s Moynihan
Station finally moving forward
After years of false starts, it appears (HOK)’s New York office. Skidmore,
the development of New York City’s Owings & Merrill, whose partner
Moynihan Station has finally gotten David Childs devised an early scheme
under way. On July 19, the Empire for the project, will be a consultant.
State Development Corporation, Construction is set to begin next year,
which is responsible for promoting and completion is slated for 2011.
economic growth in the state, The new station, named for
announced it had selected a team the late New York Senator Daniel
of developers and unveiled a new Patrick Moynihan, a vocal proponent
design for the project. It will be of the project, will include 300,000
located in the Farley Post Office on square feet for a soaring, vaulted
8th Avenue, just across the street glass station space that will respect
from the present Pennsylvania the post office’s grand Beaux-Arts
Station. That station occupies the site architecture. The post office was
of McKim, Mead and White’s original built in 1910, and was also designed
Beaux-Arts Pennsylvania Station, by McKim, Mead and White.
which was demolished in 1963. “This is a second chance to
The development team for the recapture the extraordinary station
$818 million transportation, office, that was once Penn Station,” said
commercial, and residential complex Empire State Development chairman
will be The Related Companies and Charles Gargano. The post office’s
Vornado Realty Trust. Its architects facade will be renovated, while any
will be New York–based James new interior elements will likely be
Carpenter Design Associates, with marked in limestone and terra-cotta,
Hellmuth, Obata + Kassabaum says James Carpenter, who notes
the team hopes to
receive historic-preser-
vation tax credits for the
project. Eleven boarding
platforms will service
Long Island Railroad,
New Jersey Transit, and
possibly some Amtrak
passengers.
The large, undu-
lating glass-and-steel
An undulating glass roof will cover the space.
ticketing and customer-service
booths, shops, and restaurants.
The new scheme does away
with David Childs’s preliminary
scheme for the station, whose sculp-
tural steel-and-glass canopy was
dubbed “The Potato Chip.” It occu-
pied the “intermodal” space between
the current post office and a large
warehouse and sorting facility to its
west. Carpenter says that design was
removed, in part, because the pro-
gram has shifted to retain much more
of the post office than was originally
planned. Entry into the new station
will take place not via the post office’s committed. The Port Authority of
grand stairs, but through smaller
openings on 8th Avenue, 9th Avenue,
and 31st and 33rd Streets. The inter-
modal space will likely now serve as
a check-in area for passengers plan-
ning to travel to local airports.
The Moynihan Station was first
proposed in the early 1990s, and
designs were first proposed in 1999.
The project has been hampered by
of the Farley Post Office,
250,000 square feet for
the existing post office,
and air rights for up to
1 million square feet of
housing, likely on the
northeast corner of 8th
Avenue and 32nd Street,
says Carpenter. New York
Governor George Pataki
noted that this team’s plan
to locate residential devel-
opment outside the Farley
Building itself made it more
appealing, so as not to hurt
the building’s character.
Construction will be
paid for through $105 million in
Federal Railroad Administration
funds, $56.8 million in New York
State funds, including $35 million
from the Metropolitan Transportation
Agency (MTA). The Moynihan
Development Corporation, made up
of representatives from the city and
state, will be paying $230 million for
the building. The developers will
make an up-front payment of $150
million at closing, with about $124
million coming in successive years.
The city will contribute $133 million in
capital funds, plus $25 million already
New York and New Jersey will pay
$150 million. The New York
Department of Transportation will
contribute $64 million in the form
Congestion, Mitigation, and Air-
Quality (CMAQ) funds.
New York Mayor Michael
Bloomberg, who recently lost his
battle to build a Jets stadium in the
area, now appears to be focusing

A N D J A M E S C A R P E N T E R D E S I G N A S S O C I AT E S / N E O S C A P E
canopy will allow day- numerous delays, caused by, among on the Moynihan project as a cata-

The Beaux Arts–style Farley Post Office will
become a train station. “Light moats” along side-
walks will bring natural illumination underground.
light into the space.
Carpenter says this will
help recreate the awe-
inspiring sense of scale
that passengers once
felt when they entered
Penn Station. Natural
light will also be filtered
down to the tracks
via glass “moats” sur-
rounding the building,
and through light tubes
within the space’s large
steel columns. The
space will be lined with
other things, funding debates in
Congress, indecision on the part of
the U.S. Postal Service, and finan-
cially strapped Amtrak’s refusal to
move from Penn Station. Amtrak,
which owns Penn Station but would
have to pay rent at Moynihan, will
keep its facilities in Penn Station,
says Amtrak spokesman Clifford
Black. He notes no current plans to
improve its present facilities.
The project will also include
850,000 square feet of commercial
space, much of it located in the large
warehouse building on the west side
I M A G E S : C O U R T E SY H E L L M U T H , O B ATA + K A S S A B AU M
lyst to development on the Far West
Side. This is a 60-block zone that
extends from the Moynihan Station
site to the Hudson River. He said
the area, recently rezoned to allow
significant commercial and residen-
tial development, will be “teeming
with life-energy and activity every
day.” Answering concerns that the
Far West Side could draw resources
from Ground Zero, he said, “There
is no competition with any other
areas. Enhancement of this neigh-
borhood helps the development of
all neighborhoods.” S.L.

32 Architectural Record 09.05

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 Record News
Inspiration or folly?
Iraqi-born architect planning
Baghdad hotel
Only a serious optimist could build in Baghdad
these days. Enter Dr. Hisham Ashkouri, AIA, a
Baghdad native, who studied architecture at
Baghdad University. Ashkouri left Iraq in 1972 to
pursue more opportunities,
starting his own firm, ARCADD,
in Newton, Massachusetts, in
1986. He didn’t return to the
country until after the war in
2003, when the 57-year-old
architect saw his old neighbor-
hood in shambles. Familiar
shops and friends’ homes had
been destroyed, roads were
impassible, and sewers over-
flowing. Much of the city looked
this way. “It was so painful to
see,” says Ashkouri, who vowed
to help rebuild the country and
take advantage of the opportu-
nities presented by a free Iraq.
His promise may be close
to reality, or at least that’s how
Ashkouri sees it. He has devel- The Sinbad Hotel complex will be
oped three major plans for the located outside the Green Zone.
city. One is a mixed-use down-
town development called Tahrir Square. The second
is a $115 million high-rise hotel and movie project
called the Sinbad Hotel complex. The largest is a
$13 billion Central Business District master plan for
cultural, educational, medical, and tech develop-
ment along the Tigris River.
The Sinbad, which will be located downtown or ourselves, with private development, and it has to
south of the city center, is the closest to moving for-
ward, having recently received a promise of funding,
says Ashkouri, by the Al-Senussi’s, the former royal
family of Libya. The family has approved giving him
$300,000 to pay for schematics. Local investors
approved the plan in July, he says. The local govern-
ment, though, has not yet approved the building.
The Sinbad’s design, Ashkouri says, will be a
modern interpretation of ancient, local forms. Its
arched colonnades, tentlike roof canopies, eight-
point star patterning, and a protruding, curved
facade echo vernacular forms, although the building minister of urban development and housing.
still appears cut from the corporate-hotel mold. The
building will also utilize the ancient Badgeer system,
which employs large hollow shafts along the sides
to allow hot air to escape. He says that, if built, the
32-story tower will be the largest steel tower in the
city, where, because of the high cost of steel, most
structures are made of concrete. Now, says
Ashkouri, most businessmen must rent apartments
in order to do business outside the Green Zone.
Inside, the complex will include shopping,
informal congregation spaces, and a cinema com-
plex that he hopes will host Baghdad’s first-ever
film festival. Lobbies will include murals of Sinbad’s
seven voyages. Rooms will be brightly and colorfully
decorated, an aesthetic he says
may be off-putting to Western
tastes, but is necessary in war-
torn Iraq. “You can’t use a
minimalist approach here.
There’s been too much sad-
ness. We’re trying to bring back
life to a city that’s experienced
lots of repression.”
Not surprisingly, the
biggest added cost—almost
doubling the price per square-
foot—will be security. Ashkouri
plans to erect a high perimeter
fence around a large construc-
tion site. Armed guards and
constant video surveillance will
monitor the area. The final
design, like the recently revised
Freedom Tower in New York,
will have a concrete base,
although it will be ringed by a
window-lined pedestrian corridor. Windows near
the base will be bulletproof and blastproof.
“If we wait to develop here, we will be waiting
forever,” says Ashkouri, who believes this to be the
first major private development outside the Green
Zone since the war. “We have to rebuild the city
be sustainable.” The idea of constructing a project
like this is “not a pipe dream at all,” says Manjiv
Vohra, the C.E.O. of a major construction company
working on projects in Iraq. For increased security,
he recommends hiring Iraqi construction workers
and keeping a low profile.
I M A G E : C O U R T E SY A R C A D D / K A R I M E L S A H Y
Ashkouri is nothing if not ambitious about
rebuilding shattered cities. He is also developing a
master plan for Kabul, Afghanistan, called the City
of Light, a $9 billion, 3-square-mile urban devel-
opment just informally approved by the country’s
He plans to put part of the proceeds for the
Iraq projects into rebuilding his old neighborhood,
where he also hopes to establish an office.
“People think I’m crazy building here, but I don’t
care,” he says. “If I didn’t think this was possible,
I would have given up long ago.” S.L.
 Record News

Louvre to build new Islamic art gallery

The French have never been shy about marrying
contemporary architecture to historic monuments.
I.M. Pei proved this when his glass entry pyramid
for the Louvre opened in 1989, and in July, French
President Jacques Chirac announced another mod-
ern Louvre addition—a Department of Islamic Art.
The Louvre holds one of the most important
Islamic Art collections in the world, and the adja-
cent Musée des Arts Décoratifs owns another
3,000 objects that have not been shown in public The gallery’s curving roof will be made of glass disks.
for more than 20 years. The two collections will
come together in a two-story, 36,000-square-foot the surrounding Neoclassical facades. It is, say
design by Milanese architect Mario Bellini and the designers, “architectural integration without
architect Rudy Ricciotti, based in southern France. violence.” It is also a very open design with no
Bellini and Ricciotti were chosen in a com- superfluous circulation space. Instead, linear
petition that also included Zaha Hadid and Coop benches are used to divide thematic spaces. Set
Himmelb(l)au. Their design will fill most of the to open in 2009, the $67 million project benefited
ground floor of the Cour Visconti, a courtyard from a $20 million donation from Saudi Prince
within the southernmost wing of the Louvre. A Walid bin Talal.
second underground level will be accessible from The project has also been helped along by a
galleries created by Pei. A shimmering, undulat- chance to mix politics with culture. It will, according
ing glass roof, made up of glass disks, will allow to Chirac, “remind the French people and the world
diffused sunlight to penetrate into the space. of the important contribution Islamic civilization
The scheme also offers visitors glimpses of has made to Western culture.” Claire Downey

L.A.’s Ambassador Hotel to be demolished for school

On July 25, a Los Angeles Superior Court judge gave the Los Angeles Unified School District (LAUSD) the

I M A G E S : C O U R T E SY M U S É E D U LO U V R E ( TO P ) ; © T H E A S S O C I AT E D P R E S S ( B OT TO M )
okay to demolish most of the famous Ambassador Hotel (below) on Wilshire Boulevard. The now-vacant
property, which closed in 1988, will be used for a $318.2 million, 4,200-student education complex.
The Spanish Mediterranean–style Ambassador, designed in 1921 by Myron Hunt, was a Hollywood
icon. The Oscars were held there several times, and it was used as a location for films like The Graduate,
The Fabulous Baker Boys, The Mask, and A Star is Born.
Robert F. Kennedy was assassinated there in 1968.
A suit filed last November by a coalition of preserva-
tion activists, including the Los Angeles Conservancy,
contested an earlier environmental-impact report. The
groups hoped that the district would consider a compro-
mise preservation plan, which would place smaller learn-
ing structures around the building and allow the hotel to
be used for offices, teacher housing, and classrooms. LAUSD officials, who called the plan too expen-
sive, argued that schools in the district are seriously overcrowded, with more than 3,800 area children
being bused elsewhere each day. An LAUSD advisory committee met on July 20 to begin discussions
on a Kennedy memorial at the site.
The campus design is being developed by Pasadena-based Gonzalez Goodale Architects, which
was awarded the $11.2 million contract last October. The project will recreate the four-story
Ambassador facade, but with a contemporary look. The 24-acre project will include an 800-seat primary
school, a 1,000-seat middle school, and a 2,440-seat high school. It will preserve the famous Coconut
Grove nightclub, which will be used as an auditorium. The coffee shop will be reused as a faculty lounge,
and the beam ceiling from the Embassy Ballroom will be salvaged and “reapplied” in the new library.
Construction could begin as early as spring 2006 and be completed by September 2009. J.T. Long
 Record News
Transportation and energy legislation will impact architects
After long delays, Congress finally passed its
energy and transportation bills in August. The
impact on architects could be significant.
Transportation bill likely to benefit
architects The long-delayed, multiyear federal
transportation bill that President Bush signed into
law on August 10 provides substantial funding
for projects involving architects. The new legisla-
tion, the Safe, Accountable, Flexible, Efficient
Transportation Equity Act: A Legacy for Users
(SAFETEA-LU), covers the 2005 through 2009
fiscal years. Authorizations total $295 billion.
Architects seem pleased that SAFETEA-LU
retains the program structure set by the 1991
Intermodal Surface Transportation Efficiency Act
(ISTEA). One key extended ISTEA feature is the
“transportation enhancements” program, which
sets aside 10 percent of
funding for the Surface
Transportation Program, a
major federal highway aid
category, for things like bicy-
cle and pedestrian paths,
scenic and historic sites,
rehabilitating historic rail-
road stations, and other
transportation facilities.
Under SAFETEA-LU, the President Bush signs the long-delayed
enhancements program is transportation bill in August.
guaranteed more than $3.2
billion over the 2005–2009 period.
“It’s an important bill,” says Jason Stanley,
an associate partner at Skidmore, Owings &
Merrill’s Chicago office. “If the value of the public
realm can be raised, that will enhance property
values, and it will enhance commercial zones.”
But Stanley says the impact “depends on which
state the work is in.” He says the best potential
is in states like Minnesota, which have formally
adopted “context-sensitive design.”
As with past transportation bills, lawmakers
made sure to include pet projects. Washington,
D.C.–based advocacy group Taxpayers for
Common Sense says funding for all projects and
earmarks in the law tops $23 billion. Critics
deride those projects as pork-barrel politics, but
some items may be of interest to architects, such
as $3 million for renovations to Denver Union
Station, $1 million to build a bicycle and pedes-
trian trail in California’s Contra Costa County, and
$9 million for “studies, design, and construction”
of New York City’s High Line Trail project.
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The AIA was pleased the final bill included a
$2 million study, due by September 20, 2007, of
how federal transportation spending affects local-
ities’ design, health, and safety.
Energy bill may boost efficiency stan-
dards Although the newly enacted energy bill,
signed by President Bush on August 8, doesn’t pro-
vide nearly enough conservation incentives to suit
environmental groups, the measure does contain
provisions aimed at promoting energy efficiency,
including $1.3 billion in conservation and energy-
efficiency tax-break incentives.
Among these incentives is a deduction for
commercial buildings that cut annual energy
and power consumption by 50 percent com-
pared to American Society of Heating,
Refrigerating and Air-Conditioning Engineers
standards. For “building
subsystems,” the deduction
would be 60 cents per
square foot. Energy-effi-
cient equipment includes
interior lighting, heating,
cooling, ventilation, hot
water, and the building
envelope, according to
the congressional Joint Tax
Committee. The bill also
provides tax credits for
contractors that build new
energy-efficient housing, and for homeowners
who install solar power and fuel cells.
In addition, the energy law requires the
Department of Energy to issue energy-efficiency
standards for new federal buildings within a year.
The legislation states that energy-use levels in
new federal facilities must be at least 30 percent
less than the ASHRAE standard or International
Energy Conservation Code in effect when the
building is constructed. It also says “sustainable
P H OTO G R A P H Y : © T H E A S S O C I AT E D P R E S S
design principles” should apply to “siting, design,
and construction of all new [federal] buildings.”
The AIA applauds new provisions, such as a
program to spur commercial use of photovoltaic
energy, partly through a $250 million authoriza-
tion over five years. In addition, the AIA backed a
provision calling for the Department of Energy to
sign an agreement with the National Institute of
Building Sciences to study whether the present
voluntary standards and ratings for “high-perform-
ance” buildings “are consistent with the current
technological state of the art.” Tom Ichniowski
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Record News
Frank Lloyd Wright Foundation slowly
recovering from difficult times
In the past year, the Frank Lloyd major decisions. Another change
Wright Foundation, a nonprofit establishes 80 percent of board seats
organization established in 1940 to for public trustees and 20 percent
preserve the contributions and ideas for the fellowship, to allow for more
of Wright, has experienced its share of outside board membership. Before,
upheaval. Hurt by internal conflict and fellows could hold a majority of seats.
a lack of direction, the foundation’s Tony Puttnam, a Wisconsin-
School of Architecture, which has an based architect who has been
average enrollment of 12 (within a involved with Taliesin for years,
limit of 24), lost a number of faculty, notes, “We could use new energy to
students, and its dean. The founda- restore the school and develop a
tion board of directors, controlled for nucleus for interesting, creative
work.” Effie Casey, a senior
fellow at Taliesin West and
former board member who
attended the June 12 meet-
ing, says the fellowship
“recognizes this as an oppor-
tunity to open doors for more
participation by the public.”
In July, the foundation
Taliesin West, the foundation’s headquarters. announced that Victor
Sidy, who in 2000
many years by the Taliesin Fellowship, received his master’s of architec-
a residential organization of Wright ture from the Frank Lloyd Wright
disciples formed in 1932, also this School of Architecture, had been
year ousted C.E.O. James Goulka. chosen to serve as dean of the
Although the foundation had school. Sidy, says the foundation,
been operating in the black for more will work to develop a more defined,
than a decade, more than $80 updated curriculum, and to improve
million is now needed for the main- transcript creation, among other
tenance and restoration of its aging items. After concerns that the
properties, Taliesin in Spring Green, National Architectural Accrediting
Wisconsin, and Taliesin West in Board (NAAB) might revoke the
P H OTO G R A P H Y : C O U R T E SY F R A N K L LOY D W R I G H T FO U N DAT I O N
Scottsdale, Arizona, and tourism and school’s accreditation, in August
donations have been on the decline the NAAB renewed the school’s
since 9/11. Goulka’s efforts to impose accreditation. According to Hart,
fiscal restraint proved unpopular. The the NAAB will return in a year and
28 senior fellows, who mostly live on a half for a follow-up.
the Taliesin campuses, were wary of In addition, the foundation,
his aggressive spending cuts and a which has a staff of 70, announced
plan for more public participation. in August that it is streamlining its
But now, according to founda- operations, and has hired a Chicago-
tion officials, there is renewed hope based executive search firm to find
for the organization. On June 12, a new C.E.O. Beverly Hart, who cur-
after a year of self-examination, the rently holds the job, says the new
board of trustees and fellows met at C.E.O.’s goal will be to raise $250
the foundation’s Spring Green offices million in the next decade to pay
to work out new language in the for restoration of the properties,
foundation’s bylaws. One key change establish an endowment, and build
redistributes power by removing the a new archive and visitors’ center
fellowship’s veto power over most in Scottsdale. Allison Milionis
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Jan Vermeer, The painter (Vermeer's self-portrait)
and his model as Klio 1665 -1666
Kunsthistorisches Museum, Vienna, Austria
Record News On the Boards
Data center to
resemble microchip
Urbanus, based in Shenzhen and
Beijing, China, has won an interna-
tional competition to design “Digital
Beijing,” a key building for the 2008
Beijing Olympics. The structure,
adjacent to Herzog & de Meuron’s
National Stadium and PTW’s
Swimming Center, will be a regional
communications hub and the
games’ data command center. It
will also house a museum to the
digital age and an exhibition hall. It
is the first landmark Olympic com-
Reflections, reflections, reflections …
Designing for a site that lacks archi-
tectural context can produce either
the best or the worst architecture. In
designing for Digital Media City, a
technology park under construction
on the largest open tract of land in
Seoul, South Korea, German-based
Barkow Leibinger Architects created a
building that waits to see what future
neighbors will look like before making
its own architectural statement.
Designated DMC B6/2, the
building will contain three levels of
showrooms for heavy machinery and
six floors of speculative office space.
Frank Barkow, reached via e-mail at
his office in Berlin, describes DMC
B6/2 as “self-referential,” because
its facade will be composed of mir-
rored glass that folds in and out
through a depth of 8 inches, produc-
ing an effect like a shattered crystal
or kaleidoscope. Even its concrete-
enclosed stair tower, clad in zinc, will
be highly reflective.
w w w. m o d e r n f a n . c o m
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mission for a Chinese firm.
A group of New York–based
Chinese architects—Liu Xiaodu,
Meng Yan, Wang Hui, and Zhu Pei—
founded Urbanus in 1999, later
returning to China. The architects
wanted the project to be a built
representation of our time, much as
Walter Gropius’s 1911 Faguswerk
shoe factory was for the industrial
era. “If the industrial revolution
impacted Modernism,” asks Zhu,
“what will happen in the digital age?”
The building’s elevations and
shape will allude to the form of a
computer motherboard. Four main
blocks will emulate the structure of a
computer hard drive. A ground-floor
public space, crisscrossed by bridges,
will be emblazoned with electronic
projections. The western facade will
recall a barcode, while an elevation
facing the Olympic Green will include
tentaclelike, image-projecting LED
panels. Construction will begin in late
2005, with completion set for 2007.
Daniel Elsea
I M A G E S : C O U R T E SY U R B A N U S ( TO P ) ; B A R KO W L E I B I N G E R ( B OT TO M )
“Any adjacent buildings will
be appropriated visually into frag-
mented pixels onto our building’s
surfaces,” Barkow writes. “Even the
worst adjacent building will look
mesmerizing.” Presumably the
architects of these adjoining build-
ings will decide whether this optical
trick is the sincerest form of flattery.
Construction on DMC B6/2 began in
June and should finish in late 2006.
James Murdock
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 Record News On the Boards
A gambling tower in Europe? Holl designing
casino in Belgium
Art, architecture, and gambling will
soon come together in one of
Europe’s first casino towers. In
July, New York–based Steven Holl
Architects won a city-sponsored
competition to restore and expand
the Albert Place Casino in Knokke-
Heist, a popular resort town on the
North Sea, about 50 miles from
Brussels. A René Magritte mural,
The Ship Which Tells the Story to
the Mermaid, provided the inspira-
Warsaw Jewish museum explores resiliency
In June, the design of the Museum
of the History of Polish Jews in
Warsaw was awarded to Finnish
architects Ilmari Lahdelma and
Rainer Mahlamäki. Competing
firms included Studio Daniel
Libeskind, Eisenman Architects,
and Zvi Hecker.
The museum site was the
center of Warsaw’s Jewish commu-
nity until 1939. Sitting at the end of
a long plaza opposite the Warsaw
tion for the tripartite design, center-
ing on a 20-story, sail-like hotel and
apartment tower. The adjoining
early-Modernist casino, built in 1930
by Belgian architect Leon Stynen,
will be restored and modernized. A
convention center resembling a
mermaid’s tail will extend inland.
The $185 million complex will
include shops, art galleries, restau-
rants, pools, an auditorium, a spa,
and an observation deck. All rooms
in the thin hotel tower, with a glass
curtain wall, will have sea views. The
convention center’s glass exterior
will be covered by a metal wall per-
forated with hexagonal holes, meant
to create interesting shadow effects.
The complex will interact with
the city through a pedestrian space
called Casino Square. The city and
developers will shortly put the resort
out to bid, and construction will
begin soon after. Gregory Hafkin
I M A G E S : C O U R T E SY S T E V E N H O L L A R C H I T E CT S ( TO P ) ; L A H D E L M A & M A H L A M Ä K I ( B OT TO M )
Uprising Memorial, the 138,000-
square-foot building is a transparent
cube of backlit glass, giving the
impression of broken crystal. Entering
the main hall, visitors are flanked by
limestone masses curving upward
like the walls of a canyon. Mahlamäki
explains the contrast as “a dialogue
between fragile external walls and
an interior made of more resistant
materials.”
The initially constricting pas-
sage, which opens to a view of the
greenery outside, is inspired by the
story of the Jews’ exodus from Egypt
through the parted Red Sea. The
adjacent park’s trees, which form an
approach below the main entrance
hall, celebrate Jewish life in Poland
before the Holocaust. The museum’s
central location will facilitate inter-
action among diverse groups of
visitors. Museum officials project
between 250,000 and 500,000 will
visit each year. Larissa Babij
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 News Briefs
covered by what Hadid describes as
“a complex pattern of simple overlap-
ping shingles.” David Cohn
I M A G E S : C O U R T E SY Z A H A H A D I D A R C H I T E CT S ( L E F T ) ; C H R I S T I E ’ S ( R I G H T )
salaries have grown most at larger
firms. Average compensation for
firms of 250 or more now stands at
$74,200, with figures decreasing in
proportion to firm size. Salaries at
firms under 10 average $59,400.
Architects’ salaries still pale in
comparison to the most lucrative
work artist Robert Smithson, most
famous for the Spiral Jetty in Utah,
the flat-deck barge will hold earth,
shrubs, rocks, and seven specimens
of native trees rising 30 to 35 feet.
Smithson drew the concept for
Floating Island to Travel Around
Manhattan Island in 1970, but

The bridge will be composed of over-
lapping space frames.
Hadid designing main pavil-
ion for 2008 Expo Zaha Hadid
was chosen in July to design the main
pavilion of the 2008 International
Exposition in Zaragoza, Spain. The
pavilion will consist of a multilevel
bridge that spans the Ebro River, link-
ing the city to the Expo site.
Hadid’s pavilion’s design will
be composed of four overlapping
diamond-section space frames,
which curve and widen as they span
the river, “like a gladiola blossom,”
one juror commented. They will be
AIA Compensation Report
shows gains The AIA’s 2005
Compensation Report, released in
July, revealed that salaries for U.S.
architects increased at a faster rate
than those of other professions
between 2002 and 2005. Architects’
pay grew by about 10 percent over
that time, or at an average yearly rate
of about 3.3 percent. Jobs within the
rest of the economy grew at an aver-
age rate of 2.5 percent. Architects
salaries have now reached an aver-
age of $62,600, says the report.
Still, salaries for architects
grew less than they have in the
recent past. Between 1999 and
2002, architects’ salaries grew at
a 5.1 percent yearly rate, and from
1996 to 1999 the rate was 5.3
percent. According to the report,
professions. According to the U.S. budget and permit issues derailed
Bureau of Labor statistics, the mean the plan, and he died three years
yearly income for architects in later. The project, budgeted at
2004 was $66,230, compared to around $150,000, is a collaboration
$108,790 for lawyers and $137,610 between the Whitney Museum of
for physicians and surgeons. At the American Art and New York–based
other end of the scale, artists’ mean arts group Minetta Brook. It will run
annual income was $37,490. S.L. from September 17 to 25, after
which the trees will be replanted in
Floating Island will round Central Park. G.H.
Manhattan Creating a new
island in the middle of New
York City doesn’t require a
landfill, just a little ingenuity.
For nine days in September,
a 48-foot tugboat towing an
“island” on a 30-by-90-foot
barge will partially circum-
navigate Manhattan on the
Hudson and East Rivers. The
brainchild of the late earth- Smithson’s sketch of the Floating Island.

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 News Briefs
Army begins its largest-ever
privatization project The U.S.
Army has begun work on the mili-
tary’s largest-ever privatization
project, on the island of Oahu, in
Hawaii. The $2.2 billion Army Hawaii
Family Housing complex, developed
by Actus Lend Lease, will include the
construction and renovation of about
8,000 homes on a 1,702-acre plot.
Individual models, not cookie cutters.
Its privately developed, individually
styled homes, enabled by the 1996
Military Housing Privatization Act,
represent a major departure from the
military’s cookie-cutter models devel-
SLATE
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GREENPURPLE
SANDSTONE
GRAYSON CATHEDRAL SHERIDAN
LIMESTONE
KENT CHATEAU LEWISTON
oped since the 1950s, says Chris
Sherwood, Actus senior vice presi-
dent. The project will include the
world’s largest solar-powered com-
munity, providing about 30 percent
of the area’s electrical needs through
photovoltaic cells. Other green ele-
ments include solar hot water and
electronic energy metering. Families
will begin moving in next summer,
with 5,300 new homes planned for
completion at that time. S.L.
Richard Solomon dies Richard
Jay Solomon, director of the Graham
Foundation for Advanced Studies in
the Fine Arts since 1993, died on July
14 at age 62. The Chicago-based
Graham Foundation has fostered a
public dialogue about architecture
through its grants and programming
since its inception in 1956.
In 2003, Solomon, also a well-
respected architect, expanded the
foundation’s activities to include an
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Viñoly’s Kennedy Center Plaza plan.
ideas competition for a 21st-century
Lakefront Park in Chicago. The
resulting exhibition and publication
displayed more than 100 concepts
that challenge and reconsider the
city’s premier open space. E.K.
Kennedy Center plaza
derailed Cuts in the recently
passed federal transportation bill
have halted plans for a new John F.
Kennedy Center Plaza, designed by
Rafael Viñoly, FAIA. The $650 million
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project, built over existing roadways,
would create a four-block sweeping
pedestrian plaza lined with pools,
flanked by two new glass-and-steel
buildings. One building would house
I M A G E S : C O U R T E SY A CT U S L E N D L E A S E ( L E F T ) ; R A FA E L V I Ñ O LY A R C H I T E CT S ( R I G H T )
rehearsal and office space, the other
a performing arts educational center.
The project was counting on $400
million from the reauthorization of the
federal highway and transit bill. But
lawmakers eliminated plaza funds
due to budget constraints. Tony Illia
ENDNOTES
• After six months of almost contin-
ual gains, architectural billings in June,
while still up, showed signs of slowing,
according to the AIA’s July Work on
the Boards survey. While almost 23
percent of firms reported increased
billings compared to May levels, 14
percent of firms reported a decline.
• The National Building Museum is
awarding the U.S. Green Building
Council with the Henry C. Turner
Prize for Innovation in Construction
Technology.
• OMA is building a mixed-use tower
in Louisville, Kentucky.
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 archrecord.construction.com/archrecord2/

For and about

the emerging architect

archrecord2
This month in Design, archrecord2 hops the pond to speak to Surface Architects, a young

DEPARTMENTS
London-based firm creating contemporary and vibrant architecture not only in new locations
around the city, but also within existing, older buildings. In Work, we come back to the States
to have a closer look at an amber-colored addition to the streets of Los Angeles. The complex,
vortex-shaped structure is a stunning homage to architecture and film.

Design
Beyond Surface’s bold exteriors
Surface Architects has many things
going for it. One is fortuitous timing.
The firm has been busy during a
period when England’s central gov-
ernment has sanctioned the funding
P H OTO G R A P H Y : © K I L I A N O ' S U L L I VA N / L I G H T R O O M ( TO P R I G H T T W O A N D O P P O S I T E , R I G H T T W O ) ;

of new buildings for university campuses around the country.

Accolades have brought the team into the public eye. It was
recently added to the U.K.’s “40 Under 40” list, which is an
awards program for young architects. However, forgoing all
R E N D E R I N G S : C O U R T E SY S U R FA C E A R C H I T E CT S ( B OT TO M A N D O P P O S I T E , TO P L E F T ) )

the hype that surrounds graduate-school theory-speak and

appearances in tabloid party pages, this young practice, led
by its directors Richard Scott (above left) and Andy MacFee
(above right), concentrates on creating engaging architecture.
Scott, who studied architecture at both The Bartlett at
University College London and SCI-Arc in Los Angeles, caught
his first big break with Andrew Zago, a professor from his years in Los Angeles. Lockkeepers Cottage Graduate and a common room. The project
At the time, Zago was a visiting professor at Cornell University and asked Scott Centre for Queen Mary University, is a radical departure from other
to join him when he was given an in-house commission to build a design studio London, 2005 buildings on campus, and the
for the Aerospace Engineering Department. The project called for a workspace This renovation and expansion architects were pleased that is was
that emphasized synergy and creativity in mechanical design. Scott recalls, “It includes seminar and work spaces, accepted by planning authorities.
was by far the most interesting and groundbreaking project I’d been involved
with up to that point.”
After returning to London and joining Alsop Architects, Razorfish Headquarters,
Scott formed a collaborative—which he called Surface—in London, 2001
1996 with fellow architect Kristen Whittle. Since both Scott and The firm’s competition-winning
Whittle had attended SCI-Arc, they found themselves asking scheme for a 50,000-square-foot
ever more theoretical questions regarding architecture. The pair office expansion included space for
decided to bring on board the services of philosopher Jeremy 500 employees. Although the
Weate. “It was pragmatic to engage the services of a philoso- design was completed, the Silicon
pher,” explains Scott. “With all our questions, Whittle and I were Alley company went bust and the
more and more tied in knots. We educated him in architecture project was never realized.
and he educated us in phenomenology.” This would prove to
be a wise decision—their initial project won first prize in a

09.05 Architectural Record 57

 archrecord.construction.com/archrecord2/

Birkbeck College, Center for The Ambiguous Object—Queen

Film and Media Studies, Mary Medical School Library,
London, 2005 London, 2004
In this state-of-the-art auditorium, The firm’s first commission on this
the architects explore the limits campus is a dramatic yet not
of what a cinema’s environment obvious elevator for wheelchairs to
could be. The projected date of the basement level in this Gothic
completion is March 2006. Revival church-turned-library.

Japanese residential design competition.

In 1999, after a year teaching a course on theory and history with Weate and
three years at Alsop, Scott decided to focus on Surface Architects. In the firm’s
new incarnation, Scott states, “I did not want to be a career academic, so I wanted
this to be about opportunities that can be manifested in built architecture.” For the Augustine Road House
first two-and-a-half years, Scott worked on modest projects. He got his first large Renovation,
commission and attention from the press when he won (with the help of Weate’s London, 2002
philosophical counsel) a competition to fit-out the London headquarters of With a small budget and a client
Razorfish, the once monolithic but now defunct Internet design company. with no preconceptions, the archi-
With this newfound recognition and a growing project list and staff, Scott tects were able to give a three-story
approached MacFee, a schoolmate and ex-coworker, to join the firm in 2001. Victorian home a Modern
“At Alsop, MacFee had an expertise in turning radical proposals into well-built makeover. Much of the attention
buildings,” says Scott. “It’s transformed the opportunities of this practice, by was given to the kitchen renova-
our being able to offer our clients really crisp service and prove that we can tion, and the result is a bright,
transform drawings into viable projects.” Randi Greenberg multicolored, and sculpted space.

For more images of projects by Surface Architects, go to archrecord.

construction.com/archrecord2/

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 Work
A Temporary Gateway into Infinity
It all started with a mutual interest in the work of Frei Otto, a pioneer of lightweight construction. When Jenna
Didier, founder of Materials & Applications (M&A), a Los Angeles–based research center for landscape and
architecture, discovered that architect Benjamin Ball shared her interest in Otto’s work, the pair discussed the
possibility of creating an homage to him in the M&A courtyard.
Serendipitously, Ball, whose work also includes film design
and production, had been testing designs using TopSolid Design
software. “I was working on what I could do that would be relevant
to contemporary exploration of what Otto was doing, and finding
ways to apply it to tensile structure,” says Ball. He worked on a
conceptual design for a year, and in November 2004, he began
collaborating with Gaston Nogues, an architect responsible for
product development in Frank Gehry’s office.
During development, Ball and Nogues realized the form resembled a black hole. They also talked about
P H OTO G R A P H Y : © O L I V E R H E S S ( L E F T ) ;

what an obsessive process it must be to take several hundred pieces and transform them into a whole. It was
then they made the connection to the classic sci-fi movie The Black Hole and named the project Maximilian
Schell, in honor of the actor who portrayed the tyrannical Dr. Reinhardt. “The character is a funny metaphor
for an architectural personality,” Ball explains. “He was a total control freak—control of his vision—and that is The changing fractal light patterns of Maximilian
NEIL COCHRAN (RIGHT)

exactly what you have to be to get this type of project completed.” Schell add a dramatic element to the courtyard, as
The structure is composed of a polygonal matrix of 504 triangles that when combined form a funnel. The does the framing of the sky from the vortex’s apex.
material is constructed of mylar laminated over nylon reinforcing yarn and joined together by clear polycar-
bonate rivets. Assembled on the roof of M&A, the project was then lowered onto a series of cables. The courtyard beneath hums with an accompanying ambient-
sound installation by composer James Lumb. The installation will be open to the public until its dismantling at the end of November. R.G.

For more images of the structure and its construction, go to archrecord.construction.com/archrecord2/

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 Dashed hopes for a charged site:
What went wrong
at Ground Zero
Commentary
How long ago it now seems, that
frenzied architectural season of
2002–2003 when the planning
process for Ground Zero was front-
page news and Daniel Libeskind’s
name turned up as often on the
gossip pages as in the architectural
columns. Even though Libeskind’s
master plan had not been the
first choice of much of the New York
architectural and cultural cognoscenti
(many of whom seemed to have pre-
ferred the scheme produced by the
Rafael Viñoly–led team that called
itself THINK), Libeskind’s selection
as the planner for Ground Zero still
felt like a triumphant moment in the
architectural culture. One of the
leading architects of his generation,
the man who had produced the
P H OTO G R A P H Y : C O U R T E SY LO W E R M A N H AT TA N D E V E LO P M E N T C O R P O R AT I O N / D B OX
acclaimed Jewish Museum in Berlin,
was being put in charge of planning
the most intensely watched, symbol-
ically resonant building site in the
world. In one gesture, New York
seemed to be throwing off its
reputation as a city that ate archi-
tects for lunch, and staking a claim
for the highest aspirations of the
building art.
It’s been painfully clear for
quite some time now that this
wasn’t happening, and that Ground
Zero was lurching, season by sea-
son, toward the one thing that
everybody involved in the project
said it would never become, which
is an ordinary real estate project.
But none of the problems that
Paul Goldberger is the dean of
Parsons The New School for Design
and the author of Up from Zero,
about rebuilding at Ground Zero.
By Paul Goldberger
have beset Ground Zero so far,
DEPARTMENTS
not even the epic battle between
Libeskind and David Childs during
the summer of 2003 over the
design of the office building that
New York Governor George Pataki
had dubbed the Freedom Tower,
have been as frustrating as the
events of the past few months. In
some ways, Ground Zero has actu-
ally turned into something much
worse than a conventional piece of
New York real estate development,
and not only because expectations
started off so high. It is beset not
only by design compromises—
Libeskind’s master plan has now
been so altered it is barely recogniz-
able—but by a whole new set of
struggles among the families of vic-
tims of the September 11 attacks,
cultural groups, Lower Manhattan
residents, and politicians.
The Lower Manhattan
Development Corporation, which
was set up to oversee the rebuilding
process, has tried, ineffectively, to
broker a situation that often seems
out of control. Four years after the
World Trade Center fell, it is still not
clear who is really in charge, and
what is going to happen there. The 16-acre site of Ground Zero includes the Freedom Tower on the north, the
footprints of the World Trade Center towers, and a landscaped memorial.
Public versus private
Of course the project was always Towers, Larry Silverstein, to rebuild Ground Zero was written as if none
dominated by its commercial all 10.5 million square feet of office of this had ever happened. The pro-
aspects. For all the talk about public space that they had lost. gram is dominated by offices (for
participation in the planning In the years since the World which there is no real market right
process, the most important deci- Trade Center was built (Tower One now); its public components of a
sion was made by Governor Pataki opened in 1972), Lower Manhattan memorial and various cultural build-
in private, immediately after has undergone a remarkable ings occupy a clear secondary
September 11, which was to allow transformation from a dreary office position; and it includes none of
the Port Authority and the devel- district to a vibrant, mixed-use what Lower Manhattan needs most,
oper to whom it leased the Twin neighborhood. But the program for which is housing.
09.05 Architectural Record 61
 Commentary
The Freedom Tower, which in
its earlier iteration was a mediocre
hybrid of Libeskind’s and Childs’s
conflicting notions of what a sky-
scraper should be, has undergone a
redesign that takes it from bad to
worse. Libeskind is largely out of the
The Freedom Tower will provide a vertical accent to Lower Manhattan, but is being criticized for its impact on urbanism.
picture, but what’s left isn’t pure
Childs: His new partner is the New
York City Police Department, which
set such strict parameters in the
name of security that it has become
Childs’s associate architect in all
but name. The department’s secu-
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rity experts insisted that the tower
be pulled far back from the street
and that it sit astride a solid base
200 feet high. The Freedom Tower is
now an office building plunked on
top of a bunker, and while that may
satisfy certain officials who believe
that the main purpose of an urban
building is to protect its occupants
from truck bombs, so far as street
life is concerned, it is difficult to
believe that this is going to be
much of an improvement over the
towers of the World Trade Center. It
suggests that we are prepared to
forgo everything we have learned
about urbanism over the past 40
years in the name of security.
The memorial to the people
lost on September 11, by Michael
Arad and Peter Walker, is moving
forward, and with more deliberate
speed than any other part of the
project, though speed is not quite
the word that should be used to
describe the fund-raising effort,
which is reportedly not going well at
all. The foundation that has been set
up to build and pay for the memorial
and the nearby cultural buildings has
a board full of famous people, from
Michael Eisner to Barbara Walters,
but most of them so far seem to
have been more willing to offer their
names than their checkbooks.
The memorial design was cho-
sen through a competitive process
that, miraculously, managed to be
almost entirely free of political influ-
ence, unlike anything else at Ground
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 Commentary
Zero. But once Arad and Walker
won, their design, too, became
subject to a slew of compromises,
beyond the compromise to the
Libeskind plan itself that their
design, for all its inherent quality,
represented. (It eliminated one of
Libeskind’s best ideas, which was
his decision to depress the entire
area around the footprints of the
original Twin Towers.)
As for the other buildings
planned for the site—the trans-
portation center by Santiago
Calatrava and the cultural buildings
by Frank Gehry and Snøhetta, all
three of which had been the object
of great hope, as if Gehry, Calatrava,
and Snøhetta could make up for
the failings elsewhere—they are
now caught in a web of budgetary,
political, institutional, and even ide-
ological conflict, and their futures
are uncertain.
The Calatrava building, the one
thing proposed for Ground Zero that
seems to have received universal
acclaim, will pull through, since
the only problem there is money.
Calatrava has already completed
one redesign that involved moder-
ate compromise of his original
SINCE THE WTC WAS BUILT, LOWER
MANHATTAN HAS BEEN TRANSFORMED.
BUT THE PROGRAM FOR GROUND ZERO WAS
WRITTEN AS IF NONE OF THIS HAPPENED.
plans, which at Ground Zero is
the equivalent of a design sailing
through intact.
Censoring culture
The deepest threat to the Snøhetta
building isn’t financial or architec-
tural, but political and ideological.
The two cultural organizations
selected to go into it, a distinguished
small museum called The Drawing
Center and a new institution called
the International Freedom Center,
have both been under attack from
a small group of family members
who think the organizations aren’t
sufficiently patriotic, or are too con-
cerned with issues that don’t speak
directly to the events of September
11. Governor Pataki, who has bent
over backward so as not to offend
the families, responded by asking
The Drawing Center to promise
not to show any art that a family
member might find disturbing.
The Freedom Center, for its part,
promised to define freedom as
not involving questions about the
events of September 11.
The Drawing Center may end up
leaving Ground Zero rather than sub-
mitting to the voluntary censorship
inherent in the governor’s request.
HISTORICAL ARTS & CASTING
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But whether it leaves or stays, the
damage this event has caused may
be irreparable. The irony of censoring
the contents of a museum to be
constructed in the shadow of the
so-called Freedom Tower appears to
have escaped Governor Pataki and
the Lower Manhattan Development
Corporation. If the bunker base of the
Freedom Tower—a symbol not of
freedom but of its absence—doesn’t
do enough to contradict the aims of
an open society, limiting the cultural
organizations to sanitized, preap-
proved programs certainly completes
the job.
It is a remarkable message to
send the world—yes, we rebuild,
but we do it by barricading our-
selves behind bollards and solid
concrete walls, and if that is not
enough, then we make sure that
any culture we show the public here
is fully prechecked for controversy.
It’s a dismal vision of what freedom
means on the fourth anniversary of
September 11. Then again, it isn’t
much of a vision of what architec-
ture means, either. ■
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 Freedom Tower redux:
sending all the wrong messages
David Childs should have resigned
the commission rather than submit
to the embarrassment of publicly
presenting the latest and worst ver-
sion of the idiotically named Freedom
Tower, as he did at the end of June.
If architects would take a
stand—if they’d just say, sometimes,
“this far and no farther”—maybe
our profession would begin to have
some slight influence on the shape
of the world that gets built.
Instead, we’re happy to be the
handmaidens of single-issue mas-
ters: an ambitious governor with a
hurry-up timetable, a nervous police
department, a self-interested devel-
oper, whomever. These players all
have their merits, but those merits
don’t include an understanding of
good design or urbanism.
You don’t know whether to
burst out laughing or sobbing at the
sight of this most recent monstrosity
in the revolting saga of the World
Trade Center site. To be fair to Childs,
the SOM architect in charge of the
Freedom Tower design, many of the
problems predate his involvement.
D R AW I N G : C O U R T E SY S K I D M O R E , O W I N G S & M E R R I L L
For starters, do we really wish
to choose, for our country’s new
national symbol, a box of leasable
office space? Is that the height of
American aspiration? I don’t care
how tall or shapely or elegantly
detailed the box may be. It’s still just
a vertical crate with a P.R. label—
Freedom Tower—that sounds as if it
came out of a children’s book.
The tower is also supposed to
Contributing editor Robert Campbell
is the Pulitzer Prize–winning archi-
tecture critic of The Boston Globe.
Critique
be a symbol of the nation’s resolve
not to be cowed by terrorism. A mod-
est ambition, to say the least. But in
fact, Childs’s new design sends the
opposite message. It says that we
are hopelessly cowed by the threat of the world’s tallest building. It’s a los-
terrorism, and that we expect to stay
cowed. Pulled far back from the
urban street because the city police
fear truck bombs, built of nearly win-
dowless solid concrete for its first
200 feet of height, the Freedom
Tower is a billboard to the world that
states: “We’re afraid of everyone and
everything, so we’ve decided to hole
up in our citadel.” During design
development, SOM will surely wish to
include tiny openings in the concrete
facade for archers to shoot arrows
and pour boiling oil on the enemy.
We accept the fact of tens of
thousands of traffic deaths every
year, in exchange for the freedom to
drive. We must learn to accept the
risk of deaths by terrorism, in
exchange for the freedom to live in
cities and not in a world of iso- The new tower will overlook the WTC memorial.
lated fortresses. The fortresses
won’t provide security, anyway.
And why one huge tower,
instead of a gradual, less spec-
tacularly egotistical kind of
development, growing slowly
over time as the market grows,
at lower heights on both the
WTC site and its underdevel-
oped neighboring blocks? When
you pile everything into a single
super-tower, you create a build-
ing so attractive to terrorists, it
might as well be decorated
with a bull’s-eye. Like a foolish
infantryman, it sticks up its head
above its surroundings, virtually
By Robert Campbell, FAIA
asking to be blown away. That’s why
it has to be so heavily defended.
Equally foolishly, we were told
that the Freedom Tower would
reassert American primacy by being
ing game. Not that anyone should
care, but taller towers are already
proposed for Chicago and Dubai.
Then there’s the matter of
aesthetic design. To this observer,
Childs’s sleek tower with its elegant
facets looks like nothing so much as
a vial for expensive perfume. Nothing
about its form responds to anything
we were taught in school: not to cli-
mate, not to orientation, not to energy as a target for terrorists. Someone
concerns, and certainly not to the fact will have to subsidize the difference,
that good cities are made of sociable
streetscapes. The Empire State and
the Chrysler are tall, too, but each is who will bury the extra costs in their
a lively presence at the sidewalk.
Then there’s the program. The
concept for the WTC site is a 35-
year-old program that never worked
in the first place. There was no mar-
DEPARTMENTS
ket in the 1970s for all those millions
of square feet of office space, and
there’s none today. Development isn’t
my game, so I tried some of these
questions out on a developer friend
who long taught at a prominent busi-
ness school. “Not much attention
has been given to the deep subsidies
that will be required to cover costs,”
he says. “Rents would likely have to
be $20 over the market [to cover the
huge costs of construction]. But in
fact, rents may have to be held below
market, in order to attract tenants
into a building that will be perceived
unless the property is going to be
filled up by government agencies,
operating budgets.”
I think back to the days of
2001 and 2002. Many thousands of
hours were devoted by the design
community to generating ideas for
the WTC site. Volunteers
worked to establish goals and
standards that would make
the site a proud model for the
urban community of the 21st
century. They held symposia.
They issued reports. None of it
had any effect. Probably, the
people who mattered never
read the reports. The result is
an egotistical office tower that
doesn’t know what a city is.
I hope the Freedom Tower
is never built. I hope its site lies
fallow for years, a symbol of the
wreckage of the democratic
process and the nation’s under-
standing of urbanism. ■
09.05 Architectural Record 67
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 It came from sunny Portugal:
exotic pavilion lands in London

Exhibitions
By Hugh Pearman

Serpentine Gallery Pavilion.

DEPARTMENTS
Designed by Álvaro Siza and
Eduardo Souto de Moura with
Cecil Balmond. Hyde Park,
London, through October 2.

It is early summer in the pastoral

setting of London’s Kensington
Gardens. I am one of a dense
crowd at the opening of this year’s
Serpentine Gallery Pavilion,
designed by the Portuguese power
duo of Álvaro Siza and Eduardo
Souto de Moura. It is a large, lum-
bering, but rather awesome timber
beast of a building, the biggest of
these annual commissions to date.
It has been built quickly and without
compromise, the hallmark of this
remarkable series of temporary Interlocking timbers of 427 different lengths (above) create a column-free interior 56 feet wide (below).
structures. But this is far from the
sunny olive-belt home of its design- at the Glyndebourne summer opera taposition between its com-
ers. Being late June in England, the festival. And those events are always puter-generated structure
sky darkens, lightning flickers, and being washed out. and its rough, knocked-
soon the heavens open into an As it rains, we have time to together appearance. This is
almighty downpour. examine the structure. It shares DNA high tech that looks anything
Everyone who was strolling with the “lamella” timber barrel-vault but high tech. The lengths of
around the lawns is now suddenly roofs of Germany in the 1920s, but timber are laminated sec-
inside, packed like fish in a barrel. distorted into an undulating, organic tions of dark-stained Finnish
Water starts to cascade in at one shape. Four hundred twenty-seven spruce. They are quite crudely
corner. But nobody minds much. unique lengths of timber interlock (via slotted together. For Siza in
That is because these pavilion simple mortise-and-tenon joints) to particular, this was important:
launches—and the after-party that support each other and provide a 56- He wanted a rough-and-ready
is already traditional at Richard and foot, column-free span. Construction feel. He rejoices, so he tells
P H OTO G R A P H Y : © R O L A N D H A L B E

Ruthie Rogers’s house in nearby
Chelsea—are now as much a part
of the English “Season” as the ten-
nis at Wimbledon or the rowing at
Henley, the gardens of the Chelsea
flower show or the picnic hampers
Hugh Pearman is the architecture and
design critic for The Sunday Times,
London.
had to start at one corner and radi-
ate out to the opposite corner. Roof
and walls are a single continuous
structure, though the beams crank
to express the change from the one
condition to the other.
If it seems somewhat ungainly
from the outside, the pavilion is lofty
and beautiful on the inside. Part of its
fascination lies in the deliberate jux-
me, in its impermanence.
The building is sealed by 248
individually shaped transparent poly-
carbonate panels, each sprouting a
cylindrical ventilation funnel in the
same material (these little spikes
are like the hairs on the animal’s
back, says Siza). Each funnel incor-
porates a small solar-powered light
so that the building glows gently at
night. With its several entrances, the
building opens to the footpaths that
cross the site, acting as a surprising
incident on a pedestrian journey.
Getting onto the English social
calendar in this way is some achieve-
ment for Julia Peyton-Jones, the
gallery’s director. Because while all
those other seasonal events are

09.05 Architectural Record 69

 Exhibitions
steeped in history, radical modern
architecture has never—until
recently—been much of a topic in
the upper echelons of English soci-
ety. Now, nobody blinks at a tradition
that Peyton-Jones began in 2000
involving a series of structures by—
in chronological order—Zaha Hadid,
Daniel Libeskind, Toyo Ito, Oscar
Niemeyer, and now Siza/Souto de
Moura. Last year was a gap, because
The pavilion sits in Hyde Park in front of the 1934 Serpentine Gallery.
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plans by the Dutch firm MVRDV to
bury the existing Serpentine Gallery
beneath a man-made hill proved
overambitious.
The first four designs were all
exercises in lightness of one kind or
another. After Hadid’s relatively mod-
est angular steel-framed tent came
Libeskind’s jagged-metal horizontal
twisting spiral. Then Ito’s audaciously
complex dissolution of the white
rectangular box was followed by
Niemeyer’s swooping-roofed, hover-
ing aerie. This year’s model, in
contrast, is a dark, earthbound
creature. Its imagery, for Siza, is of
a hungry animal poised to consume
the bourgeois architecture of the
Serpentine Gallery itself. Named
for the nearby Serpentine Lake in
adjoining Hyde Park, it started life in
1934 as a park tearoom by architect
Henry Tanner, Jr. Its utterly conserva-
tive tall-chimneyed late Queen Anne
Revival style, plainly influenced by
Lutyens, is a marvelous foil for its
avant-garde arts programs. The new
pavilion may challenge it architec-
turally, but simultaneously provides a
generous 4,305 square feet of space
for very bourgeois summer events,
such as improving lectures and the
taking of tea.
Apart from Peyton-Jones, the
other constant in this series is struc-
tural engineer Cecil Balmond, deputy
chairman of Arup, codesigner of Ito’s
pavilion, and an important muse for
Rem Koolhaas (who must surely be
in line to try his hand here). Balmond
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describes the exercise thus: “The
Serpentine Gallery each year gives
the opportunity for experiment and
the pushing of boundaries. Structure,
form, and architecture become the
same thing in these projects.”
So an idea born in the smoke-
filled, sun-dappled studios of the
architects on the River Douro became
reality in the computers of Balmond’s
Advanced Geometry Unit at Arup.
It is certainly unlike the Modern,
rational, white masonry buildings for
which Siza is known (such as the
Serralves Museum in Oporto), but has
more to do with the bold structural
experiments of Souto de Moura, as
evinced by his Braga soccer stadium.
The critical reception for this
year’s effort has been appreciative
but muted: It is a far subtler piece
than any of its look-at-me predeces-
sors. Perhaps Koolhaas will be
along to reintroduce high drama to
the series sometime soon. But in
2005, Siza, Souta de Mouro, and
Balmond have produced what is for
me the most enigmatic and thought-
provoking pavilion to date. ■
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 A timely lesson in the life and
function of forms

Exhibitions
By Fred Bernstein

Young Architects Program: before the installation opened,

SUR. Installation by Xefirotarch,
in the courtyard at P.S. 1, Queens,
New York, through September.
On June 26, P.S. 1 Contemporary Art
Center in Queens unveiled its sixth
annual summer installation aimed
at making its courtyard a place to
hang out—and ponder architec-
ture’s future. SUR (South) by Los
Angeles–based Xefirotarch consists
of a series of bright red, free-form
benches that appear to be fiber-
glass, a second series of benches
that look like concrete, and a series
of canopies made of beige fabric
stretched over frames of undulating
metal pipe.
Four weeks later, the installation
was in disarray. The smooth benches
were blistered in some places. The
rough benches were disintegrating,
revealing that what appeared to be
concrete was actually Styrofoam
covered in a thick layer of paint. The
canopies’ Lycra was so badly puck-
ered that countless folds and
shadows overwhelmed the once-
clean lines. The ends of the pipes
were filling up with, among other
things, litter and wads of gum.
Reached for comment in Los
Angeles, Hernan Diaz Alonso, prin-
P H OTO G R A P H Y : © R O B E R T M E Z Q U I T I
DEPARTMENTS
and high humidity that caused the
Lycra to distend. But, he said,
“There are no excuses. If this were
a permanent building, it would be
a problem. But for a pavilion, it’s a
valuable experience.” He added,
“I’m pleased with the result—in
terms of what we learned.”
Cinematic design
In that sense, Diaz Alonso, a 36-
year-old Argentinean who has
worked for Enric Miralles and Peter
Eisenman, has fulfilled the promise
of the competition: By experiment-
ing with materials and methods at
an early stage of his career, he has
learned lessons that may inform
future commissions. The installa-
tion, he said, “is like a person. When
you are 60, you have more wrinkles
than when you are 20.” His concept,
he added, “is cinematic—it has to
do with the grotesque.”
Each spring, a jury
that includes MoMA
curator Terence Riley The installation, shown when it
and P.S. 1 founder opened (above and left), occupies the
Alanna Heiss narrows courtyard of what had been a school.
a list of up-and-coming
architects to five, who Spiral Settee) and a foam grotto by
are then invited to Aranda/Lasch of New York, both of
submit proposals for which had the potential to seduce

cipal of Xefirotarch, said he was
aware that “some of it is broken.”
He mentioned the tight budget
($60,000, provided by P.S. 1 and its
affiliate, the Museum of Modern
Art), inclement weather the week
Fred Bernstein is a New York–based
journalist who writes for The New
York Times and design publications.
turning the stark, con-
crete-walled courtyard
(designed by Frederick
Fisher) into a gathering place. The
program—or lack of one—leaves
plenty of room for improvisation.
Some past winners, such as SHoP
(2000) and Lindy Roy (2001), have
created delightful, yet thought-
provoking, installations with witty
“urban beach” references, such as
shallow pools for splashing, intrigu-
ing places for lounging, and unusual
devices for shading.
This year, the finalists’ propos-
als included a curving bench by WW
Architects of Boston (cutely named
P.S. 1’s summer crowds.
Xefirotarch’s proposal, by con-
trast, promised an extraordinary
dynamism, enough to make a Frank
Gehry or Zaha Hadid building seem
static. In drawings, the installation
looked almost scary, like a high-tech
skeleton stalking the courtyard. The
drawings are similar to those of an
unbuilt plaza Diaz Alonso designed

09.05 Architectural Record 73

 Exhibitions
for Lexington, Kentucky (included in
the show Tools of the Imagination
at the National Building Museum in
Washington, D.C., through October
10). There too, he created tense,
muscular forms meant to serve as
benches, sunshades, and dividers.
The description of the project—pro-
vided by Diaz Alonso—speaks of
“defying gravity” while offering “flex-
ible arrangements within which the
narrative of the city can unfold.”
The laws of physics kick in
But at P.S. 1, gravity and inflexibility
rear their ugly heads. Diaz Alonso’s
benches are so close to the ground
that people feel uncomfortable sit-
ting on them. The canopies provide
only a modicum of shade, and
they rarely converge in ways that
create spaces where people want
to gather. And when the “shades”
stretch to the ground, there is a
confusion of purpose: Are the
canopies suddenly perches? (One
couple let their baby use the end
of a canopy as a hammock.)
The architectonic language is
also disappointing. The most ambi-
tious element—the sunshades—
lack an organizational coherence.
Frames are inelegantly welded, and
some Lycra covers are too short for
the poles, while others are too long.
Some pieces are supported at both
ends; others cantilever, for no
apparent reason.
Clearly, this scheme falls in
the category of biomorphic—a.k.a.
blobby—architecture. But the chal-
lenge of blobby architecture is to
create new paradigms for design
development and construction,
while avoiding the usual repetition
of rectilinear forms. Diaz Alonso
hasn’t done that.
It’s true that, of the five finalists,
Xefirotarch’s proposal was by far the
most ambitious. Perhaps the judges
The piece looks like a high-tech skeleton.
should have prevailed upon MoMA to
increase the construction budget.
Indeed, once fabrication began, Diaz
Alonso said, he knew that he would
either have to shrink the project or
turn to less expensive materials than unlike Diaz Alonso’s architecture,
he had planned. He chose the latter,
and the built work did not hold up.
The sense of movement evident in
his drawings failed to make the tran-
sition to three dimen-
sions.
Then, too, Diaz
Alonso’s installation
suffers by juxtaposi-
tion with Greater New
York 2005, the sum-
mer survey show that
fills P.S. 1’s indoor gal-
leries through October.
That show includes
dozens of artworks
that architects will find
compelling. In one cor-
ner room, Tobias Putrih
(born in Slovenia 33
years ago) has created
an installation of stacks
of corrugated card-
board carved into oversize vessels.
The thinly sliced corrugated material
is almost gauzy; the view through
multiple layers hypnotic—think
cardboard moiré! Putrih’s art,
isn’t subject to rain, high heels,
and chewing gum. Still, he has
created a new building system,
and it is dazzling. ■

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Designing for the Homeless:
Architecture That Works, by
Sam Davis. Berkeley: The
University of California Press,
2004, 176 pages, $34.95 (cloth).
This important new book is, above
all, a call to action for architects.
Sam Davis, an architect of afford-
able housing and a professor at
Berkeley, presents homelessness as
a complex problem that architects
can and should help ameliorate.
Davis goes beyond design and
planning, discussing the societal
costs of homelessness and the con-
cerns of the afflicted. He tells how
unforeseen events can catapult
someone from financial solvency
into living on the streets, and argues
that a continuum of housing types is
needed, including emergency shel-
ters, assisted living centers, and
independent units. Needed too, he
writes, are services—social, psycho-
logical, financial, educational—to lift
the afflicted out of their plight.
The author also discusses the
challenges of fitting projects into
existing communities and compares
various plans and interior layouts,
questioning how such housing
should look and feel. In evaluating
costs, he says, “affordable housing
should be indistinguishable from
nearby housing so that residents will
not feel stigmatized and will feel a
part of the surrounding community.”
He goes on to examine case
studies, including the St. Vincent de
Paul Village in San Diego (1987), a
facility that offers customized care
and helps people earn GEDs, get
computer training, find jobs, and
Design, sustainability
and public service
Books
receive health care. In New York, he
cites the Family Transitional Shelter
and the First Step Housing project. In
San Francisco, he discusses Donald
MacDonald’s plywood “City Sleepers”
that stand 18 inches off the ground
on inverted carjacks; and contractor,
homebuilder, and former mayoral
candidate Jim Reid’s 100-square-foot
structures that include a bathroom
and space for laundry. Davis notes
that in Atlanta alone, home of the
nonprofit Mad Housers, there are
more than 10,000 homeless people
at peak times and fewer than 1,000
available beds.
The illustrations in Designing
for the Homeless aren’t of the best
quality, and Davis hasn’t brought
all his facts up-to-date. But he has
given us a significant book that
packs a considerable punch within
a small number of pages. William J.
Carpenter
Proceed and Be Bold: Rural
Studio Af ter Samuel Mockbee,
by Andrea Oppenheimer Dean.
New York: Princeton Architectural
Press, 2005, 176 pages, $30.
Alabama’s Rural Studio, where
Samuel Mockbee inspired a genera-
tion of architecture students to build
houses for the poor, has often been
called Taliesin South. The nickname
is meant to suggest an apprentice-
ship program, where students learn
by doing. But given Mockbee’s
death in 2001, it could have been
a portent of disaster. At Taliesin,
Wright’s disciples carried on by
creating a series of posthumous
buildings so bad they threatened to
DEPARTMENTS
destroy the master’s reputation.
So how are Mockbee’s follow-
ers faring? Three years ago, Andrea
Oppenheimer Dean and Timothy
Hursley, as writer and photographer,
collaborated on a book about Rural
Studio’s accomplishments under its
founder. Now they are back with a
second volume, about its work since
Andrew Freear and Bruce Lindsey
assumed leadership of the program.
The book describes 17 build-
ings, all of them in southwest
Alabama, the territory that “Sambo”
chose for its heartbreaking
beauty—and squalor. The buildings
are in most cases less fanciful
than the ones completed under
Mockbee’s supervision, including
the Mason’s Bend Community
Center, glazed with 80 surplus
Chevy Caprice windshields. Dean
writes not as a cheerleader (though
there is very much to cheer), but as
a critic, noting that one house, con-
ceived by Mockbee but completed
by his students, became “overly
dramatic when built,” and that, as And his greatest idea—that archi-
the Studio’s projects have grown tecture students could learn while
increasingly complex, more and creating shelters for some of
more design work has been done America’s poorest citizens—has
off-site, precluding the improvisa- taken root, as documented in this
tional flourishes for which Sambo thorough and thoughtful volume.
became famous. She also points to Fred A. Bernstein
the discrepancies between how
buildings are intended and how they The Green House: New
are received: For a farmer’s market Directions in Sustainable
in Thomaston, the students used Architecture, by Alanna Stang
unfinished steel—to them, rust and Christopher Hawthorne. New
may be beautiful, but to residents, York: Princeton Architectural
it suggested decay. Press, 2005, 196 pages, $45.
Still, unlike Taliesin, Rural
Studio was never about carrying out For this compact, stylish volume
one person’s designs, just his ideas. of 39 green residences, authors
09.05 Architectural Record 77
 Books
Alanna Stang, until recently the
executive editor of I.D. Magazine,
and Christopher Hawthorne, cur-
rently the architecture critic for the
Los Angeles Times, scoured the
globe for striking examples of eco-
friendly houses and apartment
buildings. In the book’s introduction,
they say that “new connections
have been forged between high-
design architecture and the public,”
adding that, given a culture that is
increasingly image- and style-con-
scious, only green buildings that are
beautiful will entice owners (in this
case, homeowners) to demand
them, and therefore raise the profile
and impact of sustainable design.
The eclectic collection
presented—from a sleek wood-
and-glass home with high-tech
sunshades in the Swiss Alps to a
steel town house in Manhattan
that uses a geothermal heating and
cooling system—makes the case
that green houses have not only
shed their maligned aesthetic roots
(think sagging sod roofs) but have
also embraced modern technolo-
gies and materials. Stang and
Hawthorne group the homes by set-
ting (city, waterside, desert, suburb,
mountainside, tropics), which both
underscores how each house’s
green features are tailored to local
conditions and (on a more personal
note) helps readers envision the
ideal settings for their own green
habitats. Notably, only 14 of the 39
homes are located in the U.S., evi-
dence of how much ground we have
to make up in this area.
With its crisp photos and illus-
trations and detailed write-ups of
each project, The Green House will
serve as a handsome resource
guide and inspiration for designers
and their clients. A companion
exhibition, which will
open in May 2006 at
the National Building
Museum, will go even
further to bring sus-
tainable housing into
the public eye.
Deborah Snoonian,
P.E.
The HOME House
Project: The Future of
Af fordable Housing, edited by
David J. Brown. Cambridge: The MIT
Press, 2005, 128 pages, $24.95.
This book arose as a result of a
2003 competition that solicited
projects on the future of affordable
housing. The competition called for
designs of three- and four-bedroom
sustainable dwellings modeled on
Habit for Humanity’s housing pro-
gram. Though the competition’s
intentions were noble, the book’s
production elegant, the essays elo-
quent, and the designs energetic,
many of the winning projects belie
some basic tenets for affordable
housing, and others use
flawed assumptions.
Most would
agree that making
housing more sustain-
able and affordable
will require increased
density. Michael Sorkin
says so in an introduc-
tory essay, as does
Steve Badanes, one of
the original Jersey
Devils, in an interview. But of the 25
designs selected by the jury from a
pool of more than 440 entries, only
one, by Steve Raike, proposed a
high-density solution.
The majority of projects equate
affordability with some degree of

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 Books
prefabrication, and their approach
assumes that dwellings are com-
modities, like cars or appliances.
They are not. They must be fitted
into a physical and social context
and meet local regulatory and
cultural expectations. Furthermore,
housing’s major cost is not construc-
tion, but rather land, infrastructure,
and maintenance.
A number of designers con-
verted products from other
industries, notably shipping contain-
ers, in their entries. A compelling
case can be made for recycling
when these products are surplus,
but this is not always the case. And
much of the imagery is strikingly
similar to that in the 1972 Museum
of Modern Art exhibition Italy: The
New Domestic Landscape, which
included houses made from con-
tainers and molded utility cores.
The HOME House Project com-
petition and book don’t live up to
their lofty claim of representing the
“future of affordable housing,” and
most of the ideas have appeared in
previous competitions. But this
beautifully produced book serves
to keep the neces-
sary dialogue alive.
Sam Davis
Studio at Large:
Architecture in
Service of Global
Communities, by
Sergio Palleroni,
with Christina
Eichbaum Merkelbach. Seattle:
The University of Washington
Press, 2004, 191 pages, $19.90.
Since the 1960s, architecture
schools have attempted to make
education less self-referential and
more socially relevant. One out-
growth of this effort is the rise of
community design centers (CDCs),
which have faculty, staff, and stu-
dents designing real projects
together, such as Samuel Mockbee’s
Rural Studio and Yale’s first-year
building program, which has existed
for 35 years.
None of these endeavors is
easy. The problems include inexperi-
enced students whose stays at
school are brief and
sporadic; academic
institutions that
often question the
educational efficacy
of the work; and
management issues
like identifying proj-
ects, avoiding liability,
providing on-site stu-
dent housing during projects, and
forming compatible teams.
Studio at Large is a portfolio
of the University of Washington’s
ambitious Building Sustainable
Communities Initiative, which has
worked in Mexico, Cuba, India, and
various rural U.S. communities.
Each project is presented as a story
focusing on the needs of the com-
munity and the political context.
The program and book emphasize
construction, not aesthetics.
Among the possible reasons
for the lack of exceptional design
are that students sometimes
stayed only long enough to start
the basic building for each project,
leaving details and finishes to
locals. Often there was little infra-
structure or access to materials in
places where they were building, so
procurement and construction left
little time for design. The program
had no consistent vernacular to
draw from, as they built in so many
different locations. Finally, in this
program, an entire studio works on
a project, making collaboration and
coordination very complex.
The authors make their case
that the projects are about service,
education, and architecture, but they
make less of a case for the pedagogy.
Further, the book would have been
stronger had it included students’
evaluations about what they learned
or how the experiences guided their
professional aspirations. S.D.

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 Snapshot

By Ingrid Spencer

Like the gaping crimson maw of a giant hungry beast, the Maxim Gorki Theatre,
in Rouen, France, swallows visitors into a theatrical spectacle even before the A theater in Normandy
curtain rises. Designed by the Paris-based architecture firm Jakob+MacFarlane,
opens wide for drama
P H OTO G R A P H Y : © J E A N M A R I E M O N T H I E R S

the theater adds to the cultural landscape of the former capital of the duchy of
Normandy, now known as the Ville d’Art et d’Histoire (the city of art and history).
Sited in a former early-20th-century meeting-hall-turned-cinema, inserted
among 19th-century row houses, the theater occupies a region where, according to architect Brendan
MacFarlane, Communists had a strong political presence (hence the name Maxim Gorki, after the Russian
revolutionary writer). The 5,249-square-foot auditorium belongs to a national circuit of drama-only (no music or
dance) theaters throughout France. “Other than convincing the town that their theater should be red,” recalls
Macfarlane, “the two major problems we faced were that the space had never worked acoustically and had bad
site lines throughout.” To celebrate the venue’s history and solve the technical problems, the architects distorted
the shed-roofed volume to create what they call “a new stomach within the skin.” They introduced stepped seat-
ing, a wood floor, and sliced wood paneling for walls and ceiling. The volumetric deformation and ceiling pleats
deftly hide the mechanicals. And the red? “That was tough,” says Macfarlane, “but eventually they understood.” ■

09.05 Architectural Record 83

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 The
L!BRARY
goes back
to school
By Jane F. Kolleeny

I
had a dream of rein-

FEATURES
The Robin Hood venting the library for
elementary students,”
says Lonni Tanner, who
Foundation headed special projects at the
Robin Hood Foundation for 11

prompts years. In 1998, she and Henry

Myerberg, AIA, a partner at
Rockwell Group in New York,
architects to visited a school in Brooklyn and
saw what passed for a library: a
room with a few dusty books
re-envision and out-of-date computers.
Soon they discovered that many
the public of the public schools in New
York City had similarly dispir-
ited spaces posing as libraries.
school library The kids deserved better, Tanner
felt. Essential to their thinking is
that libraries—at the heart of
learning and education—can have a lasting effect on poverty.
“You can’t change all the classrooms in a school, but you can
make a library—which takes only 5 percent of the physical
space of a school, but has a 100 percent influence,” says
JEFF GOLDBERG/ESTO (THIS PAGE, TOP AND MIDDLE RIGHT)
PHOTOGRAPHY: © PETER MAUSS/ESTO, EXCEPT AS NOTED;

Myerberg. “That’s a great rate of return.”

So began the Robin Hood Foundation’s library ini-
tiative, which has evolved into a unique collaboration with
New York City’s Board of Education to create, fund, and main-
tain school libraries in some of the most impoverished areas of
the city’s five boroughs. Myerberg worked closely with Tanner
to jump-start the project, asking other architects to volunteer
their services. He was amazed at how easy it was to get help; it
took 10 phone calls to get nine New York architects (plus him-
self) to design the initial 10 projects, which were completed in
2002. Since then, on the second round, he designed seven of
the next 21 libraries, which opened in 2004. For the third
round, he will undertake about five of a total of 25 libraries,
which will be also be designed by seven other local architects,
four of whom created prior libraries for the project.

09.05 Architectural Record 87

 The goal of the first round was to create a model
P.S. 184 that might be applicable to other school districts in the U.S.
Richard H. Lewis “It’s not about creating a box or a room or putting books on
Architect the shelf,” says Tanner. “I wanted the library to do its duty
Postindustrial-style with the rest of the building and the school’s program.”
light fixtures, designed The library initiative fits perfectly into the mission
by Fabulux, a local of the Robin Hood Foundation, a nonprofit organization
Brooklyn firm, and founded in 1988 by commodities broker Paul Tudor Jones
stackable benches and two friends in an effort to give something back to the
called Kin-der-link, less fortunate in a society that made them wealthy. The foun-
designed by Skool, dation has become a favorite of New York’s high-flying
complement photo- hedge-fund managers, many of whom have given to it gen-
murals by photographer erously in recent years as their own fortunes soared. The
Dorothy Kresz, who group funds soup kitchens, education, job training, and pro-
used images of the grams for the homeless, supporting about 140 organizations
actual star pupils of in the greater New York City area. Executive director David
the school. Saltzman says, “The library initiative is a model of what pub-
lic/private partnerships can and should be. Generations of
poor children in New York City will benefit.”

P.S. 145, The inspiration becomes reality

Rockwell Group The architects involved in the library initia-
This 1,800-square-foot
tive knew they needed to understand the
space has a perimeter
students before they could design for them.
of fixed bookcases,
Calvin Tsao, AIA, a partner at Tsao and
storage, and a librar-
McKown Architects, who has completed five
ian’s workstation, all of
libraries to date, says: “We examined what the
which allows for maxi-
word ‘library’ means today, technologically
mum interior area. “An
and sociologically, and then sought to define
overhead translucent
the word for this particular group of people.
scroll, which depicts
We deconstructed and reevaluated the pur-
poetry written by the
pose of the library specifically for the
school’s children, forms
students, to reinsert learning into there in a
an arena for story-
way that would be relevant to them.”
telling and an inspiring
From the beginning, a stream of
wave for inquiry,” says
donations—elicited by Tanner—sprang forth,
Henry Myerberg, AIA.
including one million books each from
Scholastic and HarperCollins, paint from
Benjamin Moore, computers from Apple,
advanced education (Master of Library
P.S. 192, Science degree programs) for the librarians from Syracuse
Gluckman Mayner University, graphics from Pentagram, and other gifts in kind.
Architects Even with donations and modest spending, the budget for
From a ceiling, the design of each library typically runs $400,000 to
designed to look like $500,000, a hefty commitment for schools with limited
a sky with clouds, resources. But the Board of Education has committed its
suspended light fix- ongoing support—essentially in the form of a two-to-one
tures resemble books matching grant—putting in two dollars for every dollar con-
with flapping wings. tributed by Robin Hood.
Bamboo floors, The architects learned that the old-fashioned def-
formaldehyde-free inition of libraries as quiet, private places to read has
wheat-straw board for morphed over time into a notion of settings for collabora-
the casework, and recy- tive learning. They serve as gathering spots, where kids can
cled plastic are among work together on computers and watch or deliver presen-
the materials used for tations. Libraries have become media centers where
their low-cost and sus- technology and the Internet provides access to the world at
tainable properties. large. Public performance and interactive learning appear
to help the kids develop confidence. For that reason, the
libraries feature theater areas or town halls, as Tsao refers to

88 Architectural Record 09.05

 CIRCLE 67 ON READER SERVICE CARD OR GO
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P.S. 137,
Rockwell Group
In this library, custom-
designed tables move
like wheelbarrows, and
seats are made from
colorful recycled seat
belts. An overhead
frieze features a weave
of wishes written by the
school children. “The
library is a welcoming,
colorful, and playful
setting for learning and
teaching,” says Henry
Myerberg, AIA.
P.S. 256,
Tsao & McKown
Architects
Calvin Tsao, AIA,
remarked that the
architects “paid specific
attention to the
concepts of communal
learning versus private
learning, which can
be harmonized through
design.” This is evident
in the separate work
areas shown in this
library, where several
activities occur
simultaneously.
P.S. 151,
Dean Wolf
Architects
Conceived as a reading
playground, book-
shelves intertwine with
both the space of the
library and the furniture
for the children. Shallow
ramps wrap the area,
establishing a dynamic
relief that engages chil-
dren in an exploration
of the perimeter book-
shelves from varied
points of view.
90 Architectural Record 09.05
them, a deliberate attempt to center the space in a tradi-
tional way and use design as a learning device.
The team of architects from the first round of
libraries established parameters to guide later designs. They
agreed on the need to accommodate librarians/teachers lead-
ing an active class, students giving performances, and
individuals studying alone. Since each space comprises no
more than 2,000 square feet, flexibility became a key design
component. Many areas have multiple uses facilitated by
custom-made movable furniture and shelving. Each library
required a minimum of four computer stations, wireless
access, and storage for 10,000 books. While the design in each
instance is unique, the aim has been to standardize the pro-
gram and develop an economy of means.
The designs themselves
Architect Richard Lewis has designed five of these projects to
date and is slated to do five more. He has enjoyed the sense of
common purpose that Robin Hood encourages among the
architects. “It is so satisfying to see the positive
effect of these libraries. That’s why the issue of
professional fees has been so unimportant,” he
comments. The architects speak glowingly of
their experience with Robin Hood, despite
modest fees, which offset a portion of their
direct costs. Michael Beirut, a partner at
Pentagram who serves as graphic designer for
the libraries, reiterated this experience. He
described this work as the most fulfilling of his
career. Perhaps the look on the kids’ faces as
they use the places explains the motivation of
everybody involved in the initiative.
Looking at tight budgets and existing
spaces, the architects found that some of their
best tools for enlivening the libraries included
customizing portable furniture, applying bright
colors, and bringing in lots of daylight, original
graphics, and whimsical light fixtures. While the
libraries are ambitious for this context, they are
often conservative for the architects themselves,
many of whom have established reputations for innovative
design. Marion Weiss, a partner at Weiss/Manfredi
Architects, who designed a library at P.S. 42 in the first
round, made a big impact simply by changing the library’s
location. Moving it from the fourth floor—where, in isola-
tion from the center, it seemed to imply that reading belongs
at the periphery of education—she placed it on the first
floor, where it is visible from the street and makes clear the
school’s commitment to books and learning.
One of the challenges the architects faced was com-
bining public and private areas in limited space. Some
designs use bookcases, often on wheels, to define zones.
Multifunctional furniture such as “flip-flop” desks and
stools also help, along with curtains that can be drawn or
opened as needed, and areas that can morph into prosce-
nium seating, a stage, or work area.
Tod Williams Billie Tsien Architects completed one
library in the first round and three more in the second. Partner
Billie Tsien, AIA, said they learned that a great cabinetmaker is
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 not only your friend but potentially the primary builder of the
P.S. 1, library, since he/she can produce the space-defining bookcases
Marpillero Pollak that can “make a room feel good.”
Architects Beirut unified the projects with an identity built
“Sitting on ‘poofs,’ ” around the word l!brary, with an exclamation point in place
says Linda Pollak, AIA, of the i. Throughout the interiors, this iconic branding crops
“the younger children up in a variety of materials and forms—in signage, carpets,
are raised on a plat- flooring, and the glazing of doors. Since the kids typically can
form that doubles as a only reach 5 to 6 feet up to the top shelf, most architects kept
stage for the older stu- the shelves low but took advantage of generous ceiling heights
dents.” These young by putting murals on the walls above the shelving.
children have their own
tiny stage, which is not Moving ahead
visible in this image. So far, the libraries have been big hits—not just with the design
Children’s art lines the community, but more important, with the administrators,
wall above the windows teachers, principals, and children who use them. Principal
and shelves in this fun- Robert Flores of P.S. 106 in Brooklyn says, “You can’t fathom
loving design. what this library has done for this community and the 650
students served by the school.” When the program began, few
of the teachers believed they would see much
outcome from the initiative; they had long
P.S. 16,
become accustomed to unfulfilled promises and
1100 Architects
cuts in school funding. Yet after the completion
This library features a
of the third cycle, there will be more than 55
freestanding, serpentine
new libraries built with 595 more to go, to fulfill
bookcase, which serves
the Robin Hood Foundation’s goal of complet-
both as a unique visual
ing a school library for each of the 650 public
element and a divider to
schools in New York City.
make the small space
The projects have won eight AIA
into three distinct areas.
awards for excellence in design, and this year,
Says Juergen Riehm,
Tanner received a special citation by the New
FAIA, “The shape [of the
York City AIA for the work, along with Christo
bookcase] is echoed in
and Jean-Claude for their Gates in Central
giant Barrisol light fix-
Park—the only recipients of this award in
tures that effectively
2005. The good will, strong design, and civil
illuminate, anchor,
virtue of these projects are hard to quantify.
and further define the
And now the initiative is having an
work areas.”
impact beyond New York. Baltimore launched a
similar program in its public schools in 2001.
The first library, Southeast Middle School,
P.S. 32, should open this fall. Designed by Alexander Design Studio,
Tod Williams Billie it won a Baltimore Chapter AIA award as an unbuilt project.
Tsien & Associates With funding from grants raised by Baltimore’s Board of
Here, the architect Education, the city is preparing to expand the program. “We
takes advantage of the enlisted the help of 12 architects to do 12 more libraries for
ceiling both through the schools,” says Alexander. While Robin Hood’s library
recessed lighting and initiative is 100 percent in New York City, the idea of pub-
tubes of light that lic/private partnerships to effect change in student
extend into air, joining performance and schools nationwide is both its promise and
the ceiling to the floor example. This remarkable project has drawn people together
and warming up the in creative and meaningful ways, bringing attention to com-
space. “The ceiling of a munities that sorely need it. ■
library has great poten-
tial as an important While the Robin Hood Foundation makes libraries happen,
elevation,” says Billie Common Ground creates housing and community develop-
Tsien, AIA. ment projects for New York’s homeless and underprivileged.
Visit www.archrecord.construction.com/people/ to read about
its most recent undertaking—restoration of the Prince George
Ballroom, a unique public/private endeavor.

92 Architectural Record 09.05

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 Overnight Sensations
A global Who’s Who of architects
and designers teams up to
create a hotel in Madrid
By David Cohn

C
ommissioning
FEATURES

15 star architects
and designers
to collaborate on a
new boutique hotel in
Madrid required a big
leap of faith; the results
could have veered toward
either an inspired design
destination or the aes-
thetic equivalent of acid
rain in Spain. We’re
happy to report, how-
ever, that the Hotel
Puerta América, which
debuted in July, is not an
exercise in marketing
buzz trumping true
design. Though off-kilter
David Cohn is record’s international correspon-
dent based in Madrid.

96 Architectural Record 09.05

 Zaha Hadid

In the Hotel Puerta

América, Hadid
designed a floor of
guestrooms as amoe-
boid environments in
solid-surface acrylic.
Rooms come in white
(this spread), black, or
crimson, with custom
linens (opposite, top)
and streamlined stor-
age (opposite, bottom).

09.05 Architectural Record 97

 Richard Gluckman

Lighted acrylic boxes,

in either blue or yellow,
inserted into a white
acrylic wall (above and
far left) contain a mini-
bar, desk, TV, and other
services. A white metal
curtain partitions off the
room from the bath (left).

98 Architectural Record 09.05

 Arata Isozaki

Inspired by Junichiro
Tanizaki’s In Praise of
Shadows, Isozaki cre-
ated dark chambers
(left and below) with
stained-oak shojilike
screens at the windows
and headboards, and
soft illumination.
R I C A R D O L A B O U G L E ( P R E V I O U S S P R E A D A N D O P P O S I T E , B OT TO M L E F T )
P H OTO G R A P H Y : © R A FA E L VA R G A S , E XC E P T A S N OT E D ;
in certain quarters, this is no heartbreak hotel
for design afficionados checking in to check out
the latest hotspot.
Zaha Hadid, Norman Foster, Ron
Arad, and David Chipperfield were among
the team’s Who’s Who of marquee-name
architects, each charged with designing one of
12 floors, budget no object. Jean Nouvel, who
orchestrated the roof deck, top-floor suites,
and facade awnings, says the Puerta América
is “not a symphony, but a lot of little songs.”
For the hundreds of reporters who
trooped from floor to floor at a recent press
preview, the hotel seemed more like fascinat-
ing cacophony. British designer Kathryn
Findlay has fashioned an all-white cocoon
with a suspended bed, deep-plush fabrics,
and organic/amorphic furniture. Arata
Isozaki’s dark chambers, inspired by Junichiro
Tanizaki’s poetic book In Praise of Shadows,
include bathrooms with austere cedar bath-
tubs and showers. Plasma Studio dreamed
up a garretlike Caligari’s Cabinet of faceted
stainless steel, with LED light strips streaking
through the seams. Richard Gluckman
created serene backlit light boxes in cool blue
and lemon yellow, with faux-leather poufs,
fiber-cement-board walls, and industrial car-
peting—a 1970s New York crash pad.
The standouts are Hadid’s enfolding
landscape of continuous polished curves in
“solid-surface” acrylic finishes and a choice
of total-immersion white, black, or crimson;
and the jazzy racing-car cockpit capsules,
made of the same material and containing bed
and bath that Arad dropped into each of his
rooms. Like several other designs, these floors
are a tribute to the materials and craftsman-
ship of the main fabricator, B&B Italia. Foster’s
backlit, translucent marble counters, woven-
leather wall surfaces, and curving, illuminated
glass walls, for instance, are exemplary.
Chipperfield’s calm spaces, with terra-cotta
platforms and pale blue ceiling canopies, serve
as a counterpoint to Nouvel’s suites, where
large baths open into living areas via sliding
glass walls. Mildly suggestive photos by Jean Nouvel
Nobuyoshu Araki and Alain Fleischer are pro-
jected onto walls of Nouvel’s rooms with a Steam causes virtual
voyeuristic flourish. photos to emerge on
Surprisingly, many guestrooms are all the glass between
black—sleek and tough. (Nouvel walks the fine bath and bedroom in
line between “liberté,” the hotel’s motto, and lib- Nouvel’s chambers
ertinage.) At the opposite end of the spectrum, (above). The architect
all-white rooms reign—some cozy, others cool also designed a color-
(“a high-class chemotherapy clinic,” sniffed one ful canopied facade
Italian journalist about Foster’s rooms)—along (right) for the building,
with a proliferation of bathrooms opening onto by SGA Estudio.
or melding into the bedrooms.

100 Architectural Record 09.05

 Foster and
Partners

Bathing and sleeping

functions occupy the
cabinlike spaces of
Foster’s rooms. Off-
white leather walls,
even in the bathroom,
convey a sense of clois-
tered luxury. Foster’s
curving hallways
(above) float between
borders of light.

Kathryn Findlay

The Scottish architect,

in collaboration with
interactive designer
Jason Bruges, created
a lobby on an upper
floor, which features
an undulating, amor-
phous bench (right)
that prompts guests
to interact with it. A
“memory wall,” con-
structed of fiber-
optic panels, records
and projects guests’
movements.
 The overall ambience seems to
appeal openly to sexiness and fun. Hadid
specified backlit, stenciled LEDs along the
hallways for the room numbers and “Do Not
Disturb” signs. A virtual photo appears when
the glass steams up in Nouvel’s bathrooms.
The polka-dot pattern of electric sensors in
Findlay’s hallways, designed in association
with artist Jason Bruges, blink on and off in
waves as guests pass.
Going against this trendy starkness
is a pop kaleidoscope of jarring colors and
patterns, orchestrated by Barcelona graphic
designer Javier Mariscal, who furnished a
hotel in Bilbao for the same owners (the
Barcelona-based Silken Hotel chain).The
Seville fashion designers and decorators
Victorio and Lucchino have filled rooms with
“neo-Deco” inspired objects. Australian
designer Marc Newson aimed for a “totally
posh” interior, with polished red-lacquered
hallway walls and water-carved, statue-
quality Carrara marble lining bathrooms.
You have to leave his spalike enclave and ven-
ture downstairs to the Newson-designed bar
to find some of his funkier, organic chairs.
Other impressive ground-floor
spaces include John Pawson’s calming lobby
lounge and check-in area. Christian Liaigre’s
restaurant, however, has an uninspired
Spanish theme.
The eclectic collection of high-
profile designers says something about the Christian Liaigre
architectural sophistication of Spain’s busi-
ness class, with the predominance of foreign A hotel restaurant,
studios and figures who, like Foster, Hadid, Lágrimas Negras
and Isozaki, have established presences here. (Black Tears), by Liaigre,
Significantly missing from the roster are any a French designer,
of Spain’s own top architects. features a backlit
Cutting-edge interiors aside, perhaps acrylic bar decorated
the hotel’s main drawback is the unremark- with abstract motifs.
able commercial design of the building itself, A wine-storage wall
by Madrid’s SGA Estudio (Jean Nouvel only separates the bar from
did the facade), which reveals the origins of the kitchen.
the project as a generic business hotel. The
architecture provides no cohesion for the
widely scattered interior design styles, partic-
ularly the poor ground-floor layout. Nouvel
explains that he sought only to “dress” the
facades with brightly colored awnings, which,
coupled with the Madrid designer Teresa
Sapey’s supergraphics in the parking garage,
add superficial flash.
Sited beside the highway gateway
between Madrid and the airport, Puerta
América turns a choice, but unattractive,
location into a true destination. The latest
design trends have turned reserving a room
into a major lifestyle decision. ■

102 Architectural Record 09.05

 Marc Newson

Four hundred thin, ver-

tical aluminum louvers
accentuate the 23-foot
ceiling height of the
Marmo Bar, just off the
hotel lobby. “Caves,”
with leather banquettes
for semiprivate loung-
ing, flank the bar,
composed of a 28-foot-
long piece of marble.
P H OTO G R A P H Y : © R I C A R D O L A B O U G L E ( O P P O S I T E T W O A N D T H I S PA G E , FA R R I G H T )

Plasma Studio

The halls and lobby of

the floor by Plasma
dramatically update
20th-century German
Expressionism. Here,
LED lights spark the
seams between facets
of stainless steel
(right). Shiny steel
continues into the
glass-enclosed baths
inserted into the sleep-
ing areas (above).

09.05 Architectural Record 103

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 Record Interiors
L 2005
ike the famous “riddle wrapped in a mystery …”
then rolled in an anchovy, the projects in Record

BU I LDING TYPES STUDY 849

Interiors 2005 are intriguingly multilayered
(though some more enigmatically than others). Our
featured architects, layering their creations from the 1
outside in, have altered the inner character of what was
in most cases an existing shell.
At Aoba-tei restaurant in Sendai, Japan, for
example, Hitoshi Abe transformed the interior of a
bland office building by inserting a steel capsule, or skin,
perforated with abstracted images of trees. The resulting
effect poetically evokes dawn or dusk in a forest.
2
Here, as in several other projects, sharp cor-
3
ners and boxy containers vanish behind curving surfaces
that meld walls into ceilings and floors. For the Bizarre
boutique, in Omaha, Randy Brown produced a seamless 4
spatial insertion, modeled like origami from a single
sheet of paper. At Endeavor Talent Agency, in Los
Angeles, Neil Denari cast an icy white flow of ceiling and
wall planes with occasional splashes of intensely hued,
PHOTOGRAPHY: © GOLLINGS PHOTOGRAPHY (1); BENNY CHAN/FOTOWORKS (2); EDUARD HUEBER/ARCHPHOTO

unconventional wallpaper by the graphics firm 2x4. And

at Template House, an apartment in a Beijing high-rise, 5

Michele Saee shaped an interior with sensuously smooth

and curving floor-to-ceiling planes of cherrywood.
For Cassandra Fahey’s own loft in North
Melbourne, Australia, the architect slipped a huge,
(3); SHINKENCHIKU-SHA (4); MARGHERITA SPILUT T INI (5); CHEN SU (6); ASSASSI (7)

red, translucent sculptural form—containing actual 6

rooms—within a gritty industrial warehouse, behind
the commercial supergraphics of its existing facade.
And though ARTEC designed the entire
7
building for its Löwen von Aspern pharmacy, outside
Vienna, the firm provided a relatively modest box for its
interior accretions. Whereas many of the other projects
focus on inner skins, this one emphasizes bony struc-
tures—in the form of ceiling-suspended aluminum
display cases—that define the space.
Finally, for The Modern, a restaurant inside
New York City’s Museum of Modern Art, Bentel &
Bentel retained the space’s original rectilinearity, while The firms featured are:
dematerializing its surfaces with miragelike layers of 1. Cassandra Complex 2. NMDA 3. Bentel & Bentel
shimmering materials: ripply, hand-polished stainless 4. Atelier Hitoshi Abe 5. ARTEC Architekten
steel, translucent glass, and stretched PVC membranes. 6. Michele Saee Studio 7. Randy Brown Architects
So, as you enter the following pages, we
encourage you to peer within (and between) the rich
strata of inner layers. Sarah Amelar
For more information on these projects, go to
Building Types Study at www.archrecord.com.

09.05 Architectural Record 107

 A sculptural, steel-
framed form, clad in
glass tiles, plays
against the open indus-
trial loft space. Housing
bedrooms, bathrooms,
and a den, the great
red object glows from
within like a lantern. Its
inset bathroom, with
resin sinks, can be
closed behind a hinged
translucent panel.

PRO JECTS

For CHAMELEON, the architect’s own loft,

Cassandra Fahey builds a huge lantern,
whose glowing skin changes with the light
By Sarah Amelar
T
he very first house Australian architect Cassandra Fahey built,
designed in 1999 while she was still a student, stopped traffic
with a giant headshot of actress Pamela Anderson splashed in
glossy blues across its facade. Borrowing freely from popular
culture, the provocative juxtaposition overlaid the public face of a private
home with the universal ownership of a media icon. For Fahey’s own loft,
however, supergraphics already accentuated the existing building—with
the word DAVEY’S, in letters nearly 3 feet high, spanning its entire red-
brick, gabled facade. The two-story structure in North Melbourne had
started out, in 1910, as a candy factory, but its banner headline came many
decades later, when Davey’s Automotive Electrical moved in. Though the
automotive business vacated this property about 10 years ago, the district—
thick with car showrooms and recent loft renovations—has since acquired
landmark status, ensuring the permanence of the Davey’s sign.
So, unable to change the building’s exterior, the architect inter-
vened with an inner facade glimmering behind the original. Now from the
street, you can glimpse up at a luminous, curving, candy-red wall set several
feet behind the second-floor windows. Like the Pamela Anderson facade,
this surface remains publicly present, tantalizingly translucent, yet barely
penetrable visually. Partially obscured and lusciously red, the form entices
“like those great big lollies they once made in the sweets factory here,” says
Fahey, head of Cassandra Complex, a six-person architectural firm. Taking
evident delight in layering her work with a multiplicity of metaphors and
free associations, she adds, “But it’s also personally nostalgic, like the great
ruby (or fake ruby) ring in a case that I discovered in my auntie’s drawer.”
To reach the 1,300-square-foot loft, you ascend a straight run of
steps that glow with risers of orange acrylic behind perforated metal. At
the top landing, a gold-colored door, inlaid with a grid of magenta acrylic
circles, marks the new threshold, deftly slipped behind the old entryway.
The architect angled the magenta inlays to match the slope of the stairs.
As a result, the translucent circles channel sunlight from within the apart-
ment, obliquely casting hot-pink ovals of light along the stairwell.
But the front door is just the beginning. Throughout the loft,
110 Architectural Record 09.05
Fahey redirects light and imagery—creating prisms, facets, and axes
of refraction or reflection. The range of effects becomes apparent only grad-
ually, while the space’s dominant object comes into full view instantly: a red,
sculptural form, embracing nearly 1,600 cubic feet and glowing from within.
Before the architect designed this loft for herself and her domes-
tic partner, she happened to visit sculptor Richard Serra’s Torqued Ellipses in
its original setting, a converted New York City garage. She was struck by the
proportional relationship between the large sculptural forms and the indus-
trial container, or building. Spatially and geometrically, Serra’s influence is
evident in this Melbourne project, which, like the Ellipses’ first home, has an
open roof structure of old timber trusses. But in materials and function, the
red volume differs markedly from Serra’s rusted-steel installation.
Steel-framed, Fahey’s object brings together 450 glass tiles of var-
ious sizes and shades of red and brown. The darker hues, clustered toward
the bottom, accentuate the curves. Within the swooping red walls, the
architect placed the main bedroom and two bathrooms on the main level,
P H OTO G R A P H Y : © J O H N G O L L I N G S / G O L L I N G S P H OTO G R A P H Y
and the guest quarters with a den on the mezzanine. Outside the sculptural
container, she left the more amorphous zones of kitchen and living room.
Fahey’s domestic partner, an emergency-room physician, wanted
their home to reflect the changeability (sometimes from minute to minute)
in his daily life. And so, the architect recalls, she envisioned her huge, red
object as an abstracted chameleon (well, yes, a chameleon that happens to
evoke a lollypop, a ruby ring, a Serra sculpture, a lantern, and more).
Though not literally modeled on a lizard, the glassy skin changes color con-
stantly with the light. “And because each scale, or tile, rests at a slightly
different angle, curious things happen,” observes Fahey. “Sometimes we
notice a reflection of someone walking all the way across the street. Then
they disappear and, a few minutes later, reappear on another tile.”
Just as the red object reflects and reframes flashes of the outside
world, mirrors—slightly cranked on the east and west walls—intensify
daylight in the loft, making up for the absence of windows to the north or
south. Further enhancing the sunlighting, a central east–west corridor,
leading from a window, redirects rays into distant corners of the space.
The 1910 industrial
building began as a
candy factory, but
later housed Davey’s
Automotive Electrical
(until about 10 years
ago). Since the district
is now landmarked,
the sign is there to stay
(opposite). Inside,
Fahey’s recycled Jarrah
wood floors comple-
ment the original
timber roof trusses
(this page).
In the kitchen, some
walls bear blown-up
film clips, originally
extracted from the
childhood movies of
Fahey’s domestic part-
ner. The red form casts
stripes of crimson light
across the kitchen
floor (above). In the
bedroom (right) and
elsewhere, skewed
mirrors intensify and
redirect daylight.

112 Architectural Record 09.05

Four-hundred-fifty
tiles, or scales,
custom made from
colored film laminated
with glass, clad the
red “chameleon,”
which houses a guest
room and den on its
mezzanine level.
 Risers of orange acrylic
behind perforated metal
lead to the loft’s gold-
hued entry door, inlaid
with clear magenta
circles (left). One bath-
room has a prismatic
assemblage of mirrors,
layered glass, and rosy
film (opposite).

1. Kitchen 5 3

2. Bathroom
4 2 1
3. Guest bedroom
6 6
4. Living
5. Den
6. Storage
0 3 FT.
7. Roof deck SECTION A-A 1 M.

Other mirror tricks, which seem more inventive and poetic than
gimmicky, appear in the two bathrooms. In the smaller one, a prismatic
assemblage of layered greenish glass; reflective, rose-colored film; and pla-
nar mirrors evokes a faceted gem (to accompany the giant ruby). The larger
bathroom, cut into the ruby’s face, complements mirrored surfaces with
areas of luminous transparency, as in the clear, bubbly, blue-green resin of
the custom-made sinks—permitting full views of the plumbing. (In a
quirky inversion of an optical illusion, the sinks and tub are actually trape-
zoidal, with angles generated by the building’s skewed west wall.)
In the kitchen, where windows overlook the actual streetscape,
Fahey’s manipulation of imagery takes yet another twist. Here, she
papered some of the walls with blurry, blown-up film clips, extracted
indirectly from the childhood home movies of her partner. Intentionally
vague and out of focus, the images do not overpower the space. “But
unexpected moments occur,” the architect points out. “From the toilet in
the main bathroom, through the mirror above the vanity (which reflects
the east-wall mirrors that, in turn, reflect down the corridor), you sud-
1. Entry denly see the little face of … six-year-old Mick.”
A
2. Living Remarkably, the loft, for all its mini surprises and eclectic bits,
3. Dining counter 12 conveys a playful cohesiveness, rather than a fun house jumble. Though
4. Kitchen Fahey approached the design with an extraordinary mélange of
5 4 3
5. Master bedroom 12 metaphors (and proudly refers to one of her other projects as “a mon-
6
6. Guest bedroom 7 grel”), her home—winner of several Australian awards—comes across
8 1
7. Bathroom 9 with architectural clarity and resolution. Remaining abstract (and, yes,
7
8. Wardrobe 11
10 like a chameleon), it never imposes one particular reading. When the
9. Laundry architect recently heard someone propose yet another, metaphor-rich
10. Den interpretation of this scheme, she responded: “Sure, go with it.” ■
2 12
11. Storage
12. Void Project: Chameleon, North Sources
Melbourne, Australia Laminated glass tiles: Steven’s
A
0 6 FT. Architect: Cassandra Complex— Glass (custom, with colored film)
FIRST LEVEL N MEZZANINE LEVEL
2 M.
Cassandra Fahey, principal Resin sinks: Custom fabrication by
James Healy and Peter Scott

114 Architectural Record 09.05

The screening room,
at grade, has an entry
facade of glass and
anodized aluminum
(opposite). On the upper
floors, intensely colored
end walls contrast with
curving, pure white
planes (this page).
 Liberating an interior from its boxy container,
Neil Denari produces the curvaceous,
cool white ENDEAVOR TALENT AGENCY
By Joseph Giovannini
I
t’s been worth the wait. Los Angeles architect Neil Denari, AIA,
belongs to that category of architect who came to the construction
site late—that is, after years of teaching, theorizing, and pursuing
projects that proved elusive. But l.a. Eyeworks, a boutique he com-
pleted in 2002, finally gave him exposure and credibility. Now Denari is on
a roll, with commissions from Los Angeles to Manhattan and Tokyo. Most
P H OTO G R A P H Y : © B E N N Y C H A N / FOTO W O R K S
recently, he completed the offices of Endeavor Talent Agency, on Wilshire
Boulevard in the heart of Beverly Hills, a build-out in a 1960s structure.
Endeavor, a new arrival in the entertainment industry, has
launched itself on an ascendant arc that has already placed the company on
a level with CCA and ICM. In the past decade, architecture has become an
attendant art in that industry, with many moguls buying classic midcentury
homes, and some commissioning top architects to create pedigreed build-
ings for their corporate offices. Just down the block from Endeavor, I.M. Pei
famously designed CCA’s headquarters, setting local precedent for archi-
tecture enlisted in the cause of corporate image and prestige.
As an agency in need of an architect, Endeavor did what it does
Joseph Giovannini is an architect and critic based in New York and Los Angeles.
best, launching a talent search and “auditioning” more than a dozen top local
PRO JECTS
firms carefully scouted by Tom Strickler, the partner in charge of the project.
The company’s previous five-floor home had stratified the agency. For its
new quarters, Endeavor leased Beverly Hills’s biggest floor plate—at 27,000
square feet—and asked Denari to meld the third and fourth story into a
duplex.“Maximizing communication was critical,” says the architect, refer-
ring in particular to the rapport between agents and assistants, who usually
work just outside the agent’s office within constant visual and verbal reach.
The agent/assistant adjacency—an inviolable, almost ritualistic
space in Hollywood—constituted the new scheme’s building block. Denari,
with Duks Koschitz as project architect, gave each agent a window office at
the floor’s perimeter—just a thin wall away from the corresponding assistant
in one of the open workstations clustered in the central space. The program
called for meeting rooms, as well as an 80-seat theater at grade, where
Endeavor could invite clients for private screenings. Accessed through a
streetfront facade of glass and anodized aluminum, this small theater and
its lobby comprise 6,100 square feet (bringing the total area to 70,000
square feet). Behind the glazing, a curvy, seemingly folded white wall baffles
the entry. Updating the original structure’s bland, corporate, 1960s
09.05 Architectural Record 117
Huge images of eyes
with vibrant irises ani-
mate a bowed wall in
the screening-room
lobby (this spread).
The intent is to change
the wallpaper, by the
graphic design firm
2x4, every few years.
 1. Lobby 5. Agent office
2 5 2. Conference (shaded perimeter)
5
3. Assistants 6. Restroom
4 4. Kitchen
3
2 5 5
6

5 5 6
5
4 3
1
THIRD FLOOR

2
5 5

0 20 FT.
N
6 M.

SECTION PERSPECTIVE: SCREENING ROOM AND ITS LOBBY

"GREEN WORLD": THIRD FLOOR "YELLOW-ORANGE WORLD": FOURTH FLOOR "BLUE WORLD": THIRD FLOOR "MAGENTA WORLD": FOURTH FLOOR

The section (above,

beneath plan) cuts
through the screening
room, in red, and its
lobby. Colorfully pixi-
lated wallpapers
accent several upper-
floor end walls (above).
Folding planes—some
continuous, some
overlapping—weave
across Endeavor’s
ceilings and a few of
its walls, melding
together the duplex’s
two levels (left).

AXONOMETRIC: CEILING OF DUPLEX LEVELS

120 Architectural Record 09.05

A “folded” wall dips
down just inside the
screening room’s street
entrance, forming a
baffle between lobby
and sidewalk (above).
Upstairs, the main
reception area (right)
features a counter
containing dashes of
fluorescent light
behind translucent
polycarbonate panels.

09.05 Architectural Record 121

 Modernism, the facade recalls Rodeo Drive’s boutiques, several blocks away.
Upstairs, glass doors off the elevator lobby set the scene, intro-
ducing a white, luminous space that feels buoyant. A reception desk fronted
with translucent, honeycombed polycarbonate panels, holding dashes of
fluorescent lights, establishes an edgy elegance. Just beyond it, a dramatic
staircase sweeps up through the structural grid to the duplex’s upper level.
The spatial buoyancy comes not simply from the white-on-
white palette: Denari liberates the interior from its conventional, boxy
office shell by curving the walls and ceilings at their corners, creating an
envelope that wraps and shapes the spaces—as the architect puts it, “test-
ing the limits of the Cartesian envelope and the right angle.”
This treatment crosses the serene with the surreal, especially in the
upper-level and screening-room lobbies, where Denari layers white planes
that shift under and over each other. He maps these moves on the ceiling,
sometimes making cuts to reveal sectional build-up. In places, the effect
becomes almost Baroque—far removed from the mechanical forms that
once characterized Denari’s work. Only occasionally does the mechanical
touch on this ethereal space, as in its porthole-shaped, stainless-steel air vents.
The architecture is mostly overhead. Denari transposes the normal
role of the plan to the ceiling, where the planar flow gives the spaces a direc-
tional thrust. Morphing into a continuous surface, the walls and ceilings
become a universal spatial system that Denari localizes, for example, by
bringing the planes to the edge of the stairwell or by opening them to reveal
a backlit area. The ceiling play lightens the formality of a plan derived from
business protocols that sets up a spatial hierarchy from entry point to offices.
If architects, a couple of decades ago, challenged the expectation
of simplicity by offering complexity, Denari now challenges the notion of
warmth. With white terrazzo floors, stainless-steel handrails, the occa-
sional metal detail, and a nearly clinical sheen on many of
quasi-antiseptic surfaces, he has developed cool, white spaces that go
beyond Minimalism, into an aesthetic approaching frost. The high level of
craftsmanship—including factory-molded, curving wallboards—
enhances the abstraction, accentuating the sense of eerie immateriality.
The architecture’s purposeful and successful emotional detach-
ment is heightened by the work of 2x4, a New York graphic design firm.
For Endeavor, this team created wallpaper in intriguingly out-of-focus pat-
terns, as in the boardroom, where TV static appears magnified to an
environmental scale. The intent is to change the wallpaper every few years
Just beyond the recep- upper level (above and to refresh the interior. In the screening-room lobby, giant images of eyes
tion desk, a dramatic opposite, bottom left). with vibrantly colored irises now accentuate the slightly surreal aura of
staircase sweeps up Bending planes define Denari’s design. Elsewhere, 2x4 has surfaced end walls in intense, unex-
through the structural the duplex’s lobby and pected hues in pixelated shades of blue, green, orange, and magenta. The
grid to the duplex’s floor above it (below). graphic program complements the architecture’s aura of icy perfection.
Just as Venus sprang full blown from the head of Zeus, Denari’s
design seems to have sprung, fully mature, from the midst of his career.
The architect may not have come to this commission with a long history
of built projects, but he arrived intellectually prepared, and produced a
conceptually strong, impeccably executed, and visually powerful space. He
understood the brief and the nature of the agency, and delivered his
scheme in a confident aesthetic language with cachet and style—the very
subject of Endeavor. Sometimes talent is best served cold. ■

Project: Endeavor Talent Agency, Buck (graphics), project team

Beverly Hills, California
Architect: NMDA—Neil Denari,
AIA, principal; Duks Koschitz, lead
designer and project architect; Stefano
Paiocchi, Jae Shin, Matt Trimble,
PERSPECTIVE: DUPLEX AT NORTHEAST CORNER OF LOBBY Steven Epley, Betty Kassis, Brennan
Sources
Lighting: Peerless; Delray; Artimede
Wall covering: Knoll; Jhane Barnes
Plumbing fixtures: Kohler; Kroin;
American Standard

122 Architectural Record 09.05

Pixelated wallpaper on
the fourth floor plays
graphically against the
fire extinguisher in its
inset cabinet (top).
Porthole-shaped air
vents punctuate the
intensely red screening
room (bottom right).

09.05 Architectural Record 123

 Bentel & Bentel’s sleek and luminous café,
bar, and restaurant, THE MODERN, infuses
the Museum of Modern Art with a savory essence

By Suzanne Stephens

F
or years, New York’s Museum of Modern Art (MoMA) has been
famous for everything but its food. Even after Sette Mezzo took
over its restaurant operations, as Sette MoMA, in 1993, the cui-
sine and the setting verged on the overly quiet. Now with The
Modern, operated by acclaimed restaurateur Danny Meyer and designed
by architects Bentel & Bentel, MoMA has a real chance at competing with
its high-end Midtown Manhattan neighbors.
As you enter The Modern, on the ground floor of the restored
1939 building by Philip Goodwin and Edward Durell Stone, a bar and café
shimmer softly before you in a space originally occupied by a gallery. Here,
gleaming wall and ceiling surfaces create a miragelike setting for the bar-
and-café area’s panoramic end wall, a refulgent photographic mural of a
jungly garden. The mural, The Clearing (2003), by German artist Thomas
Demand, is a life-size depiction of fake leaves made of paper—but never
mind. It rivets your attention, almost making you forget that your view of
the real thing—the Abby Aldrich Rockefeller Sculpture Garden—is
blocked by a frosted-glass wall. True, the wall is translucent, but you have to
be on the other side, in The Modern’s fine-dining area, to enjoy the famous
museum garden with its vines, trees, and sculptures.
Creating an ambitious venue that could offer a choice of casual or
formal dining experiences within a tight museum space posed more than a
culinary challenge: For starters, Meyer needed a smoothly functioning,
P H OTO G R A P H Y : © E D UA R D H U E B E R / A R C H P H OTO

soigné restaurant for a clientele who might have a taste for Modernism,
but prefer it served with varied and pungent flair (like Meyer’s cuisine).
MoMA’s director, Glenn Lowry, and its chief curator of architecture and
design, Terence Riley, wanted to make sure the restaurant would keep the
purity and clarity of the Goodwin-Stone architecture, while blending with
the recent expansion and renovation by Yoshio Taniguchi with Kohn
Pedersen Fox [record, January 2005, page 94].
Although Taniguchi had submitted a restaurant design, Lowry felt The swerving canopy Inside, a restaurant,
that restaurant, retail, and other specialty operations required architects with is back on the original café, and bar occupy
experience in each particular area—the reason Gluckman Mayner designed Philip Goodwin and a former gallery space
the bookshop and Alspector Anderson the conservation spaces. For the Edward Durell Stone in the 1939 building,
restaurant, Lowry and Riley formed their own shortlist of architects, but portion of the Museum which you enter
soon found that Meyer favored the firm of Bentel & Bentel. Although this of Modern Art at 11 through the adjacent
two-generation architectural practice lacks the high-octane reputation of West 53rd Street. 1964 annex.

09.05 Architectural Record 125

Frosted and bronze- vegetation with col-
tinted glass—along ored paper, lighting
with the shimmering it to mimic the sun’s
PVC-over-aluminum- rays, and pho-
framed ceiling panels tographed that
and the stainless- tableau. The film neg-
steel cladding over ative was printed for
the columns—gives an 8-foot-long-by-36-
the café/bar a dra- foot-high mural, cut
matic luminosity. The in half and inserted
showstopper is the between laminated
photographic mural, glass panels, 8 by
The Clearing (2003), 18 feet in size. Then
by Thomas Demand. each 2,500-pound
The Berlin artist first section was flown
photographed a park, from Germany and
then created a life- clipped in place on
size simulation of the the west wall.
 11

Visitors enter the restau- 1. 53rd Street entrance

6
rant (above) from the 2. Entrance from 10
lobby of the building museum
5
originally designed by 3. Bar and lounge
Goodwin and Stone. 4. Café
Perforated stainless-steel 5. Restaurant 4
doors (opposite) close 6. Garden dining
7 9
behind them as they 7. Restrooms
walk along a hall past the 8. Café kitchen
3
bronze-glass wine rack 9. Restaurant kitchen
behind the bar, into the 10. Private dining room
café. A separate entrance 11. Abby Aldrich 2
opens from 53rd Street Rockefeller Sculpture 8
at the end of the Philip Garden
Johnson–designed annex.
1

FLOOR PLAN N 0 10 FT.

3 M.
128 Architectural Record 09.05
global design luminaries, it had created well-regarded, atmospheric interiors
for Meyer’s Gramercy Tavern and 11 Madison Park, as well as the separately
owned Craft—all thronged by New York’s restaurant cognoscenti.
Bentel & Bentel won over the museum officials with a design that
deftly combines frosted and tinted glass planes, changing ceiling heights,
and a range of floor textures (including black terrazzo, white oak, and dark
carpet) to differentiate the various programmatic areas of the 14,400-
square-foot restaurant. Against the stringently planar rectilinearity of these
elements, the architects introduced such streamlined counterpoints as sin-
uously curved, frosted-glass walls and a gently arcing marble bar, which
refer adroitly to the Goodwin-Stone restored canopy and lobby counter and
Taniguchi’s fritted glass. Besides the 112-seat space for fine dining, 110-seat
café, and 18-seat bar, the brief called for two kitchens and a private dining
room in the 1964 Philip Johnson–designed annex next door.
To compensate for the bar and café’s less-than-soaring ceiling (at
only 10 feet 6 inches high), Bentel & Bentel selected low-slung, spare
Danish furniture (per a discount arrangement with the Danish govern-
ment) along with the firm’s own custom designs, and covered the ceiling in
a glossy PVC membrane stretched over an aluminum frame. To further
dematerialize the structure, accentuating the mirage effect, the architects
clad the existing columns in stainless-steel plates with a hand-polished rip-
ply finish, and created a lighted glass wall of liquor bottles and wine racks as
a glowing, vitreous backdrop to the bar.
While the café and bar areas provide the gleaming frame for
Demand’s showstopping photomural, which museum curator-at-large
Kynaston McShine selected, a problem remains. The mural is a meta-
experience. As stunning (and ironic) as it is, you still want to see the garden
beyond the north-facing frosted-glass wall. One solution might have been
to provide a translucent glass partition, which gradually becomes trans-
parent as it rises, giving a sense of privacy to those seated in the fine-dining
area, while opening up views of the garden and sky.
For its part, the fine-dining room, in a long, narrow, 23-foot-high
slot defined by Taniguchi’s glazed curtain wall and skylit ceiling, appears
dramatic. To give the space some intimacy, Bentel & Bentel designed horse-
shoe-shaped booths, terminated one end of the room with a bowed,
frosted-glass, freestanding partition, and hung acoustical panels from the
09.05 Architectural Record 129
The elegant facade
overlooking MoMA’s
famous sculpture
garden was designed
by Taniguchi with
space under the por-
tico reserved for a
terrace café (above).
The dining room of
The Modern soars to a
23-foot-height (oppo-
site). The communal
lavatory features
porcelain bowls (right).
130 Architectural Record 09.05
ceiling. The effect is calm if a bit corporate. By night, however, with candles
indoors and lighting in the garden, a more glamorous ambience prevails.
The outdoor terrace, edging the upscale dining area, entices, but
when does the restaurant ever use it? Lowry insists it will be up and running
in time. But if it is reserved for the fine-dining crowd (the nearest kitchen is
for the priciest menu), then the casual garden café—where museumgoers
in the old days could sit for hours sipping coffee—would be lost.
Cavils aside, The Modern merits its front-and-center position
within the museum. Well deserving of its name, the space evokes a 1930s
sensibility without being too austere—or, on the other hand, too themed.
It forms a compelling insertion into a historic building. And best, it’s a
place where you’d want to hang out. Now when you say, “Meet me at The
Modern,” you might mean for a drink or food, as well as art. ■
Project: The Modern, New York City Sources
Architects: Bentel & Bentel— Acoustical plaster ceiling: Baswaphon
Paul Bentel, FAIA, Peter Bentel, AIA, Terrazzo flooring: Krisstone
Carol Bentel, FAIA, Susan Nagle, Furniture: Fritz Hansen; Erik
Frederick Bentel, FAIA, collaborating Jorgensen; Kobenhavn Design;
principals Albrecht Studio; Globe Furniture;
Lighting: George Sexton Associates R. Randers; M. Cohen & Sons
132 Architectural Record 09.05
 Deep inside the AOBA-TEI restaurant,
Hitoshi Abe’s design evokes dappled
sunlight filtering through an allée of trees

By Naomi Pollock

A
oba-tei may be more than 200 miles

PRO JECTS
from Tokyo, but the exclusive French
restaurant is anything but provincial.
Set in Sendai, a city of 1.2 million, this
dining venue features a design by Hitoshi Abe,
Sendai’s own architectural wunderkind. The two-
story interior combines a technological feat with a
magical aura. Here, a multitude of tiny lights
shines through the space’s sophisticated S-shaped
volume, defined by a continuous, curving sheet of
perforated steel. Embedded in the base of a
seven-story, steel-framed office building, kitty-
corner from Toyo Ito’s Mediateque [record, May
2001, page 190], the restaurant is the architectural
jewel of an entrepreneur who made his fortune
mass-producing the local delicacy: beef tongue.
But tongue is for the hoi polloi. And Aoba-tei is
strictly haute cuisine.
Abe got the commission after the ham-
burger joint in the existing building went belly up,
freeing the lower two floors—a total of 2,370
square feet—for his client to lease. The architect’s
desire to connect the two levels seamlessly inspired
him to insert a second cocoonlike skin, encapsulat-
ing an autonomous space. Within the shell, a large
hole in the upper floor allows the stair’s twisting
treads to lead from the reception area, on the
ground floor, to the 30-seat dining room above.
Here, invitation-only epicures sup at Abe-designed,
walnut “cow” tables or, as is preferred in Japan, the
counter, where they can chat with the proprietor—an important compo- A private dining
nent of a good meal. The counter, a massive hunk of walnut, makes its way venue, Aoba-tei dis-
P H OTO G R A P H Y : © S H I N K E N C H I K U - S H A

through the room, morphing into a five-seat bar at one end and pointing plays no signage
toward an open grill at the other. The actual kitchen, designed by Aoba- (above). A stair with
tei’s celebrity chef, lies sequestered behind the steel screen. steel risers, lit by
The architect wanted to relate the restaurant directly to the bluish LED tape lights,
street—a six-lane commercial artery lined with gracefully shading glows (above and
Zelkova trees—but did not have permission to alter the existing curtain- opposite). Temporary
wall facade. His solution was to distill an image of the trees into an greenery in the recep-
abstract pattern of dots, and then punch them into a steel screen. The tion area (opposite)
transfer process involved separating a photograph into four gradations of complements the the
shadowy tree images
0 6 FT.
Naomi Pollock is record’s Tokyo-based correspondent. above it. NORTH ELEVATION
2 M.

09.05 Architectural Record 133

134 Architectural Record 09.05
 An interior shell of per-
forated steel arches
overhead (this page and
opposite). This metal
capsule bears photo-
graphs of the trees,
translated into a backlit
dot screen of small
holes. Abe permitted a
structural beam to
breach the shell over
the bar area (opposite).

09.05 Architectural Record 135

 LED tape lighting pro-
duces a mistlike blue
halo over the stairwell,
even from a vantage
point where the steps
are not visible (right).
The effect evokes dusk
or dawn in the forest.

1. Entrance Hall light and dark, and then assigning each gradation
2. Reception a different-sized dot. The photo’s lightest areas
4 7
3. Coat check correspond to the screen’s largest circles, and the
4. Bar darkest areas to none at all. While the points
5 5. Dining counter range in diameter from 0.16 to 0.35 inches, their
6. Dining room centers remain a uniform distance apart—as in a
6
7. Kitchen printer’s screen—adding an overlay of geometric
8 8. Wine “cellar” order to the image’s underlying, organic distribu-
tion of light and dark.
SECOND FLOOR Once the dot template was ready, it went to a steel fabricator, a
shipbuilder-turned-architectural-supplier, who had the technical skills to
bore the outlined holes into 0.09-inch-thick metal sheets, and then
assemble the perforated-steel components with the precision Abe
1 2 required. The capsule could not be pure in its geometry or symmetry
because the restaurant’s two floor plates are sectionally out of alignment
3
to accommodate the building’s entrance, at grade, and an emergency exit,
upstairs. So the architect devised the S-shaped inner skin—with one lobe
on the first floor and another on the second, flanking the stair. Drawing
people inside, Aoba-tei’s first-floor ceiling gradually ascends from
0 6 FT. approximately 7 feet high near the front door to 11.5 feet toward the back
N
FIRST FLOOR 2 M. of the room. Upstairs, the perspective works in reverse, with the ceiling

136 Architectural Record 09.05

reaching its highest point at the front of the space, where floor-to-ceiling their food, Abe cut a series of larger holes in the skin and mounted incan-
glass opens onto the greenery outside. descent downlights directed at the individual tables. In contrast to the
Abe likens the shell’s single, fluid form to the chassis of a counter’s solidity, the tables and chairs, each made from a single sheet of
Formula One racing car. To test the structural stability of this component, molded beech plywood, appear as thin and delicate as the screen itself.
the fabricators welded together its 3-by-6-foot sheets at the factory. But Aoba-tei’s design succeeds as a sculptural object encased in a
because the form could not fit through the building’s front door, the crew neutral box. It has already inspired the owner to open a second Abe-
designed location—this one in Sendai Station, where rail passengers can
ABE LIKENS THE SHELL’S SINGLE, grab a bite before boarding the Bullet train. Glass-enclosed and open to
FLUID FORM TO THE CHASSIS the public, the station restaurant takes a far more extroverted stance than
the original private-dining version. The latest venue’s “leafy” perforated-
OF A FORMULA ONE RACING CAR. steel wall and wood furnishings appear warm and welcoming—
had to cut it up and reassemble the pieces on-site. The contractors fin- demonstrating that Aoba-tei’s key design elements, unlike beef tongue,
ished it off with a dark brown matte paint that masks the necessary new are not an acquired taste. ■
joints and any superficial defects.
With no structural frame to impede the plenum behind the Project: Aoba-tei, Sendai, Japan Lighting: Masahide Kakudate
shell, light from 380 mini-krypton (long-lasting incandescent) fixtures, Architect: Atelier Hitoshi Abe— Lighting Architect & Associates
mounted on the back of the screen, shines through the perforations. The Hitoshi Abe, principal; Naoki Inada, Sources
effect is one of uniformly muted illumination, recalling daylight filtering Yasuyuki Sakuma, project team Floor: Thule (walnut)
through the Zelkova trees along the street front. (Even the restaurant’s Engineers: Arup Japan (structural); Furniture: Tendo Mokko—custom
name, Aoba-tei, means “leafy place.”) Sogo Consultants (mechanical, designed by Hitoshi Abe ; Cassina—
Since the tiny bulbs actually shed too little light to let diners see electrical) counter chairs designed by Mario Bellini

09.05 Architectural Record 137

A glazed storefront
reveals much of the
interior (opposite).
ARTEC plays luminous
translucency against
reflectivity, especially
near the central court-
yard (this page).
 ARTEC lends a theatrical flair to the
ZUM LÖWEN VON ASPERN
pharmacy on the fringes of Vienna
By Liane Lefaivre
T
heatrical pharmaceuticals may sound like an oxymoron, but the
idea is not so farfetched for Vienna—a place rife with musicals,
parades, balls, cabarets, jazz clubs, operas, concerts, and variety
shows. On the city’s eastern outskirts, near the Löwen von
Aspern (a sculpture of a lion commemorating the decisive battle here
between Hapsburg and Napoleonic forces), the roar of drama reverber-
ates even in the design of a small drugstore.
Apotheke zum Löwen von Aspern stands on Vienna’s tattered
fringe, along a service road leading to the Lower Austrian countryside.
Nothing in the site’s drab, low-rise surroundings would have earmarked it
P H OTO G R A P H Y : © M A R G H E R I TA S P I L U T T I N I
for an aesthetically remarkable pharmacy. Quite the contrary.
But the apothecary’s owner, Wilhelm Schlagintweit, was a man
with a mission. After partnering with Phoenix, a wholesale pharmaceuti-
cal company focused on “wellness,” he set out to transcend the usual
drugstore offerings. Catering to the influx of suburban yuppies who pop-
ulate the hip, new single-family houses just a short drive or bike ride from
his site, Schlagintweit envisioned a store that would provide coaching in
wellness, homeopathic and herbal medicines, and nutrition, along with
general advice on Phoenix cosmetics.
Liane Lefaivre is chair of architectural history and theory at the University of Applied
Arts, in Vienna, and a fellow in urbanism at the Technical University of Delft.
To set the stage for this new venture, the owner turned to ARTEC,
PRO JECTS
a relatively young architecture firm from Graz, Austria—known, perhaps
not surprisingly, for residential and commercial designs attuned to hip
tastes. Founded in the late 1990s by Bettina Götz and Richard Manahl, the
practice was among the first of its generation to embrace a stark Minimalist
aesthetic, breaking with the Deconstructivism of the so-called “Graz School.”
Always seeking what Götz terms “the simple form of the complex,”
ARTEC responded to Schlagintweit by creating a modest building with a
striking interior, distinguished by its spare and dramatic edge. A quiet, 50-
foot-wide glazed facade invites views into the 1,350-square-foot space,
revealing walls of exposed concrete and floors of polished Confalt (a mixture
of asphalt and green-tinted cement that is like terrazzo, but not as hard).
In a spirit akin to the stark stage designs of such dramatists as
Robert Wilson, special lighting effects set the mood here. Wide bands of
incandescent light stretch up the walls and across the ceiling, wrapping
the perimeters of the display cases that hang from above as if suspended
weightlessly on glowing wings of light. Abstractly, these aluminum cabi-
nets allude to the mythological phoenix from which the pharmaceutical
company takes its name. Other cabinets project from the wall, also with-
out touching the floor. Hung from the reinforced-concrete structure in a
staggered arrangement, the wall and ceiling units appear kinetic—as if the
lit bands were tracks on which the shelving cases could slide. But the
09.05 Architectural Record 139
 11
9

1 4 4
6

10 0 10 FT.
SECTION A-A 3 M.

1. Self-serve sales area

2. Non-self-serve area 5 8
2
3. Tea display
7
4. Courtyard 3
5. Dispensary
6. Seminar/ A 4 A

multipurpose 1 4
6
7. Laboratory
8. Storage
9. Herb garden
10. Cellar
11. Recreation

0 10 FT.
GROUND FLOOR N
140 Architectural Record 09.05 3 M.
Ribbons of incandes-
cent light run along the
sides of suspended
cabinets and across the
ceiling. A circular motif
also edges parts of
these aluminum cases
(opposite). Some of the
shelving units hang from
the ceiling, others from
the wall (below). White-
faced steel cabinets
rest on the floor (right
and below), storing the
employee-supervised
products for sale.
prospect of movement remains illusory. Merely sources of illumination,
the flush incandescent fixtures actually have an intensity great enough to
glow through daylight, even with such an open and transparent facade. At
once a spectacle and a stunning feat of subliminal advertising, the interior
almost begs for a round of applause.
The pharmacy also features two charismatic dramatis personae:
a ginkgo tree, symbolizing vitality and wellness, in a glazed inner court-
yard, and an ancient oak tree, apparently personifying strength and long
THE INTERIOR IS AT ONCE A
SPECTACLE AND A STUNNING FEAT OF
SUBLIMINAL ADVERTISING.
life, taking center stage in an open-air court toward the back of the build-
ing. The facility includes a seminar room and library that can
accommodate lectures, consultations, and gatherings.
The apothecary’s basic yet elegant reinforced-precast-concrete
structure features a post-and-beam system with columns concealed in the
side walls, allowing for unimpeded spatial flow between the exterior and
interior. Accentuating this effect, the architects glazed much of the non-
bearing walls, using reflective surfaces to give the illusion of expansive
space. This strategy recalls the work of Richard Neutra in another building
for clients committed to wellness, the Lovell Health-House in Los Angeles.
Thanks to the pharmacy building’s subtly concealed concrete
142 Architectural Record 09.05
frame, this airy, transparent store has the brawn to support a roof garden,
accessible by stairs from the interior. Modeled by engineer-turned-land-
scape designer Jacob Fina on the medieval garden of the cloister of
St. Gallen, in Switzerland, this herbarium features some 450 varieties of
medicinal plants. The staff encourages customers, especially parents with
their children, to ascend to the garden for guided tours, which include
explanations of the herbal properties. When the visitors return down-
stairs, they can sample teas prepared from the homegrown ingredients. So
the drugstore, with its roof terrace, has become extremely popular with
local families on outings.
When Apotheke zum Löwen von Aspern shuts down for the
night, a heavy, white cotton curtain, front-lit by floodlights on the floor,
falls across this stage, concealing the interior from the street. Only the illu-
minated top branches of the venerable oak tree and upstart ginkgo
remain visible, as if bowing from within this little world of wellness—a
final theatrical touch, delivering the closing line. ■
Project: Apotheke zum Löwen von Engineers: Oskar Graf (structural);
Aspern, Vienna Christian Koppensteiner (HVAC)
Architect: ARTEC Architekten— Sources
Bettina Götz, Richard Manahl, Sliding glass doors: Tormax
principals; Ronald Mikolics, Irene Lighting: Die Spanndecke;
Prieler, Ivan Zdenkovic, Wolfgang Sumetzberger
Beyer, Julia Beer, project team Showerheads: Grohe
The wall and ceiling
units appear kinetic—
as if the lit bands were
tracks on which the
shelving cases could
slide (this page and
opposite). But such
movement remains
illusory. Animating
the interior, the paral-
lel bands of light
play against the
repetition of glowing
circles (opposite).
 Michele Saee wraps the interior of a Beijing
apartment in undulating planes of cherrywood,
creating his sinuous TEMPLATE HOUSE
By Clifford A. Pearson
I
wanted to create a space that embraces the body,” says Michele
PRO JECTS
Saee of the apartment he designed as part of last fall’s Beijing
Architecture Biennial. “The idea was to insert a protective layer—
like a cocoon or set of clothes—within the existing building’s
hard shell.” Italian-educated, Los Angeles–based Saee was one of 10
architects from around the world—including Bernard Tschumi, Odile
Decq, Matali Crasset, and Delugan Meissl—selected to design an apart-
ment for an exhibition called Infinite Interiors. Set in a new high-rise
tower in the Beijing development of Phoenix City, the exhibition units
were completed while the building was still under construction.
(The developer may eventually sell all of the 10 Infinite Interiors apart-
ments.) Though the Architecture Biennial—China’s first—encountered
some logistical problems during its three-week run, the interiors
proved a big hit. And according to visitor response cards, Saee’s scheme
was the most popular.
Here, the architect explored ideas he had first pursued in earlier
projects. As far back as the early 1990s, when he designed a pair of stores
in the Los Angeles area for Ecru, Saee shaped interior space with folded
surfaces that enveloped the occupants and evoked pleated clothing. At the
same time, he began using a limited number of fabrication templates to
create an apparent abundance of forms. Both this draping concept and
the fabrication method informed Saee’s Beijing Biennial design, a project
he calls the Template House. But instead of the faceted edges of the Ecru
Marina store, the Beijing apartment swaddles its residents in curving pan-
els of bent cherry plywood that create a warm, sensual atmosphere.
With just three weeks for initial design, four weeks for design
144 Architectural Record 09.05
development, and two months for construction, Saee purposefully
devised a building system that he could explain easily and deploy from
his far-away base in California. The system relies on just three plywood
templates—one for the walls and two for the ceilings—to generate the
apartment’s many curves. He originally hoped to fabricate the 4-by-8-
foot plywood panels off-site and assemble them inside the apartment. In
the end, though, it proved easier for the contractor to build everything
on-site, drawing more on old-fashioned handicraft than digitally con-
trolled methods.
Since the tower was already under construction when Saee
began his design, he had limited options for laying out the apartment.
Existing plumbing stacks determined the bathroom and kitchen loca-
tions, and, of course, the building’s poured-concrete shell set an
inflexible perimeter. But instead of hiding these constraints, the architect
incorporated them into his design. “I wanted to make clear that I was
creating a vessel inside a container,” he says. So Saee peeled back the ply-
wood surfaces in places to reveal the hard wall planes behind them. The
contrast between the two layers heightens the pleasurable effects of the
P H OTO G R A P H Y : © C H E N S U
soft plywood curves. This conceptual approach also had practical bene-
fits: The 1-inch-deep recess between the bent plywood and the building
shell accommodates electrical conduits.
To emphasize the spatial continuity of the wrapper, Saee used
the same material for floors, walls, and ceilings: lightly stained and clear-
finished cherry ply in the main living spaces and bedrooms, and plaster
embedded with colored pebbles in the bathrooms. At corners and
thresholds, though, he cut through the monosurface to reveal flat planes
Curtains help define
a sitting area in one
corner of the living
room and reinforce the
notion of flowing space.
Curving, plywood walls,
floors, and ceilings
peel away in places to
reveal flat, Venetian
plaster surfaces.
Saee designed a love
seat to accompany a
large sofa and ottoman
by Isamu Noguchi. All
of the furniture echoes
the interior’s curves.

146 Architectural Record 09.05

 Keeping the rooms
relatively uncluttered,
the designer chose
and designed furniture
that would allow views
through the apartment.

09.05 Architectural Record 147

148 Architectural Record 09.05
Cutouts in the floors, two and bottom right).
ceilings, and walls pro- Only a curving glass
vide opportunities for wall separates a sec-
shifting materials and ondary bedroom from
planes, adding to the its bath (opposite, bot-
dynamism of the ply- tom left). All plywood is
wood surfaces (this cherry, with a light stain
page and opposite, top and clear satin finish.
 1. Foyer
2. Living
3. Dining
4. Kitchen
5. Balcony
6. Bath
7. Bedroom
8. Master bedroom

3
4

2
1

6 The master bedroom

(right) flows into the
7 main bathroom (below),
8
featuring pebbled
plaster and a curving
7
glass wall (with a
curtain) overlooking
0 3 FT.
SITE PLAN N the entry foyer.
1 M.

of Venetian plaster (white and pale green in the public rooms, tan in the
master bedroom, and blue in the second bedroom). Translucent gray
curtains, hung from curving rods set in the ceilings, can enclose small
podlike spaces at the corners of the living and dining rooms, or provide
privacy within the curving glass walls of the two main bathrooms.
With so many undulating surfaces, space flows throughout the
apartment. “I wanted you to feel like you could occupy the whole place
while being in just one space at a time,” says Saee. To create an experien-
tial progression with a sense of movement, he framed views from one
room to another and from indoors to the city beyond. This device brings
the notion of layering to the spatial sequence as it unfolds, just as the ply-
wood skin does for the section as it curves up and out.
Although the apartment sits in a modern, Westernized tower
in a city undergoing rapid globalization, the design alludes obliquely to
Chinese culture in its framing and materiality. “The Chinese have a
great tradition of wood architecture—making buildings you want to
touch,” says Saee. The project’s capacity to connect with older values
and the particularities of place, while dressed in sleek modern
clothes, may help explain its popularity with Biennial visitors—many
of whom are wrestling with similar issues of identity and change in
their own lives. ■

Project: Template House, Beijing, Sources

China
Designer: Michele Saee Studio—
Michele Saee, designer; Franco Rosete,
Zhang Haitong, design team
General contractor: Sundart
Woodwork and cabinetry:
Dongguan Sundart Timber Products
Bathroom fixtures: Dormbracht
Bathtub and shower: Hoesch
Sofa and ottoman: Designed by
Isamu Noguchi

150 Architectural Record 09.05

Only three plywood
templates—one for
the walls and two for
the ceilings—created
every curve in the
entire apartment.
The facade (opposite)
stands in a shopping
mall. Brown offers a
glimpse of the pristine
interior’s underpin-
nings—metal struts and
return-air ducts—near
the entry (this page).
 For BIZARRE, a boutique in Omaha,
Randy Brown flows walls, ceiling, and floor
into one continuous, sleek white surface
By David Dillon
O
maha is famous for rib-eye steaks and corn on the cob, but not,
it’s safe to say, for white-on-white boutiques with walls and ceil-
ings that bend like origami and an ambience that seems more
Midtown Manhattan than mid-America. But that’s what archi-
tect Randy Brown, AIA, created at Bizarre, a hip gift store in suburban
Omaha that sells lingerie, clothing, jewelry, stationary, and glassware. He
designed Bizarre and two other shops in close succession at the same shop-
P H OTO G R A P H Y : © A S S A S S I
ping center. Each boutique had a bare-bones budget ($130,000–$160,000),
yet collectively they refine a single design idea.
“We were looking for a way to make spaces, surfaces, and fix-
tures into one continuous visual experience,” he explains, “and we hit on
using small paper models to simulate the effects we were after.”
David Dillon, author of 10 books on architecture and urban design, is the
architecture critic of The Dallas Morning News.
PRO JECTS
Brown modeled the place with a sheet of white paper, folded
into a tube and snipped with parallel slits. From this studio exercise came
a long, thin Minimalist interior—21-by-77 feet—in which walls, ceilings,
fixtures, and floors all appear cut from a single white material. As built,
the project replaces the usual jumble of tables and display racks with a
fluid surface that lends the merchandise some of the qualities of art.
Though Bizarre may appear effortless, Brown went through
considerable experimentation in his two earlier shops at this mall to
achieve such elegant purity. First, at Modele, an upscale vendor of
imported leather bags and $400 jeans, the architect aggressively played
refinement against rawness, juxtaposing smooth drywall with concrete
and industrial metal decking, relieved only by two floating drywall planes.
Then, with Madame Suren, a shoe and purse boutique, the interplay
between toughness and elegance became more resolved and the level of
invention higher. Here, Brown transformed a bulky structural column in
 Brown modeled the seamless with its dis-
interior from a single play fixtures (above
sheet of paper (sequen- right and opposite) and
tial strip, prior page and counter (above left)
below). The resulting seemingly cut from one
1 3 built version appears continuous material.

4 1. Checkout counter
2. Display case
2 2 2 2 2 2 2 2 2 2 3. Stair to mezzanine
4. Sales area
N 0 10 FT.
FLOOR PLAN
3M.
 Fluorescent fixtures
tucked along the walls
behind the display
cases impart a soft,
indirect glow. Against
that diffuse light, the
edges of glass mer-
chandise shelves
appear as shiny and
precise green stripes.

the center of the shop into a platform for displaying shoes by extending about merchandise than about light, form, and flow. From the exterior,
the base horizontally almost to the front door—a move that presages the the gentle white glow gets shoppers’ attention, and then the deep, unclut-
nearly seamless integration of wall and display at Bizarre. [For images of tered inner realm draws them in.
Modele and Madame Suren, go to www.architecturalrecord.com.] Ironically, Brown’s role as a local guy with a small office worked to
This final store of the trio takes the ideas even further. Bizarre’s his advantage. Since most of the other mall tenants belong to national
client wanted a clean, well-lighted place that would “look like real New chains with in-house architects and standardized design guidelines, his only
York,” the architect recalls, with merchandise “jumping out at the buyers.” opportunities came from mom-and-pop operations with small budgets.
And she got it. In the long, narrow shop—essentially an extrusion from Fortunately, the clients for all three of his shops had an eye for design and a
the front door to the back wall—the industrial aesthetic becomes nearly sense of adventure, allowing him to try out innovative ideas.
invisible except for a glimpse of the metal struts and return-air ducts in “The situation forced us to keep pushing ourselves, to make each
the ceiling. White epoxy covers the floor. And shadowy voids, created by project better than the last,” says Brown. “If we’d had only one store, we
cuts in the enveloping white plane, replace the bursts of bold color that probably would have done a single exploration. But by the time we got to
accented the earlier schemes. As Bizarre’s floor, walls, and ceiling flow into the third project, the folded-paper idea had become powerful for us. And
one continuous surface, sharp corners vanish. we understood what we could do with ordinary drywall and metal studs.” ■
Everything else about the project becomes streamlined, as well.
At the two earlier stores, Brown tucked the mezzanine to the rear, but Project: Bizarre, Omaha Sources
here, he allows it to rise from the center, sweeping into a dramatic upward Architect: Randy Brown Architects— Paint: Sherwin Williams
curve. U-shaped extensions of the side walls, supported by embedded Randy Brown, AIA, project designer; Hardware: Blum; Schlage
steel rods, form display racks and shelving, with electrical and HVAC Dirk Henke, project architect; Scott Lighting: Halo; Metalux
outlets concealed behind them. Similarly, the shop’s back-of-the-house Newland, Lee Shradar, Brian Garvey, Storefront system: Vistawall
functions, such as storage and wrapping areas, slip out of sight, behind by project team Plumbing: Kohler; American Standard
a two-story plane that runs the length of the sales area. Metal studs: Flex-Ability
The architect describes Bizarre as a “soft space,” less obviously Concepts—Flex-C Trac

156 Architectural Record 09.05

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For large commercial buildings,
operable windows are literally a
breath of fresh air for office workers
CONTENTS
161 Building Science:
Operable windows
171 3D models become
project workhorses
176 Zoom In: Pompidou
Center, Metz, France
179 Tech Briefs
185 Tech Products
C O U R T E SY G O O DY C L A N C Y ( TO P L E F T ) ; C O U R T E SY FA R R O DY N E U S A ( B OT TO M L E F T )
More firms rely on 3D models to win
work and manage data (page 171).
P H OTO G R A P H Y : © R O B E R T B E N S O N P H OTO G R A P H Y ( R I G H T ) ;
A unique assembly system makes a
steel mural in Chicago (page 179).
Architectural
Technology
(page 161)
R
ecent research sponsored by the American Society of Heating, Refrigerating and
Air-Conditioning Engineers proves something we all know intuitively: People
feel more comfortable in buildings that are naturally ventilated. We’re better
able to adapt to a broader range of indoor temperatures if we know we can
open or close the windows. While we can easily do this at home, those of us who work in
large or tall buildings know all too well the feeling of gloom as we step from a sunny, dry
afternoon into a building that’s sealed off from the outdoors and either too cold or too
hot. Thanks to improved facades and mechanical systems, designers are figuring out how
to incorporate operable windows into high-rise construction while mitigating problems
like noise control, rain and dirt intrusion, and humidity control. Check out a few recent
projects demonstrating these new technologies in this month’s lead feature.
In the 1990s, techno-evangelists began talking about how 3D CAD and
global positioning systems (GPS) would revolutionize the way buildings are
designed, documented, and constructed. Today … well, they’re still talking about it,
but the difference is that many more firms are testing the waters, and the tools them-
selves have been enriched with better features. In our second story, several case studies
show a wide range of uses for 3D data, from competition entries to assessing view cor-
ridors for various planning schemes to detecting interferences between structural and
mechanical systems. Deborah Snoonian, P.E.
09.05 Architectural Record 159
 uptown/
downtown/
out of town/

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with OMNIA

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 Commercial Buildings Open Their Windows
WHETHER IT’S A GREENHOUSE OR AN OFFICE BUILDING, NEW TECHNOLOGIES ARE HELPING DESIGNERS
TO PRY OPEN THESE HERMETICALLY SEALED STRUCTURES AND LET IN SOME FRESH AIR

By Barbara Knecht and Sara Hart

ARCH I TECTURAL TECHNOLOGY

T
he option of installing operable windows
in high-rise commercial buildings is rarely,
if ever, debated in the U.S. Conventional
wisdom preaches that pollution, rain, and
noise will infiltrate the envelope if occupants are
allowed to open and close windows at will; ambient
temperatures will be unstable; energy use will be
unpredictable. Operable windows, the argument
continues, will add to construction and maintenance
costs. And the taller the building, the more vulnerable
it will be to all of these negative factors. While it’s true
that severe pressure differences and high-wind speeds
do complicate building design and operation, there
are new ways to mitigate the problems. “There are
nine reasons not to provide natural ventilation and
one reason to do it,” comments Clark Bisel, senior
vice president at Flack and Kurtz in San Francisco,
who is, in spite of the drawbacks, a proponent for The Nolen Greenhouses at the New York Botanical Garden have state-of-the art HVAC systems.
that one reason: People prefer it. They prefer it
because most of them have the option in personal environments. And “The more an indoor environment replicates the environment
researchers are suggesting that productivity improves and energy costs go that humans evolved in, the more comfortable people will find it,” states
down in buildings where the users have control over temperature and David Bearg, an engineering consultant on Indoor Environmental Quality
ventilation. (IEQ), who is regularly called in to fix what has gone wrong in buildings.
However, he is cautious about the challenge that lies in managing the intake
Barbara Knecht is an architect based in New York and Boston. She writes of natural pollutants, such as pollen, and man-made ones, such as vehicle
frequently about building technology and related issues. exhaust. “The problem is compounded by the increasing use of video-
display screens that attract particulates and suppress human blink rates.
Airborne particulates can penetrate deeply into the respiratory system.
CON T I N U I N G E DU CAT I ON
Meanwhile, lower blink rates mean that eyes are more susceptible to irri-
Use the following learning objectives to focus your study
tation.” Mechanical systems are expected to handle heavy pollutants, but
while reading this month’s ARCHITECTURAL RECORD/
the value of user-controlled openings cannot be underestimated.
AIA Continuing Education article. To receive credit, turn
Research by Gail Brager, an associate professor in the
P H OTO G R A P H Y : © R O B E R T B E N S O N P H OTO G R A P H Y

to page 168 and follow the instructions. Other opportuni-

ties to receive Continuing Education credits in this issue include the
following sponsored section: “Low-Slope Commercial Roofing Roof Cover
Boards Provide Outstanding Performance,” sponsored by USG, page 189.
L E AR N I N G O B J ECT I VE S
After reading this article, you should be able to:
1. Discuss high-rise commercial buildings that incorporate natural
ventilation in their mechanical systems.
2. Describe methods of incorporating fresh air into commercial buildings.
3. Explain space planning for office buildings with natural ventilation.
For this story and more continuing education, as well as links to sources,
white papers, and products, go to www.archrecord.com.
Department of Architecture at the University of California, Berkeley,
shows that in naturally ventilated buildings people adapt to changes in
mean outdoor temperature and are comfortable in a broader range of
indoor thermal conditions than are people in air-conditioned buildings.
Her research involved field studies of human behaviors and perceptions
in indoor environments in 160 buildings on four continents and in vari-
ous climate zones. Findings showed that the availability of personal
control over local conditions played a primary role in shifting people’s
thermal expectations.
The research was sponsored by the American Society of
Heating, Refrigerating and Air-Conditioning Engineers (ASHRAE), and
the results were incorporated as the Adaptive Comfort Standard (ACS) to
ASHRAE Standard 55, Thermal Environmental Conditions for Human
Occupancy in 2004. For now, the standard allows warmer indoor temper-

09.05 Architectural Record 161

ARCH I TECTURAL TECHNOLOGY

Nolen growing zones (above ground, creating

Operable roof Greenhouses at right) for the propaga- natural thermal air
the New York tion of hundreds of flows. A Tom Otterness
Botanical Garden thousands of plants. sculpture marks
The new $14 million The dominant techni- the entrance to
Truss member
greenhouses, designed cal feature is the the headhouse, an
Interior glazed by Mitchell/Giurgola operable roof (above administration and a
partition
Architects, are com- left), which opens visitors’ center.
posed of eight unique perpendicular to the

Automatic vertical Operable roof

2 1
lifting vent

Vent motor Shade curtain zone

Evaporative Exhaust fans

cooling pad Evaporative
cooling pad
Drive shaft Automatic vertical
lifting vent
Perimeter radiant
heating pipe
Radiant floor
heating pipe

Evaporative cooling
Galvanized pad tank
steel post

2 1

WALL SECTIONS LONGITUDINAL SECTION

atures in naturally ventilated buildings during summer and in warmer
climate zones, but only when no mechanical cooling is available.
Nevertheless, the findings provide useful data about the experience of
working in naturally ventilated buildings.
Brager points out that the narrow range of comfort temperatures
Kahlen & Partners, and the engineer, Buro Happold, developed the design
based on their runner-up entry in the Commerzbank competition. “The
Commerzbank competition entry was a building in a ‘shroud’ that could
breathe. We explored how to provide conditions that people want and
systems that would make high-rises more environmentally friendly,” says

D R AW I N G S : C O U R T E SY M I TC H E L L / G I U R G O L A A R C H I T E CT S
required by the traditional version of ASHRAE Standard 55 effectively Buro Happold partner Tony McLaughlin. “We built on the principle of

requires more buildings than necessary to be air-conditioned, and has led
to our culture’s addiction to it. Although the requirements were not
intended to create a dependency on air-conditioning, it is very difficult to
meet the current standard’s definition of comfort without mechanical
assistance. The energy costs and environmental consequences of providing
constant and uniform temperatures are significant. The potential for
energy conservation has spurred interest in expanding natural ventilation
to commercial construction, when it is noted that energy costs can easily
account for 20 percent or more of a building’s operating costs.
Two buildings, 10 years apart
The RWE Tower in Essen, Germany, is acknowledged to be the first con-
temporary high-rise to be naturally ventilated. It was completed in 1996
and remains a model of energy efficiency and excellent design. Built as the
headquarters for an energy company, the architect, Ingenhoven Overdeik
P H OTO G R A P H Y : © R O B E R T B E N S O N P H OTO G R A P H Y ;
the ‘air path’ used in the Empire State Building to reduce the pressure dif-
ferential when the windows are opened.”
The RWE Tower is a 29-story, 394-foot circular tower with a
double-skin facade. The external layer is permeable, drawing in and
exhausting air through horizontal bands of openings that alternate at
each floor. The openings, developed by German curtain-wall manufac-
turer Josef Gartner and Company and nicknamed “fish mouths” because
of their profile, were sized according to Computational Fluid Dynamics
(CFD) analysis around the building during peak conditions. [CFD is a
method of modeling air distribution; see record, September 2003, page
165.] The “fish mouths” not only provide ventilation, but prevent driving
rain from entering the building, and restrict vertical sound transmission
through the cavity. The interior layer is permeable, as well, with user-
controlled panels that slide open to allow the mouths to breathe.
The outer skin is made up of clear, toughened, single sheets of

162 Architectural Record 09.05

 The greenhouse
units are modular,
steel-framed trussed
structures. Water
is provided by low-
volume, low-pressure
drip and mist systems.

glass that increase the daylight available to the interior. Clear glass for bet-
ter daylighting is used in conjunction with remotely operated aluminum
blinds for sun protection, which are located in the 20-inch facade cavity.
The circular plan was also chosen to increase the opportunity for occupants
to be near daylight, by organizing the floor plan into relatively small units of
enclosed space, which are generally no more than 23 feet deep from win-
dow to interior wall.
“The building has a displacement ventilation system with a
chilled ceiling [perforated-metal ceiling tiles with tubing through which
CLEAR GLASS FOR BETTER DAYLIGHTING
IS USED WITH REMOTELY OPERATED
ALUMINUM BLINDS FOR SUN PROTECTION.
chilled water passes instead of forced air through ducts], which can handle
cooling for the entire building during periods when the outside air is too
uncomfortable,” explains McLaughlin. It is designed to work in conjunc-
tion with the natural system, shutting off, for example, when it detects
that someone has opened a window within a zone. It is also designed to
monitor outside wind speeds and to sound a warning when they exceed
certain limits, to signal occupants to close the windows. The controls are
immensely flexible in their ability to respond to changing needs or habits
with centralized or decentralized operation of blinds, openings, and the
mechanical system. User responsiveness is relatively simple in this case,
because the building has a single owner/tenant.
Since RWE, an energy company, purports to promote an image
of responsible energy usage, its participation in the experimentation with
natural ventilation in this project has paid off, literally and figuratively. It
saved 30 to 35 percent in energy use over an equivalent conventional
building with a double-glazed, single-skin facade. According to
McLaughlin, who met with the owner not long ago, “The building has
performed very well for them. For us, it is an opportunity to see the excel-
lent results when the architect creates a superior design and the owner is
prepared to do something a little different.”
CYTS Plaza, now under construction in Beijing, demonstrates
that 10 years later, the concept of using a double facade for naturally venti-
lated buildings is still the standard. Designed by Hamburg-based architects
von Gerkan, Marg and Partners and Arup Hong Kong, this 22-story, 246-
foot tower will be the headquarters of a tour-and-travel-services company.
At CYTS, there is a vertical band of louvers in the exterior facade
covered by a side-hinged panel on the interior facade, which individual
users can open and close for fresh air. The building has a decentralized

09.05 Architectural Record 163

 PARTIAL PLAN
ARCH I TECTURAL TECHNOLOGY

CYTS Plaza in
Beijing
Designed by von
Gerkan, Marg and
Partners and Arup
Hong Kong, the 22-
story tower (scheduled
to be completed in
December) will have
a vertical band of
louvers in the exterior
facade covered by a
side-hinged panel on
the interior facade,
which individual users
can open and close for
fresh air.
FACADE DETAIL

forced-air mechanical system, as well. Each floor is divided into halves, and northern California are all examples of places with temperate, non-
with a special ventilation room along the facade that takes in outside air, humid climates that lend themselves more easily to natural ventilation
conditions it, and distributes it by a ceiling fan throughout each half-zone than the east coast and southeast regions of the U.S.” Although more
and into the 15-inch air cavity. Typically, the zone adjacent to the exterior extreme climates have plenty of days when it is delightful to have the

of a building suffers from the most extreme temperature fluctuations. Air
circulation next to the outer skin can reduce solar gain in the summer and
act as a thermal blanket in the winter.
During the spring and fall in Beijing, it is not unusual for own-
ers to turn off the cooling systems in office buildings. During this time,
the ambient temperature depends solely on the circulation of outside air
from the intake rooms, and air brought in through the operable panels. At
times of the year when the mechanical system is operating, users are still
able to open and close the panels, and the system will continue operating.
Two large enclosed atria increase the access to natural daylight and the
effectiveness of the natural ventilation system to reach all the users. The
openings provide a natural smoke extraction system, as well, required by
Chinese code under certain circumstances.
If people prefer it and there are successful models to draw on,
why are naturally ventilated office towers not prevalent in the U.S.? “You
need to understand your climate to embrace natural ventilation,”
remarked Flack and Kurtz’s Bisel. “Northern Europe, northern China,
R E N D E R I N G S : C O U R T E SY V O N G E R K A N , M A R G A N D PA R T N E R S
windows open, places that have longer springs and falls and milder sum-
mers and winters have more incentive to take advantage of the natural
climate in building design.
Space planning and building management are factors that can
support or thwart the effectiveness of natural ventilation systems. The spa-
tial flexibility of a large office floor, typical of so much office construction
in the U.S. that can be reconfigured constantly for ever-changing user
needs, is simply not conducive to the effective employment of user-
controlled natural ventilation. The interiors of these floors will benefit less,
if at all, from naturally ventilated skins. “If you are 50 feet away from an
operable window, you won’t feel much of its effect,” observed Bisel. “Some
enlightened companies reverse the typical office layout and place open-
plan offices at the perimeter and private ones at the interior.” But those
interior offices will not benefit from open windows on the perimeter.
Narrow floor plates, as seen in the RWE Tower and CYTS Plaza, lead to
smaller units of space in which user consensus over thermal comfort will
be easier to attain, and the smaller units of space can be more easily zoned

164 Architectural Record 09.05

 episode 2
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ARCH I TECTURAL TECHNOLOGY

The RWE Tower in bands of openings that

Essen, Germany alternate at each floor.
Ingenhoven Overdeik The “belt” (right) is a
Kahlen & Partners and double-height mechan-
Buro Happold designed ical equipment room.
a circular tower with a The portholes are air
double-skin facade. intakes and exhausts.
The external skin draws The facade ventilation
air in and exhausts it is independent of these
out through horizontal systems.

and coordinated with mechanical systems for energy management.
McLauglin points out that natural ventilation is most successful
when the entire building has an integrated design for energy manage-
ment, most notably in the building details that reduce the overall heat
gain in a building. At RWE, for example, the cavity blinds act as a shading
device to prevent solar gain; the air circulation in the cavity removes the
warm air that the blinds absorb before it can reradiate to the interior.
Increasing the opportunities for introducing natural ventilation into
nonresidential high-rise construction will continue to face design com-
plications, but the challenges are well worth it for the sharp rise in human
comfort and the potential for significant energy savings.
Endless growing season
The newly created Nolen Greenhouses for Living Collections at the New
York Botanical Garden in the Bronx arguably provide the most sophisti-
cated facility for growing plants in the U.S. Designed by New York–based
Mitchell/Giurgola Architects (with Joseph R. Loring & Associates,
Severud Associates, and Langan Engineering and Environmental
Services), the greenhouses represent a complex synthesis of high and low
technologies, in order for hundreds of thousands of plants to thrive and
propagate under an acre of glass.
P H OTO G R A P H Y : C O U R T E SY I N G E N H O V E N O V E R D I E K K A H L E N & PA R T N E R S
“The greatest challenge was to retain and enhance the unique
natural site conditions of this area of the Botanical Garden—rock out-
croppings, beautiful specimen trees, and lawns, while satisfying the strict
solar orientation requirement of the greenhouses, and providing con-
venient and logical visitor and service access,” explains Mitchell/Giurgola
partner James R. Braddock, AIA. “Also, by establishing an appropriate
architectural expression for the headhouse [administration and visitors
center], orchestrating its massing, and creating a counterpoint between
the glass volumes of the greenhouses and the solid volumes of the head-
house, our goal was to make the entire complex more than just an
efficient solution to a series of technical problems.”
The design team began the project with a low-tech strategy,
determining the best siting for the most sunlight. This was accomplished
with a strict north-south orientation. The footprints for eight 36-foot-
long growing zones, occupying 36,000 square feet, were then sited so that
their long axis is exactly oriented to solar north in order to capture max-
imum incident sunlight.
The greenhouse units are modular, steel-framed trussed struc-
tures with glass roofs and side and end walls. The Nolan Greenhouses use
the “greenhouse effect” (capturing and retaining incident solar radiation)
to good purpose. The glazing—1⁄4-inch tempered glass in most areas—

166 Architectural Record 09.05

 captures the sun’s heat in the winter and stores it in massive concrete floors
and knee walls. Whereas solar radiation alone is not sufficient to maintain
the proper growing conditions, this glass allows enormous heat gain and
maximum light with almost no filtering. While this seems counterintuitive
when compared to projects involving the comfort of humans, it certainly
qualifies as a sustainable maneuver, because it is both energy efficient and
meets the requirements of a particular demand, in this case, plants.
The greenhouses feature operable roofs, a technology pioneered
by greenhouse manufacturer Van Wingerden. “When it is necessary to
THE GREENHOUSES USE THE “GREENHOUSE
EFFECT” (CAPTURING AND RETAINING
INCIDENT SOLAR RADIATION) FOR THE GOOD.
ARCH I TECTURAL TECHNOLOGY
weather is appropriate facilitates “hardening off” (the process by which
plants grown in the idealized conditions of a greenhouse are gradually intro-
duced to the variable conditions of the outdoors, in order to make them
strong, hardy, and ready to be planted outside) without having to move
them outdoors. Furthermore, the fact that they open means that heat
removal does not require energy-depleting air-conditioning. When the roofs
open perpendicular to the ground, they create a striking architectural profile.
Overheating is prevented by motor-driven curtains and evapora-
tive cooling. Water is pumped over porous pads that hang along the north
end of each zone. Outside air is drawn over the cooled pads and then
exhausted out the south end by fans. Some zones are further cooled by mist
that is automatically injected into the space and circulated by fans. Both
methods are much less energy consuming than traditional air-conditioning.

During winter months and at night during spring and fall,

release all that captured solar heat in order to maximize ventilation, each
roof section can be opened by electric rack-and-pinion motors operated
through the environmental control system,” says Braddock, unveiling the
complexity of the HVAC’s high-tech functions. When temperature sensors
in a zone indicate that cooling is required (based on criteria programmed
into the environmental control system by the greenhouse operators), the
roof of that zone is automatically opened. Each zone consists of three
ridges with two roof vents per ridge. Each pair of roof vents is operated in
tandem by a single motor.
The ability to open the entire glass roof of each unit when the
energy-efficient hot-water radiant heating is provided for each of the
growing zones. Water heated in boilers in the mechanical room is circu-
lated by pipes embedded in the concrete floors, on the side walls, and
under the glass roofs. According to the manufacturers, this consumes less
energy than traditional forced hot air or radiators.
The Nolen Greenhouses provide a textbook case study about
HVAC challenges in extreme conditions. And yet, there are lessons for
human occupancy of buildings. As all the projects here show, heating,
cooling, and ventilating do not require the highly mechanized, energy-
devouring machinery that we take for granted. ■

A I A / ARCH I TECTURAL RECOR D 5. Energy cost savings in the RWE building are estimated to be which?
CONT INU ING EDUCAT ION a. 10–15 percent
b. 20–25 percent
INSTRUCTIONS c. 30–35 percent
◆ Read the article “Commercial Buildings Open Their Windows” using d. 40–45 percent
the learning objectives provided.
◆ Complete the questions below, then fill in your answers (page 222).
6. To optimize daylight and natural ventilation, the RWE office building has
interior spaces no more than how many feet deep?
◆ Fill out and submit the AIA/CES education reporting form (page
a. 50 feet
222) or download the form at www.archrecord.com
to receive one AIA learning unit. b. 42 feet
c. 23 feet
QUESTIONS d. 14 feet
1. Which is not a reason for incorporating natural ventilation in office buildings?
7. Which climate is most conducive to using natural ventilation?
a. people find it more comfortable
a. nonhumid, temperate
b. productivity increases
b. humid, tropical
c. natural pollutants are added to the air in the building
c. nonhumid, arctic
d. energy costs for the building go down
d. nonhumid, tropical
2. What percentage of a building’s operating costs are normally due to energy
8. The CYTS building uses which for its ventilation system?
consumption?
a. forced air
a. 5 percent
b. ceiling fans
b. 10 percent
c. outside air
c. 15 percent
d. all of the above
d. 20 percent
9. In the CYTS building, when occupants open panels for fresh air, the system
3. In the RWE office building, the HVAC system cools air by which method? does which?
a. forced air a. continues to operate
b. chilled air b. shuts down
c. fresh air c. goes into passive mode
d. fans d. goes into exhaust mode

4. The RWE office building has sensors to detect all occurrences except which? 10. The Nolen Greenhouses store the sun’s winter heat in which?
a. an open window a. panels filled with water
b. internal wind speed b. massive concrete floors
c. heat gain c. thick glass roofs
d. exterior wind speed d. porous pads on the north of each zone

168 Architectural Record 09.05

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No longer just pretty pictures, digital
models are becoming workhorses
SLOWLY, FIRMS ARE STARTING TO COMBINE DIGITAL BUILDING MODELS WITH
WIDER-SCALE GEOSPATIAL DATA AND OTHER INFORMATION AS THEY DESIGN,
ANALYZE, BUILD, AND MAINTAIN THEIR PROJECTS
By Ted Smalley Bowen
A
lthough global positioning systems (GPS), geographic infor-
mation systems (GIS), 3D modeling, and graphics technologies
are standard tools in many design firms, architecture is still exe-
cuted through a somewhat disjointed progression of 2D and 3D
representations of buildings. While this is problem enough for single
building projects, the resulting jumble of spatial and graphical information
makes it especially hard to grasp the details of larger-scale work that
involves campuses, city blocks, and urban development schemes.
But sophisticated design and graphics packages have opened
up formal possibilities, while GPS, GIS systems, photogrammetry
(measuring objects from photos), and laser range finders have brought
greater accuracy to the measurement and representation of buildings,
objects, and spaces in 3D. These tools are helping firms get a better
grasp on what designs are possible, how they will fit into their neigh-
borhoods, and how to build them. As long-time proponents of
building information modeling (BIM) have long pointed out, the
potential benefits of designing with a “master” 3D model (or 4D if the
element of time is added) span all aspects of design and construction,
from project management to maintenance to cost containment and
community review. And while no single company provides a “Swiss
Ted Smalley Bowen is a Boston-based freelancer who writes frequently for
record about technology. Contact him at ted_bowen@hotmail.com.
I M A G E : C O U R T E SY K P F / C I T YS C A P E
Geospatial data and 3D CAD are helping KPF design London’s tallest building. The firm created this image to study the building’s impact on the neighborhood.
A R C H I T E C T U R A L T E C H N O L O GY
F E AT U R E
army knife” tool for 3D design, modeling and project-management
applications are becoming more interoperable, and architects are learn-
ing how to meld these tools into everyday practice. As a number of
firms are finding, such models can improve design, communications,
budgeting, and construction.
Using 3D to stand tall in London
In designing Bishopsgate Tower, which will be London’s tallest building
at 1,008 feet high, Kohn Pedersen Fox (KPF) has had to be keenly sen-
sitive to the building site’s surroundings. The city has traditionally
guarded the view corridors around St. Paul’s Cathedral, Parliament, and
other landmarks, but recent planning decisions have made way for
high-rises that some contend will block key sight lines. Because of these
concerns, the tower’s design has been thoroughly analyzed and
reviewed to determine its visual impact and to otherwise check its com-
pliance with relevant codes and standards. The project was
commissioned by the German developer and fund manager DIFA.
On this project and others, KPF has made extensive use of 3D
visualization and modeling software along with geospatial data,
according to Lars Hesselgren, KPF’s London-based research director. To
aid in conducting site studies, KPF worked with a 3D city model of
London generated from a traditional map, photogrammetry, laser-point
clouds derived from a scanning of site features, and radio triangulation
09.05 Architectural Record 171

F E AT U R E
A R C H I T E C T U R A L T E C H N O L O GY
KPF created 3D models of Bishopsgate Tower in London for study and design
purposes: A view of the tower (above center) from the Tate Modern Gallery
across the Thames River; the entry (below) from the adjacent Crosby Square.
data (which is similar to GPS, but uses radio signals instead of satellite
transmissions to gather and transmit information).
Although the data collection involves many pieces of software
and equipment, the process is far from automated. “The problem is how
to convert spatial data into comprehensible models,” he says. “You
always need an operator to interpret the data into usable geometry.”
KPF uses its 3D models in the production of photographic montages,
animations, and fly-throughs, according to Hesselgren. Linked to a
parametric model containing more robust design data instead of just
geometric information, the 3D model aids real-time design, he adds.
Such models are also used to establish a building’s visibility, by placing
a light source on a given structure and shining it onto an eye-level
ground plane, he said.
In five to ten years, it should be possible for a person wearing
specially equipped virtual-reality glasses to view a landscape or cityscape
with an overlay of geospatially correct CAD information for projects,
according to Hesselgren. “That direct input will bypass a huge amount of
172 Architectural Record 09.05
the other technology we’ve been talking about,” he says. Like many firms,
KPF is aiming to use 3D models for centralized management of building
information. “As it is, there’s a huge amount of double handling,”
Hesselgren says. “Everyone uses different CAD packages, and communi-
cation depends on everyone using the same software.” Since 1995, the
International Alliance for Interoperability (IAI) has been working to
establish standards for interfaces between software programs to combat
this problem. Its members have hashed out Industry Foundation Classes
(IFCs) for sharing digital design data and other project information
among applications, and vendors like Graphisoft, Autodesk, and Bentley
Systems have added support for the IFCs to some of their software. Like
any effort to create standards, the gains have been slow in coming, but
there’s evidence that their work is making inroads, with the General
Services Administration (GSA) soliciting information on the use of IFCs
earlier this year, and countries like Norway and Malaysia adopting meth-
ods for sharing digital design information based on IFCs.
A research center comes together in virtual and actual space
In working with Frank Gehry on the Walt Disney Concert Hall in Los
Angeles and Daniel Libeskind on the expansion of the Denver Art
Museum, Seattle-based design and construction firm M.A. Mortenson
Company makes extensive use of 3D and 4D design and visualization
programs, including Revit, formZ, ArchiCAD, and others. The firm is
now handling the design, construction, and maintenance of the
(LEF T T WO); M.A. MORTENSON COMPANY
University of Washington’s new research and technology building in IMAGES: COURTESY KPF/CIT YSCAPE
Seattle. The project provides an opportunity to take advantage of mod-
eling and visualization applications, according to design coordinator
(RIGHT AND OPPOSITE THREE)
Dace Campbell. “Contractually, our partners are vested in making this
work,” he says. “Everyone’s building a 3D model—the mechanical sub-
contractors, electrical and construction workers, the architect, civil and
structural engineers, all in their own flavor of CAD. We’re the nonde-
nominational data consolidator.”
Mortenson is using the 3D model and Primavera scheduling
software to coordinate the project. “We’re doing visualization over time—
kind of a poor man’s animation,” he says. Campbell himself is the human
hub for the project, but subcontractors, tradespeople, and clients are
using the tools on their own. Working in 3D allows the trades to coordi-
nate their tasks, improve logistics, and increase the use of prefabricated or
modular components.
At the job site, Mortenson is issuing stereoscopic goggles to the
builders for viewing models. “We’ve got iron workers looking at details
with 3D glasses on. Everything’s dimensionally accurate,” he says. Using
GIS data from the university’s survey grid, surveyors are able to trans-
late the model to the building site. “It’s automatically being built just as
it’s designed, which greatly reduces error,” he says.
The 3D models also improve m/e/p coordination, making it
easier to detect conflicts and therefore save money on costly fixes. So far,
the project team has detected about 1,500 conflicts, ranging from those
as minor as pipes being aligned too closely to as large as entire m/e/p
systems in conflict around stairs, says Campbell.
The firm has a 10-year goal to save 30 percent in labor costs, a
major portion of which is expected to come from better design coordina-
tion. “The idea is to avoid redoing work,” he says. “Most injuries are related
to rework, when things are hurried and less planned.” The technology is
also forcing a shift in job skills, requiring people to be able to adapt to new
ways of collecting, viewing, and using data. “Whether you can work in 3D
or not will be a divider in the industry [in the future],” says Campbell.

For a research and (below). Color-coding

technology center at the ductwork and
the University of other m/e/p systems
Washington, M.A. (above and left) helps
Mortenson is bringing designers take note
together a 3D building of possible conflicts
model (opposite, right) with other building
with scheduling data elements and correct
to create a visual time- them before mistakes
line for construction are made in the field.

Making models work—for both design and practice

City models created in 3D software are also becoming routine compo-
nents of major design competitions. In preparing their entry for the
GSA’s Thurgood Marshall U.S. Courthouse renovation in New York, the
Boston firm Goody Clancy was given digital 3D models of several parts
of the city, says David de Sola, AIA, an architect at the firm. (The con-
tract for the project ultimately went to Beyer Blinder Belle.) Like KPF,
Goody Clancy is also looking to 3D modeling for building information
management and cost estimating. “When we model in 3D, we can get
volumes and amounts of materials, and we can start on a cost model,”
he says. “And when we present it to people to show them what we’ll get,
it makes sense to them.”
The firm is looking at WinEstimator, Revit, and e-SPEC as off-

09.05 Architectural Record 173

 Researchers delve into 3D modeling studies
F E AT U R E
Academic powerhouses are turning out some of the leading-edge
research in 3D modeling, including large-scale image capture, spatial
orientation, visualization, and methods of populating building models
with relevant, up-to-date information.
A R C H I T E C T U R A L T E C H N O L O GY
At MIT, researchers are mapping and navigating 3D environ-
ments at scales from building interiors to city blocks (below). A key
element of their work involves building topological models using
geospatial coordinates. Position-aware sensors can be installed in a
space for environmental monitoring, security, or other purposes, and
users can add extra data associated with specific locations in a
model, such as contractor instructions or results of occupant surveys.
Researchers are capturing most exterior images with GPS instru-
ments, traditional surveying equipment, as well as “dead reckoning”
(heading and speed) data. Interiors (and exteriors beyond the reach of
GPS) are mapped using MIT’s Cricket Indoor Location System, a radio
frequency and ultrasound positioning system accurate to within a
couple of inches. “You can get the appearance of a small number of
city blocks by collecting data manually and using laser, still images,
and video. But the geometry is in appearance only,” says Seth Teller,
associate professor of computer science and engineering and lead
investigator of MIT’s City Scanning Project. Existing data has to be
merged with the mere geometric information of the model, Teller says.
Rapid image capture merged with geospatial data is finding a
variety of applications in design. Architects and planners have been
using the data to conduct
solar studies, energy model-
ing, tax assessment, and
emergency services planning.
“It’s not only about modeling
spaces, but also enriching
those models with critical
information,” he says.
The maps and associated
data, stored in a database, are available remotely and on-site through
GIS-style maps. A variety of applications that run on handheld
devices, for tasks like building inspection, maintenance, and project
management, will allow real-time access to data in the field, accord-
ing to Teller. Users (or robots, eventually) can modify information while
on-site. “You can start making useful annotations even without an
object model, and that model can come into being as part of the nat-
ural process of adding annotation.” Add a projector to the handheld,
point it at a wall, and you can “see” hidden structures by displaying
details from the model on their corresponding physical locations; or
mark construction materials with radio frequency tags, and “you could
have an as-built on the fly, as a side benefit,” he says.
It’s becoming easier to generate photorealistic GPS-oriented 3D
models of city blocks, too. Such mapping is finding its way to the Web
through the likes of Google and Amazon, which are beginning to link
search results with images of places. Stanford University’s Google-
sponsored research involves generating panoramic street-level views
from video and laser measurements. The University of California,
Berkeley is also working on 3D city modeling, using aerial and ground-
level laser scans and photographs.
While the speed and accuracy of data-collection tools continue
to improve, the challenge is to anchor the swirl of spatial and image
data in coherent, consistent frameworks, so that architects, planners,
or even consumers can make use of the results. T.S.B.
174 Architectural Record 09.05
Goody Clancy’s design for the Thurgood Marshall U.S. Courthouse in New York
was set into a 3D map of the city provided to firms entering the competition.
the-shelf components of a building information management system,
along with some proprietary software for what de Sola calls “the ten-
dons and ligaments” to help the packages work together. Maintaining a
central 3D model for each project is attractive, but also raises the ques-
tion of who hosts it and how to hash out access among project team
members. In the meantime, the designers are making extensive use of a
simpler 3D package, SketchUp. “It gets you into realistic 3D representa-
tion fast. Anyone can understand the drawings, and almost everyone
can use it,” he said.
Many firms are expressing interest in 3D and 4D mapping and
modeling for project logistics, according to Paul Seletsky, digital design
director for Skidmore, Owings & Merrill in New York and chair of AIA
New York City’s technology committee. “You have to be able to look at
I M A G E S : C O U R T E SY M I T A R T I F I C I A L I N T E L L I G E N C E L A B O R ATO R Y ( L E F T ) ; G O O DY C L A N C Y ( R I G H T )
what’s around a given site, figure out how to stage delivery of materials
and equipment, and how that might affect the surroundings,” he says.
Although they’re too costly for many firms, immersive displays like
those used in the automotive industry will eventually migrate to the
AEC community, Seletsky believes.
Over and above the challenge of developing coherent, accurate
3D representations of structures, this work typically falls outside the
FIRMS ARE USING A WIDE VARIETY
OF 3D MODELING PACKAGES IN LIEU OF
SETTLING ON A SINGLE PACKAGE.
scope and budget of most projects. “You can’t ask for extra work from
designers without giving them more time and money to do it,” says Seth
Teller, associate professor of computer science and engineering at MIT,
whose office is in Frank Gehry’s Stata Center and who compiled time-
lapse sequences of the building’s construction (see images online at
monitor.csail.mit.edu/index_flash.html).
Equally important is not losing sight of design fundamentals.
“You need to have people who understand the information they’re
given,” Seletsky says. “When you look at the scan of a site, can you
understand what the site’s about? You need to know things like the loca-
tion of utilities, underground transport, and nuances in soil conditions.
It’s not just about graphic skills.” Painters may paint what they see, but
future architects have a lot more on their plates: They will not only
design, but they will also model, analyze, annotate, build, and maintain
their creations. ■
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 Zoom In
A R C H I T E C T U R A L T E C H N O L O GY

In France, another Pompidou Center takes shape

By Deborah Snoonian, P.E.

The brashly exposed systems of Rogers and Piano’s original

Pompidou Center in Paris captured the attention of critics
when it opened in 1977, but it’s the draped sculptural roof
of the center’s planned outpost some 200 miles east of the
City of Lights that’s getting the wows this time around.
Inspired by the shape and texture of a woven Chinese hat
he found in Paris, architect Shigeru Ban, working with Jean
de Gastines and engineers at Arup, envisioned a free-form
roof made from modular hexagonal cells of timber, measur-
ing about 3 feet long on each side. The resulting mesh
structure will be capable of spanning distances up to 130
feet, enabling the roof to be supported by just a few
columns near the building’s perimeter. The design team is
still finessing how exactly to build it. “It’s an exercise
somewhere between form-finding and form-making,” says
Ban. Planners hope the new Pompidou Center, slated to
open in 2008, will draw tourists to Metz, which is near the
borders of Germany, Luxembourg, and Belgium. ■

Auditorium Exhibition galleries

Central spire

I M A G E S : C O U R T E SY S H I G E R U B A N A R C H I T E CT S E U R O P E
Air-handling system

Lobby/entry

176 Architectural Record 09.05 AXONOMETRIC WITH AIR-HANDLING SYSTEMS

The curvaceous roof of
the new Pompidou
Center (this page, bot-
tom, and model shot,
opposite, top) will be
constructed of a mesh
of laminated timber
and topped with a heat-
reflecting, white
fiberglass waterproof
coating. Three long,
rectangular exhibition
galleries stacked on
top of each other ter-
minate in glazed ends
that provide panoramic Spire to rise 253 feet tall
in honor of the 1977 opening of
views of a new high- the original Pompidou Center in Paris
speed train station,
the nearby Seille Park,
and the skyline of the
growing Metz region.

Exhibition galleries
are column-free and
self-supporting, like bridges

Roof structure will be

composed of a mesh of
modular hexagonal
elements that can span
more than 130 feet

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 Tech Briefs The design community responds to NIST’s recommended changes based on
the agency’s study of the WTC collapse New framing and fasteners help a mural in Chicago come together
BYTES
ASHRAE recently kicked off a study
that will assess the link, if any,
between thermal comfort and energy
efficiency. The goal is to determine
whether drifting indoor temperatures
that sometimes result from energy-
saving strategies have an effect on
health and productivity. The project will
last 18 months and cost just over
$100,000.
Constructware, a maker of online proj-
ect communication and collaboration
software, recently developed a com-
munication specification that spells out
roles and responsibilities for project
teams as they exchange design docu-
ments and data. The specification can
be used as the basis of a contractual
agreement involving communication.
Three of the company’s clients have
adopted it so far.
A thermal power station called the
Solar Tower will be built in 2006 by the
Melbourne-based EnviroMission
Limited on a former sheep farm in the
Australian outback. It will consist of a
25,000-acre transparent circular solar
I M A G E S : C O U R T E SY N AT I O N A L I N S T I T U T E O F S TA N DA R D S A N D T E C H N O LO GY
heat collector at the base, topped by a
3,280-foot hollow tower equipped with
32 wind turbines. Planners estimate it
will produce enough electricity to
power 200,000 homes every year.
Throughout August and September,
government scientists will release col-
orless, nontoxic gases in New York
City’s subways, an office building, and
select streets to determine how fast
and far a chemical attack would prop-
agate. The study is being conducted by
the Urban Dispersion Project, a pro-
gram of the Pacific Northwest National
Laboratory.
A group called Waste Concern in
Dhaka, Bangladesh, will convert the
capital city’s garbage into organic
fertilizer and will harvest the methane
it produces to generate electricity.
•
WTC investigators’ recommendations set
agenda for change, but provide few answers
The final draft report on the investi-
gation into the fires and collapse of
the World Trade Center (WTC) tow-
ers after the terrorist attacks of
9/11 is chock full of recommenda-
tions—30 in all—meant to address
improvements to standards, codes,
and practices, evacuation response
procedures, and research needed
to prevent failures of high-rise build-
ings in catastrophic events. But
the recommendations have left
some in the design community
befuddled, including the AIA, with
many saying the report’s findings
are either too broad in scope or
misguided because they are based
on the result of a unique disaster.
Mandated by an act of
Congress, the investigation by the
National Institute of Standards and
Technology (NIST) National Construct
Safety Team took nearly three years
and $16 million to complete. The
final draft was released on June 23;
public comment on the recommen-
dations closed on August 6. “We
believe these recommendations are
realistic and achievable within a rea-
sonable period of time and should
greatly improve the way people
design, construct, maintain, and use
buildings, especially high-rises,” said
the report’s lead investigator, Shyam
Sunder, at its release in New York.
“The irony is that none of the
recommendations are specific or
quantitative in nature,” says Ron
Klemencic, president of Seattle-
based structural engineering firm
Magnusson Klemencic Associates.
Klemencic, who is
chairman of the
Chicago-based
Council on Tall
Buildings and Urban
Habitat (CTBUH), says
the investigators
essentially “created a
laundry list” of topics.
“But for the money
spent, one would hope
the recommendations
would have been
more substantive.”
According to Carl
Galioto, FAIA, a part-
ner at Skidmore,
Owings & Merrill
in New York and architect of record
for 7 World Trade Center and the
Freedom Tower, “The report is not so
much a conclusion, but a direction.”
The recommendations are
divided into the following eight
groups: increased structural
A R C H I T E C T U R A L T E C H N O L O GY
NIST research staff (left) inventory
the steel recovered from the col-
lapsed World Trade Center buildings
(digital model below).
integrity, enhanced fire resistance of
structures, new methods for fire-
resistance design of structures,
active fire protection, along with
improved building evacuation, as well
as improved emergency response,
improved procedures and practices,
and education and training.
Many of the recommendations
“are simply common sense in terms
of fire and life safety,” while others
are already common practices, says
Raymond Clark, AIA, managing prin-
cipal in the Chicago office of Perkins
+ Will. A case in point is recommen-
dation No. 11, which advocates
evaluating of the performance and
suitability of advanced structural
steel, reinforced and prestressed
concrete, and other high-perform-
ance materials for use under
conditions expected in fires. That’s
already being done, says Clark, who
is chairman of the
Chicago Committee
on High-Rise
Buildings, an organi-
zation affiliated with
CTBUH that is focused
on the design, con-
struction, operation,
and maintenance of
high-rise buildings in
the Windy City.
The general
nature of many of the
recommendations is
“due to the fact that
they are taking this
catastrophic event
and trying to come
up with specific recommendations,”
says Clark. “Although the recom-
mendations seem sensible in the
context of the tragic result, there’s
no correlation to other buildings.”
He disagrees with recommendation
No. 1, for instance, which calls for
09.05 Architectural Record 179
 Tech Briefs the design of skyscrapers to accom- into these projects. In the Freedom
A R C H I T E C T U R A L T E C H N O L O GY

modate full-building evacuation of Tower, for instance, the designers

occupants if needed. “I don’t know are using the “structural frame”
how you can make that recommen- approach to fire-resistance rating,
nationwide adoption of standards The AIA responded to several dation as policy without exercising where columns and the girders

and codes to prevent progressive
collapse. While sensible in theory, he
says, changing the codes would not
have prevented the collapse of the
twin towers or the Alfred P. Murrah
Federal Building in Oklahoma City,
which collapsed in April 1995 when
Timothy McVeigh bombed the U.S.
Government complex. Klemencic
agrees that preventing progressive
collapse is a “nice
statement,” but “we
need to define what the
hazards are going to be,
and what type of build-
ing response to those
hazards we’re willing to
accept. Until we can do
that, it’s difficult to do
any rational engineer-
ing, and [attempts to
change standards]
become an otherwise NIST conducted fire tests to assess the accuracy
emotional response.” of computer models of the tower collapses.
points in NIST’s report, saying the
agency’s concerns about redundancy
in fire protection are valid only in
rare cases, and that specific fixes
like making stairwells wider and
hardening elevator shafts can actu-
ally backfire depending on the type
of emergency that a building faces.
Clark takes issue with recom-
mendation No. 17, which calls for
P H OTO G R A P H Y : © C O U R T E SY N AT I O N A L I N S T I T U T E O F S TA N DA R D S A N D T E C H N O LO GY
reasonable judgment and taking that brace them have the same fire
into consideration the specific build- rating. The tower also will use a
ing,” he says. The recommendation cementitious, medium-density
contradicts the fundamental spray-on fireproofing material that
philosophies of building evacuation has more than five times the cohe-
that have been in place and proven sion and adhesion as code requires,
to save lives for decades. Standard which meets NIST’s recommenda-
practice is that of “hold in place,” tion for development of fire-resistant
says Clark, meaning that the floor coating materials and technologies.
on which the emergency is located Both 7 World Trade Center and
and those around it are evacuated, the Freedom Tower will also use
while other floors are not because redundant sprinkler systems, and
the building’s systems are designed the Freedom Tower will contain an
adequately to protect occupants. emergency access core comprising
The design team for 7 World a group of service elevators with
Trade Center and the Freedom equipment that is protected against
Tower anticipated some of the rec- water damage, which open onto a
ommended code changes in the service vestibule that is fire rated
report, as well as in New York’s and pressurized to mitigate against
recently enacted Local Law 26, smoke intrusion.
which included changes to Big Apple For more on NIST’s draft report
codes relating to tall buildings, says and recommendations, go to
Galioto. The team has incorporated http://wtc.nist.gov. Larry Flynn
many of the measures NIST noted (continued on page 182)
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 Tech Briefs
A R C H I T E C T U R A L T E C H N O L O GY

Unique assembly makes a new mural possible

The latest stop on one of Chicago’s
architectural tours isn’t a building,
but rather a 3D mural commis-
sioned by the Catholic Charities of
Chicago and attached to the group’s
headquarters. The Chicago-based
fabricator Farrodyne USA built
The Mandatum (Latin for mandate),
which came together with a number
of new assembly and construction
techniques.

The “shadow mural” depicting
a Biblical scene and Catholic lead-
ers, measuring 153 feet long and
33 feet high, consists of hundreds
of slender, vertical strips of alu-
minum that cast a shadow on the
wall behind them. The 21-foot-long
strips, each watercut and unique in
shape, are attached to aluminum
panels using a “bedframe” tech-
nique, so called because hooked
tabs on each strip slide into place
like bed rails on the panels. The
strips are secured to the panels with
camlock fasteners that Farrodyne
designed for the project, and the
panels attached to the building’s
structural steel. This assembly
allows the mural to accommodate
thermal expansion and permits
each strip to be removed individually
when repairs are needed. The effort
won Farrodyne a 2005 Construction
Technology Award from the
Construction Specifications Institute
(CSI). Deborah Snoonian, P.E.
P H OTO G R A P H Y : C O U R T E SY FA R R O DY N E U S A
The Mandatum depicts a Biblical
scene and portraits of Catholic
leaders (top and above). Its metal
strips (above left) are attached to a
frame with special fasteners.

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 Tech Products
By Deborah Snoonian, P.E.
MicroStation V8 XM edition
Bentley Systems
www.bentley.com
Windows only
Bentley’s upgrade of its design soft-
ware for architects includes four
major improvements: a new graphic
interface; a customizable, structured
workflow that offers users a stream-
lined subset of tools for each design
task; a structured view of projects
and files that users can navigate to
create links within and between
projects, and track things like plot
sets and deliverables; and finally,
the ability to create a PDF file of a
project’s documents—CAD files,
3D animations, even Word docu-
ments—with a single mouse click.
The resulting PDF file, much less
hefty in size than the group of files
used to create it, is well suited for
client review and project archiving.
Acrobat Professsional 7.0
Adobe Systems
www.adobe.com
Windows and Mac
Adobe is making a play for this pop-
ular format to become the de facto
information exchange standard for
the AEC industry. Their upgrade to
I M A G E S : C O U R T E SY B E N T L E Y SYS T E M S ( TO P T W O ) ;
A D O B E SYS T E M S ( M I D D L E ) ; KYO C E R A ( B OT TO M )
Acrobat Professional lets users save
several common AEC file types as
single PDFs that can be shared,
reviewed, marked up, updated, and
ultimately archived. Firms like
Perkins Eastman have been using
it on tablet PCs to mark up and
manage drawings in the field; other
For more information on technology
for architects, including
reviews, vendor lists, and links, go
to Digital Architect at
www.archrecord.com.
A R C H I T E C T U R A L T E C H N O L O GY
Document and manage your designs
testimonials posted on
Adobe’s Web site by its
AEC customers note
enough productivity gains
and savings to make a
case for at least testing a
PDF-based workflow.
Solar Trees
Kyocera
www.kyocera.com
Your car won’t take a
pounding by the sun if
you park under one of
these “trees,” a new pho-
tovoltaic (PV) system consisting of Microstation V8 XM
modules of solar panels mounted edition offers a new
on supports. The first installation of user interface that
the system, dubbed the “Solar better matches fea-
Grove,” was dedicated last June at tures with tasks.
Kyocera’s North American head-
quarters in San Diego. The grove
produces 421,000 kilowatt hours of
electricity per year, the equivalent of
the demand of 68 homes in the San Acrobat Professional
Diego area. Local architecture firm 7.0 lets designers save
Tucker Sadler designed the grove, all types of project
which will pay for itself in about 12 files to compact, user-
years with rebates and tax credits friendly PDFs.
(not a great payback period, but
with energy prices on the rise, some
clients may be convinced).
Excelize Detail Manager
Excelize
For surface parking
www.excelize.com
lots, a systemized
Windows only
solar panel structure
by Kyocera generates
Ever want to reuse a CAD
power and keeps cars
detail or object from a previ-
cooler.
ous project, only to discover
you can’t find it among the
detritus on your hard drive or
server? This new database
program aims to bring those
files to your fingertips quickly
and easily. It allows you to
09.05 Architectural Record 185

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Tech Products
Frequently used details, drawings, and compo-
nents are organized easily in Detail Manager.
consolidate CAD files within a single interface,
and search them by file name, keyword, or other
parameters you find helpful.
Praesto AE
Base Builders
www.basebuilders.com
Windows only
Base Builders developed Praesto, a database pro-
gram, to take the hassle out of mundane tasks
faced by AEC firms like job tracking, project man-
agement, and proposal development. Information
such as hours worked, materials used, and status
reports can be entered into Praesto and later
used for such tasks as creating time sheets,
generating invoices, and establishing project
schedules. While it lacks the punch needed to
handle payroll or accounting, it allows project
managers to prepare and submit invoices for
their projects without having to access a firm-
wide accounting system—which both saves time
Project management, job tracking, and
task histories can be captured in Praesto,
a database program tailored for AEC firms.
VisionREZ features built-in
house styles and object
libraries of building features
commonly used by residential
architects.
and helps prevent sensitive financial information
from falling into the wrong hands.
VisionREZ 3.0
Ameri-CAD
www.visionrez.com
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 Special Advertising Section
A I A / A RC H I T E C T U R A L R E C O R D
CONTINUING EDUCATION Series
USG PRESENTS

LOW-SLOPE COMMERCIAL ROOFING

ROOF COVER BOARDS PROVIDE OUTSTANDING PERFORMANCE

By: Robert C. Grupe, CSI

C
Director, Architectural and Technical Solutions over boards have been a standard component within roof
USG Corporation assemblies for more than 20 years, and were developed to
enhance the performance of virtually every type of roof system.
By: Kurt J. Goodfriend, P.E. By: Colin Murphy, RRC, FRCI The use of this relatively thin component, which is typically placed
Senior Technical Staff President between the roof insulation and the roof membrane, enhances fire
USG Corporation Exterior Research & Design, LLC resistance, increases wind uplift performance and provides greatly
improved resistance to hail and foot traffic.
CONTINUING EDUCATION The evolution of the cover board began with the inception of fluted
Use the learning objectives below to focus your study as steel decks as a roofing substrate. Early roof deck types – including
you read Low-Slope Commercial Roofing: Roof Cover wood, concrete and gypsum – are flat, providing a bonding or nailing
substrate for the first layer of roofing. The base sheet, as it
Boards Provide Outstanding Performance. To earn one
is called, can be nailed or adhered to the flat surface to form the first
AIA/CES Learning Unit, including one hour of health, safety, and layer of the roof assembly. By contrast, a profiled steel deck is formed
welfare credit, answer the questions on page 193, then follow the in a variety of configurations, with varying modules of voids or valleys,
reporting instructions on page 223 or go to the Continuing called flutes. Deck modules1 range from 2-1/2 to 6 inches across,
Education section on archrecord.construction.com and follow providing a regular pattern for attachment.
the reporting instructions. In order to attach a roof assembly on the profiled deck, some
type of flat board is needed to create a bonding surface. Years ago,
LEARNING OBJECTIVES such boards were formed from cork. The cork boards were bonded
After reading this article, you should be able to: to the top flanges of the steel deck with asphalt, over which the roof
• Understand how cover boards enhance the performance of commercial
assembly could be applied. The cork provided a solid walking
roofing systems and assemblies.
surface, a good bonding substrate, some thermal insulation value
• Identify several distinct cover board product types and their
and could be cut to slope for drainage purposes.
installation advantages.
Later, other cover board materials entered the market. These mate-
• Evaluate important criteria when specifying cover boards for different
rials were lighter and more fire resistant, and included expanded per-
environmental conditions.
lite, wood fiber board, exterior-grade gypsum and fiberglass insulation.

Low-Slope Commercial Roofing 189

 A I A / A RC H I T E C T U R A L R E C O R D Special Advertising Section
CONTINUING EDUCATION Series
Courtesy of USG Corporation.
With the introduction of foamed plastic insulation, cover boards
took on a dual role – providing a fire barrier between the steel deck
and the plastic insulation and serving as a suitable bonding layer
above the insulation. Foamed insulations, such as urethane, extruded
polystyrene and polyisocyanurate, fast became the insulation of choice
due to their light weight, fairly good dimensional stability and ease of
forming into a tapered material. Both foamed insulation and cover
board materials were used in combination to form a slope.
Events of the 1980s
T significant events occurred in the 1980s that further advanced
Two
the use of cover boards.
1. The determination that application of hot asphalt or coal tar
directly over foamed insulation could result in blistering2.
2. A change to Factory Mutual (recently renamed FM Global)
Standard 4470 requiring that all insulation be mechanically
attached to the steel deck substrate prior to the application
of an FM-approved roof assembly.
Significantly,
y the use of mechanical fasteners and stress plates
creates thermal shorts within the insulation. In colder climates,
interior condensation forms when the warmer air around the metal
fasteners is cooled by the colder exterior temperatures, resulting in
moisture formation on the fasteners. The condensed moisture then
drips into the interior and rusts the interior components of the screw.
This problem was solved in a variety of creative ways, such as
recessing the screws into the stress plate hub, the use of plastic
fasteners and the application of a cover board over the foamed
insulation to act as a thermal break between the cold exterior and
the warm interior.
As a result of these developments, cover boards became a standard
component in commercial roof assemblies. In addition, competing
board manufacturers began to promote the use of particular cover
board types for their abilities to enhance the performance of specific
roof systems.
Comprehensive rounds of wind uplift and fire testing have
confirmed the claims of better performance characteristics with the
use of some cover boards. Some new cover board materials, including
oriented strand board (OSB) and water-resistant gypsum board,
entered the market and further broadened the options of interface
materials. Materials less than 1/2-inch thick also became available,
some of which offer performance characteristics similar to boards with
twice their thickness. These options were particularly economical
when adhered with hot asphalt or cold adhesive.
190 Low-Slope Commercial Roofing
Recent Cover Board Developments
In the 1990s, FM Global expanded the uplift ratings of approved
roofing systems to include enhanced ratings well above the 90 psf
threshold typical before that time.
Furthermore, the protocol for testing these systems was changed
from the conventional 5- by 9-foot test table to a much larger 12- by
24-foot table. The larger table minimizes the contribution of the
perimeter frame to the tested assembly performance and makes
passing at higher pressure levels more difficult. Hence, minor
components within the roof assembly, y such as mechanical fasteners
and cover boards, came to play a key role in advancing the
performance of roof assemblies.
Besides increased fastener densities to improve uplift performance,
engineering of newer fasteners and the use of more types of cover
boards created a wide variety of enhanced wind uplift systems
available to the market.
The lessons of Hurricanes Hugo and Andrew that devastated
the Carolina and South Florida coasts have led to more frequent
specification of enhanced systems. In the case of South Florida,
these enhanced systems became a requirement under the new
South Florida Building Code.
Code changes have led to the current published inventory of
enhanced high-wind uplift systems, which are supported by credible
third-party testing. Cover boards have become a critical component in
these assemblies, and quantifiable advantages of one cover board over
another have been established. Cover board manufacturers invested
significant money in testing to prove the threshold capabilities of their
boards. Assemblies incorporating thinner boards, fewer fasteners and
less adhesive were tested to maximize performance and minimize
costs.
Increased use of cover boards over extended periods of time
has revealed problems with some cover boards that are sensitive to
moisture degradation. In some cases, minor leaks from the exterior
and rising vapor from the interior would condense at the roof
membrane (with a relatively low permeability) and wet the cover
board materials. Rot, collapse and general deterioration of the cover
board would follow, requiring the removal and replacement of the roof
membrane, cover board and, in some cases, the underlying insulation.
Even some cover boards touted as water resistant experienced
degradation. The water-resistant cover board materials were not
necessarily waterproof, but were being used in hostile environments
where the boards were destined to fail. In some cases, the water-
resistant board was installed in designs where moisture would
clearly be present, such as the reroofing of roofs with wet and
even saturated insulation.
These experiences led to formulation changes in core materials
and the development of surface coatings to limit moisture-related
Standard Cover Board Application
ROOF BOARD IS PLACED DIRECTLY
L BELOW THE ROOFING MEMBRANE, PROVIDING THE
PRIMARY SUPPORT FOR THE MEMBRANE AND PROTECTING THE UNDERLYING
L INSULATION
A
LAYER
A T ATION AND FOR THE SERVICE LIFE OF THE ROOF.
FROM DAMAGE DURING INSTALLA
membrane
roof board
rigid
g foam insulation
metal deck
steel joist
j
 A I A / A RC H I T E C T U R A L R E C O R D Special Advertising Section
CONTINUING EDUCATION Series
problems, reduce the quantities of adhesive required to apply
membranes and enhance adhesion performance. The cost of cover
boards increased as more features were added to improve perform-
ance levels.
As often happens in the evolution of a product, manufacturers
offer enhancements or add-ons for improved performance.
Competition eventually develops from products that combine the
add-ons into the basic product, creating a single product that meets
a variety of needs. These advancements reduce inventory for the
distributor and minimize the potential of using the wrong product in
the wrong application.
Besides wetting issues, some gypsum-based products were known
to experience limited moisture release as a result of the application
of hot asphalt, especially the Type
T IV asphalt used in SBS (styrene
butadiene styrene) membrane applications.
The core of gypsum-based products is composed of a matrix that
chemically binds water within the molecular structure of the gyp-
sum. At elevated temperatures, the chemical process known as cal-
cination releases the chemically bound moisture at the cover board
surface. Sufficient water can cause blistering of the base membrane
as it is applied directly to the cover board, especially if the base
membrane is impermeable.
Newer fiber-reinforced, gypsum-based products have been
developed to overcome this problem, and are now compatible with
the application of Type
T IV asphalt, as with the installation of
impermeable membrane systems directly over the cover board.
The use of a cover board has evolved from its initial function as a
flat surface in a profiled metal deck to serving as an essential
system component that enhances the capability of virtually every
roof system in resisting wind, hail, fire and foot traffic.
Newer cover boards are being developed that will further extend
their use, even in some more hostile environments. Thinner, r denser
boards have been created to replace older materials that required a
greater thickness to provide similar or better performance levels.
Recent trends in cover boards include the creation of more
water- and mold-resistant boards that provide excellent adhesion
for fully bonded systems. Hot asphalt, solvent- and water-based
adhesives all require a strong bond to the cover board surface.
To minimize adhesive use, the surface must be dense enough to
hold the adhesive out. Boards also must resist moderate levels of
moisture without degradation, and surface bonding layers must not
delaminate from the core (delamination reduces the bond strength).
In addition, the cover board must provide maximum fire protection
at virtually any insulation thickness and roof slope.
Roof Board Application - Hot Asphalt Substrate
ROOF BOARD cAN BE MECHANICALLY
L FASTENED, BONDED WITH MASTIC OR ADHESIVES
OR HOT MOPPED TO FOAM INSULATION
A . ALL HOTT-APPLIED ROOFING SYSTEMS CAN THEN
BE MOPPED DIRECTLY
L ONTO THE ROOF BOARD WITHOUT CONCERN FOR BLISTERING
OR DELAMINATION
A .
hot mopped
roof board
rigid foam insulation
roof board
metal deck
steel joist
Roof Board Application - Thermal Barrier
ROOF BOARD PROVIDES A THERMAL BARRIER INSTALLED
T DIRECTLY
L TO THE METAL
T DECK FOR
BOTH EXPANDED
P AND EXTRUDED POLYS
L TYRENE INSULATION
A .
membrane
roof board
rigid foam insulation
roof board
metal deck
steel joist
More recent testing of roof assemblies for resistance to foot traffic
and hail provides further evidence of the qualities cover boards can
bring to high-quality roof assemblies. FM Global test protocols for
hail resistance and ASTM (American Society for Testing
T and
Materials) standards for impact and puncture resistance quantify the
performance capabilities of these dense underlayments.
The Future
Cover boards will continue to play a vital role as a key component
within the roof assembly. While some proposed roofing systems
would eliminate the cover board, the result would compromise
overall system performance levels.
The new generation of cover boards and enhancements to
existing materials will make cover boards more critical, especially
in more hostile environments. Similarly, y fast-track construction
creates numerous potentials for trapped water or residual moisture
within substrate materials, including newly poured concrete and
wet wood framing.
Residual moisture is a fact of construction that affects the
installed, in-service materials. Consequently, y cover boards become
the “last stop” at the roof plane, holding residual moisture just
below the roof membrane. Trapped
T moisture, in vapor form, passes
very slowly through most roof membranes. Detail and material
changes can be made to accelerate this moisture migration, but the
cover board must be capable of performing during such prolonged
periods of moisture without a significant loss of performance.
Furthermore, the presence of moisture must not result in the
proliferation of mold within the roof assembly and the potential
to cause further problems should the mold spores migrate to the
building’s interior. This issue is being monitored closely by
building owners, tenants and insurers alike.
The requirements for greater wind uplift performance with use of
low-VOC (volatile organic compounds) adhesives, the potential for
reducing asphalt applications due to possible health risks and the
reduction in use of torch installations to minimize the risk of fire
will all require further advancements in cover board technology.
Roof system manufacturers, in conjunction with fastener, r adhesive,
insulation and cover board manufacturers, must meet the demands
for higher performance levels within a changing market.
Specifying Cover Boards
In specifying cover boards, it is important to understand that the
cover board is part of a total system. When a fire or wind uplift
resistance rating is required, it is the total system, or assembly,
y
that carries the rating. Each part of the system must be a tested
component within the assembly. In most cases, a wide variety of
cover boards has been tested and approved with the desired
roofing system.
Low-Slope Commercial Roofing 191
 A I A / A RC H I T E C T U R A L R E C O R D Special Advertising Section
CONTINUING EDUCATION Series
Specifiers should carefully review the specific project
requirements and choose a cover board that meets the project
criteria. Wind, fire, traffic, hail and impact resistance should all
be considered when choosing a board. The environment in which
the board will be placed is also a critical factor.
If some level of moisture can reasonably be anticipated, the
design should include a means for fast moisture egress from the
assembly, and the cover board should be capable of performing in
this less-than-ideal environment. The wrong choice of cover board
material could result in collapse and degradation, resulting in a
failed roofing assembly.
Specifiers should also make certain that all components within
the roof assembly are compatible with one another. Manufacturers of
all the roof components should be contacted and directed to
provide a letter stating that adjoining components are compatible
and will remain compatible throughout the anticipated service life
of the roof assembly.
Site substitutions are common as a result of availability,
y contrac-
tor preference or price. A substitution may result in the application
of non-compatible materials or assemblies that do not provide the
intended performance. Substitution may result in an assembly that
does not carry the intended wind or fire rating. All substitutions
should be reviewed carefully and given the same care and attention
that were provided in the original choice(s).
Roof Board Application - Metal or Tile Roof Thermal Barrier
ROOF BOARD PROVIDES A THERMAL BARRIER IN CONJUNCTION WITH A STANDING
T different properties, such as fire resistance, void bridging and wind
T OR TILE ROOFING SYSTEM. IT ALSO PROVIDES NOISE REDUCTION AND
SEAM METAL
HAIL RESISTANCE
T .
metal roof
vapor retarder
roof board
rigid foam insulation
metal deck
steel joist
NEW COVER BOARD OFFERS EXCEPTIONAL BOND STRENGTH
Recently, a distinctive new roof cover board option for low-slope commercial
roofing applications has become available. The product’s advanced fiber-reinforced
technology provides superior performance benefits compared to traditional
fiberglass-faced gypsum roof boards, whose face layers can delaminate over
time and generate callbacks.
The new roof board is installed over the roof insulation and under the
membrane, supplying protection, separation and support for the membrane. Its
uniform composition enhances the strength of the membrane system by ensuring
a stronger, more consistent bond.
Easy to install and handle, the roof board provides outstanding wind uplift
performance. It also offers first class protection from both moisture and mold.
T
Tests confirm that this innovative new roof board actually enhances bond
strength, while providing excellent durability and versatility. Its unique gypsum fiber
technology and uniform composition also make it much less likely to delaminate.
The new roof board offers numerous product and installation advantages –
all of which can contribute to a roof’s long-term performance. They include
the following:
• Superior Wind Uplift Performance – Because of its uniform composi-
tion and smooth surface with no face layers to delaminate, the roof board
enhances the bond strength of membrane systems.
192 Low-Slope Commercial Roofing
Roof Board Application - Parapet Wall W Substrate
ROOF BOARD IS FASTENED A MAXIMUM 89 INCHES ON CENTER TO WOOD OR METAL
T
FRAMING ALONG THE PARAPET
P WALL FOR ROOFING MEMBRANE FLASHING SUPPORT.
wall cap
parapet wall framing
exterior wall finish
adhered flashing membrane
roof board
sleeper
roof board
rigid foam insulation
structural deck
The trend in high-performance cover boards has been the use of
gypsum-based products that have been rendered water and mold
resistant. Many of the products contain high levels of recycled
materials, assisting in the procurement of LEED (Leadership in
Energy and Environmental Design) credits. Calcination3 issues have
been overcome with some gypsum-based products, permitting
application of membranes in Type
T IV asphalt with no blistering
of the membrane.
T
Today ’s cover boards are available in thicknesses ranging from 1/4
to 3/4 inch. Boards are fabricated from various materials and have
uplift resistance. Product literature and system approvals from FM
Global and Underwriters Laboratories should be reviewed carefully
to identify the appropriate cover board for a project.
Cover boards are compatible with a wide variety of adhesives and
hot asphalt, as well as mechanical fasteners. Again, manufacturers’
literature and approvals should be reviewed carefully to determine
the appropriate installation methods for specific projects. ■
1
A module is the measurement from the center of the high rib to the
center of the next high rib (or flute)
2
National Roofing Contractors Association bulletins
3
The release of chemically bound moisture within the gypsum
crystal when heated
• Fire Performance – The roof board provides excellent fire
performance and demonstrates exceptional surface burning characteristics.
• Moisture and Mold Resistance – Its integral water-resistant core
ensures excellent resistance to moisture and mold. In independent lab tests, the
product scored a 10 (the highest possible rating for mold resistance) on the
American Society for Testing
T and Materials’ ASTM D3273-00 Standard TestT
Method for Resistance to Growth of Mold on the Surface of Interior Coatings in an
Environmental Chamberr
• Versatility – The new roof board can be used in single-ply,
fluid-applied, built-up, spray foam and modified bitumen roofing – one product for
all systems.
• Sustainability – Made from 95 percent recycled materials, the cover
board emits no VOCs during the product’s life cycle and has low embodied energy.
Its high recycled content makes the product an environmentally friendly option in
sustainable building construction.
• LEED Applications – The panels are an excellent option in LEED Green
Building Rating System™ applications.
The roof board is available in both 4- by 4-foot and 4- by 8-foot panel sizes,
with a choice of 1/4-, 3/8-, 1/2- and 5/8-inch thicknesses.
A I A / A RC H I T E C T U R A L R E C O R D Special Advertising Section
CONTINUING EDUCATION Series

CLICK FOR ADDITIONAL REQUIRED READING

The article continues online at:
archrecord.construction.com/resources/conteduc/archives/0905usg-1.asp
To receive AIA/CES credit, you are required to read this additional text. For a faxed
x copy of the material, call USG at 1-800-USG-4YOU
Y .
The following quiz questions include information from this material.

A I A/ A RCH I T E C T U R A L R E C O R D 5. Cover boards must resist moderate levels of moisture

CONTINUING EDUCATION A Series without degradation, and surface bonding layers must not
delaminate from the core because delamination does which
LEARNING OBJECTIVES of the following:
• Understand
U how cover boardsr enhance the perforf mance of commercial a. Causes calcination.
roofing systems and assemblies. b. Increases uplift performance.
• Identify several distinct cover board
r product types and their c. Reduces the bond strength.
installation advantages. 6. Industry testing groups have performed tests for cover
• Evaluate important
t criteria when specifying cover boards
r for different board roof assemblies relating to all but which of the
environmental conditions. following criteria?
a. Hail.
b. Impact.
QUESTIONS c. Snow loads.
1. In high-wind situations, when uplift in roofing assemblies is d. Puncture resistance.
critical, minor components, such as mechanical fasteners and 7. The presence of moisture in cover boards may result in
cover boards, have enhanced wind uplift performance mold within the roof assembly and mold spores migrating
systems significantly. to the building interiors.
a. True. a. True.
b. False. b. False.
2. Changes in cover board core materials and the development 8. Typical
T cover board options include all but which of
of more surface coating features were designed to do all but the following:
which of the following: a. Fiber board and perlite roof board.
a. Limit moisture-related problems. b. Calcinated mineral materials and recycled
b. Reduce the quantities of adhesive required to apply phosphate board.
membranes. c. Glass/mineral board and asphaltic core boards.
c. Enhance adhesion performance. d. Glass mat-faced gypsum board and fiber-reinforced
r
d. Reduce unit costs as more features were added to gypsum panels.
improve performance levels. 9. When specifying cover boards as part of a roof assembly
3. Calcination refers to which of the following: or system, all but which of the following are true?
a. The white powdery substance that appears on brick and a. If a fire or wind uplift resistance rating is required,
masonry walls. only the cover board carries the rating, not the
b. A chemical process that occurs at high temperatures, roofing assembly.
releasing chemically bound moisture. b. Each part of the system must be a tested component
c. Calcium deposits within natural materials. within the assembly.
4. Cover boards are an essential roofing system component c. The climate and environmental characteristics of
designed to enhance most roofing systems against all of where the board will be placed must be considered.
the following except: d. Roof collapse or roofing assembly failure may occur
a. Wind. if moisture cannot be anticipated in the roofing system.
b. Hail. 10. The primary function of cover boards is to protect,
c. Fire. separate and support the roof membrane.
d. Earthquakes. a. True.
e. Foot traffic. b. False.

About USG
USG C Corporattion is a Fortune
F t 500 company with
t subs
b idi
d aries th
t att are market
k t leaders
l d in tht eir key
k product
d t groups: gypsum wallboard,
llb d jjointt compound
d and
d
related gypsum products; cement board; gypsum fiber panels; ceiling panels and grid; and building products distribution.
United States Gypsum Company,y a subsidiary of USG Corporation, has recently introduced SECUROCK™ Brand Roof Board. The company also manufactures
SHEETROCK® Brand Gypsum Panels, the leading and best-known brand of drywall in the United States, along with a wide variety of joint treatment products.
In addition, U.S. Gypsum makes a variety of plaster and veneer plaster products, as well as DUROCK® Brand Cement Board and FIBEROCK® Brand Gypsum
Fiber Panels.
USG Interiors, Inc., another subsidiary of USG Corporation, is a leading manufacturer of acoustical ceiling panels, specialty ceilings and suspension systems.
For technical advice about roof cover boards, contact USG at 125 S. Franklin St., Chicago, IL 60606-4678, call USG’s
’ Architectural Services Department at
800-USG-4YOU or visit the company’s ’ Web
W site at www.usg.com.

800-USG-4YOU
800 USG 4YOU
www.USG.com

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Low-Slope Commercial Roofing 193
TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/
 Julius Blum & Co., Inc.

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CIRCLE 92 ON READER SERVICE CARD OR GO
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 Products Walls & Ceilings
Our diverse roundup of the latest wall and ceiling products includes acoustical
ceilings, a moisture-absorbing wall-cavity material, unusual wall coverings
made of bark, mother-of-pearl, and glass beads, and a practical modular
wall system that is easy to install and maintain. Rita Catinella Orrell

Modular wall panel system allows for easy maintenance

The Graph Interior Surface System,
developed by Fry Reglet, serves as
a platform for mounting modular
wall panels in a range of surfaces
and styles. Awarded a Silver Award
for Best of NeoCon last June, the
system uses a pre-engineered alu-
minum grid that can be anchored
to new or existing concrete, drywall,
block, or plaster, and faced with a
variety of factory-fabricated surface
panels. Standard Graph panels are
offered in wood, metal, glass, and
translucent resin, as well as 3D
metal panels.
The system’s panel connection
design allows for each panel to be
individually accessible, making it
simple to replace panels should they
become worn, damaged, or out-
moded. Point accessible panels also
make it easy for the future
addition or maintenance of
electrical, data, or communi-
cation components located
behind the wall covering.
Compared to custom
millwork, the Graph system
costs less and provides more
freedom to choose a variety
of materials in a range of tex-
tures and treatments. The
platform grid and finished
panels arrive at the job site
ready to install, with minimal
field fabrication.
In addition to Graph, Fry
Reglet also produces archi-
tectural metal products for the 3D metal panels (above) or
roofing and interiors industries. wood panels (right) can be
Fry Reglet, Alpharetta, Ga. hung from a pre-engineered
www.fryreglet.com CIRCLE 200 grid (on chair at right).

Acoustical accent canopies
for open spaces
Armstrong Ceilings has introduced
SoundScapes acoustical accent
canopies for open spaces. The
sound-absorbing properties in the
new canopies help reduce reverber-
ation time in the space below them,
making them ideal for open plenum
areas as well as over spaces such
as workstations and reception
desks. The smooth-surfaced,
curved canopies feature the Ultima
Soundscape can be
suspended as a “hill”
(left) or “valley.”
DuraBrite membrane
or scrim. The scrim
provides a high light-
reflectance value of
.90, meaning it reflects
90 percent of the light
that strikes it. The
Durabrite surface also
enhances the durability
and scratch resistance
of the canopies. The new high-
recycled-content canopies are also
seismically approved. Measuring 47''
x 76'', the canopies can be installed
as “hills” or “valleys.” The canopies
are suspended from the building’s
structure, with no special tools or
techniques required. Armstrong
World Industries, Lancaster, Pa.
www.armstrong.com/ceilings
CIRCLE 201
Silica gel absorbs moisture in wall cavities
In a new application for an old mate-
rial, Autumn River is using silica gel
—the material commonly found in
shoe boxes labeled “Do Not Eat”—to
remove moisture from within building
cavities, thereby eliminating the con-
ditions required for mold growth.
The Desiccant Strip is a 61⁄2'
The strips are covered with vapor retarder.
length of spun polyethylene material
formed into pouches containing
engineered silica gel. The strip has
been designed to guarantee that
upon installation, moisture levels
within a building cavity are rapidly
brought below the point where mold
and other decay agents can func-
tion. Once the strip has absorbed
moisture, it will not release the
moisture back into the wall cavity
until the relative humidity within
the cavity has been reduced dra-
matically and stays down.
Independent testing has
proved that the strip impacts
the R-Value of wall cavities in a
positive way. The product is com-
monly installed by the insulation
contractor prior to applying the
vapor retarder. Autumn River,
Coon Rapids, Minn.
www.autumnriver.biz CIRCLE 202

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 Products Walls & Ceilings

 Handmade bark surfacing

Although Caba Company has been around for more than 30 years, this was the first
time it exhibited at NeoCon or ICFF. Barkskin is an organic, hand-pounded bark material
available in seven colors. It
can be fireproofed and applied
to walls, ceilings, and furniture
to give a surface the appear-
ance of parchment, marble, or
stone. Sheet sizes come in 16''
x 24'', 24'' x 32'', and 48'' x 96''.
Caba Company, Santa Fe,
N.M. www.barkskin.com
CIRCLE 203

 Floating ceiling  Shimmering surfaces

sensation Luxe wall coverings are nothing new for
Designed to incorporate Maya Romanoff, but the company has outdone itself with its latest offerings. Originally
complex geometries using launched in 1993, the success of the Beadazzled line of glass-bead-clad wall cover-
advanced digital design ings has led to five new versions of the original. Beadazzled Baubles (above right) is a
tools, 3form Shapes high-impact design available in 14''-square tiles that glimmer with beads twice the
includes six 3D, compound- size of the standard. Also new from Romanoff is mother-of-pearl surfacing (above
formed curved shapes left), sold exclusively as 24'' x 12'' tiles for wall covering, furniture, columns, and retail
combined with 3forms’ displays. Maya Romanoff, Chicago. www.mayaromanoff.com CIRCLE 205
patent-pending variable-
angle hardware. 3form
suggests the 3⁄8''-thick curvi-
linear forms suspend from
either concrete substrate,
wood studs, wood blocking,
or steel structural beams
for horizontal surfaces, and
concrete, wood, or metal for vertical applications. 3form Architectural, a new division of
3form, will assist architects with the design, engineering, and fabrication of complex
projects. 3form Systems, Salt Lake City. www.3-form.com/systems CIRCLE 204

Improved climate
True Climaplus ceiling panels
offer the precision of metal pan-
els in a concealed suspension
system with a fine-textured over-
lay that provides sound control.
 Enforcing panel design
Made of perforated aluminum, The new Denver District 2 Police Station
the panels are covered with a utilizes 21,000 square feet of Dri-Design
fine-textured, smooth acoustical aluminum wall panels to symbolize the
facing that fits into slotted sus- high-tech future of police work. The
pension tees for minimal reveal. building includes a two-story and a one-
The panel facing also supplies a story brick element separated by a
light-reflectance value of .90, two-story Dri-Design-clad atrium space.
which reduces eyestrain, the The dry-joint, pressure-equalized rain-
number of light fixtures needed, screen system was also extensively used
and energy consumption. USG, throughout the interior of the atrium.
Chicago. www.usg.com Dri-Design, Holland, Mich.
CIRCLE 206 www.dri-design.com CIRCLE 207

196 Architectural Record 09.05 For more information, circle item numbers on Reader Service Card or go to www.archrecord.com, under Products, then Reader Service.
INTRODUCING

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www.rfpco.com

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grasslands
100% pure stainless steel – fully welded construction.
laminated + kiln textured glasses. cast and machined
stainless leversets. grade 1 full-mortise lockset.
built to your specifications in 8 weeks. made in the usa.
custom entry systems start at $4995.

www.neoporte.com 1.877.711.2100
showroom: 1550 18th street, santa monica, california
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Fireplace
Product Briefs from Down Under
The EcoSmart Fire is a
flueless fireplace from

Building blocks Australia that requires no
For the Bricks, Boards, and installation or utility con-
Sticks Collection of hand- nection for fuel, thereby
crafted, 3D kiln-cast glass making it ideal for apart-
textures, Joel Berman devel- ment or city living. Units
oped a new mold system can be freestanding, wall
featuring textured components fitted, or inserted into a
inspired by historic building closed-off fireplace. The
techniques and materials. burner, which heats on
Available in panels up to 52'' x average more than 115 square feet, can also be inserted into joinery to create a
108'', with 1⁄4'', 3⁄8'', and 1⁄2'' thick- streamlined benchtop feature. Fueled by a renewable resource (denatured alcohol),
nesses, the collection is suited for both interior and exterior applications. The Bricks the UL-approved EcoSmart Fire burns clean and is virtually maintenance-free.
texture (above) is cast from a mold with interchangeable parts that create a layered A Designer range of freestanding models (above and below) can be delivered ready
effect with a range of very-fine-to-course-grained sedimentary rock textures. Joel to operate, while the Renovator range can be fitted by a builder into any com-
Berman Glass Studios, Vancouver. www.jbermanglass.com CIRCLE 208 bustible or noncombustible wall or closed fireplace. Innovations M2, Phoenix.
www.ecosmartfire.com CIRCLE 209

 Black and white and bold all over

Interface’s latest collections of modular carpet tiles use bold patterns and bright
colors to put the mod in modular. Aimed for market segments including retail, cor-
porate, and hospitality, the award-winning B&W Collection from Interface includes
10 patterns in black and white that can be used alone, in combination with each
other, or with solids. Born Free (above) features a playful zebra-style print, while
other B&W designs feature botanical, Greek key, and houndstooth patterns.
Interface Flooring Systems, LaGrange, Ga. www.interfaceinc.com CIRCLE 210


New York’s new

design capital?
BKLYN Designs launched
in the DUMBO section of
Brooklyn, New York, in the
spring of 2003 to promote
the borough’s growing
design community. At
this year’s three-day
event held last May, the
next wave of contemporary lighting, furniture, linens, rugs, and decorative accessories for
home, office, and garden were presented. Products on display included the Tetris Shelving
system from custom furniture manufacturer Brave Space (left), the WIld Garden Collection
of custom hand-knotted Tibetan rugs from designer Amy Helfand (above), and the Silica
Series of lamps from Niche Modern (Pod pendant, right). Brave Space, Brooklyn, N.Y.
www.bravespacedesign.com CIRCLE 211 Amy Helfand, Brooklyn, N.Y. www.amyhelfand.com
CIRCLE 212 Niche Modern, Brooklyn, N.Y. www.nichemodern.com CIRCLE 213

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 Product Briefs

Healthier wayfinding
The Vista Healthcare signage line was designed
for the health-care and medical
sectors and comprises a variety
of wayfinding solutions, including
directories; suspended signs; trian-
gular, post, and double-sided pylons;
table stands; wall frames; and
projecting wall brackets. The line
combines the functionality of Vista’s
Modular Curved Frame technology
into a collection of profiles that
keep inserted materials firmly
in place with a strong tension
grip. Vista System, Sarasota, Fla.
www.vista-healthcare.com CIRCLE 216

Advancing to a new level
Schindler’s new 9300 Advanced
Edition escalator is an extension of its
best-selling 9300 line. The new version
integrates a wide selection of color
options for steps, handrails, skirts,
decks, and truss cladding, and offers
multiple balustrade design options,
two configuration packages, and
more than two dozen safety features.
Manufactured in Schindler’s Clinton,
North Carolina, plant, the escalator
includes Miconic microprocessor con-
trols and a drive system that offers
smooth, reliable operation. Schindler
Elevator, Morristown, N.J.
www.us.schindler.com CIRCLE 218
200 Architectural Record 09.05
 Ready, set, go
System One, designed by Grant
Design Collaborative, is the initial
product offering from Set Wall
Covering Systems, a new com-
mercial wall-covering brand. Each
Set product draws from a palette
of 35 colors called the Grant Color
System. Products in the line range
from 54'' rollgoods and erasable
wall surfaces to curated murals
by internationally renowned pho-
tographer Geof Kern. A pattern
called Curtain Call (at left, in fore-
ground and on the wall) mimics
the look of wool velvet curtains.
Set Wallcovering Systems, Atlanta.
www.setwalls.com CIRCLE 214
For more information, circle item numbers on Reader Service Card or go to www.archrecord.com, under Products, then Reader Service.
glass frontage. The sys-
tem features integral
thermal-break profiles
and extendable top
and bottom seals. It
can be adapted to a
wide range of require-
ments, including
straight, angled, or
curved configurations.
Floor guides are not
required, allowing the
use of one flooring
material without
 Flexible frontage breaks, and virtually any color combi-
Dorma Glas has introduced its HSW-ISO nation is possible for the fitting surface.
double-glazed, horizontal-sliding wall Dorma Group N.A., Upper Marlboro, Md.
system, a thermally insulated sliding www.dorma.com/usa CIRCLE 215

Spanish stonework
Arriaga, a Spanish quarrier and
manufacturer of fine stone
architectural elements, tiles,
and slabs, is offering its custom
stone fabrication work for the
first time in the U.S. on a large
scale. Arriaga’s handcrafted
products include columns,
balusters, fountains, vanities,
statuary, and fireplaces. The
company recently completed
the fabrication of custom items,
including capitals, columns, and friezes, for two large private residences on Long
Island, New York. Arriaga, New York City. www.arriaga-marmoles.com CIRCLE 217
 Improving on the Master
Inspired by Frank Lloyd Wright’s work in stained glass, Portland, Oregon–based
Esthetic Accents has developed a more affordable and durable version for today’s
market. Using architectural stained glass with zinc beveling rather than less
durable lead, the glass can be quickly and affordably tempered and electroplated
in large quantities, for a range of applications including doors, railings, skylights,
and more. Esthetic Accents, Portland, Ore. www.estheticaccents.com CIRCLE 219
Italian works of Art around the World.
There are many works of art by Italians that are not found in museums. Since the dawn of civilization,
Italians have created and exported some of their most lasting works of art in Natural Stone: statues,
mosaics, floors, balustrades, columns, countertops, stairs and facades found in buildings around the
world. PIETRA NATURALE is recognized as the highest quality of Italian Craftsmanship and stone pro-
cessing technology. Look for our PIETRA NATURALE trademark as your assurance of an Italian work
of art in Natural Stone – the perfect encounter between man and nature.

www.pietranaturaleitaly.com

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 Product Briefs Coverings Show Review

The Coverings Tile & Stone Expo, held in Orlando last May, showcased
finishes with true-to-life faux and cutting-edge contemporary styling, greater
format and material options, and superior performance. Linda C. Lentz

 International style
German manufacturer Steuler Fliesen’s Traces (above left), created by Alessi designers Kristina Lassus of Finland
and Christoph Radl of Austria for its Alessi Tile by Steuler brand, is an assortment of glazed porcelain 6''-square wall,
6'' x 2'' border, and 13''-square floor tile notable for its subtle tone-on-tone abstract patterning and sophisticated
palette of white, gray, and orange. In the same material, the Steuler Design floor and wall Mosaic Retro series (above
right) was inspired by 1970 motifs and features 1''-square tiles on a 12'' format in solid gray or orange, or imprinted
with unique geometric shadings. Steuler Fliesen, Mühlacker, Germany. www.steuler-fliesen.de CIRCLE 220

A practical variation on an exotic theme

Zebrano from The Wood Collection by Cerim Ceramiche
combines the technical properties of porcelain with the
natural beauty of Africa’s equatorial zebrawood—a wood
prized for its undulating textural stripes and amber
tones. Ideal for residential and commercial interior and
exterior floors and walls, this .4''-thick tile is frost-, wear-,
and chemical-resistant, shockproof, colorfast, and has a
water-absorption rate of less than .1 percent. Available in
12.7'' x 25.4'', 6.3'' x 25.4'', and 4.2'' x 25.4'' sizes with rec-
tified edges, smooth surfaces, and trim, Zebrano is offered in five colors: Bianco, Crema, Perla, Beige, and Torba
(right). Italian Trade Commission, New York City. www.italytile.com CIRCLE 221

 The skinny on a new ceramic

Offering optimum vertical customization options for
numerous interior installations, Cotto D’Este’s
groundbreaking Kerlite Zirconium–based ceramic
surfacing material measures a slim .12'' thick and
comes in three easily cut sheetlike formats: 11.8'' x
3.9'', 1.6'' x 3.9'', and .2'' x 3.9''. Water-, chemical-,
and abrasion-resistant, the flexible and durable
material is available in a color palette of six urbane
neutrals: Sand, Lake, Snow, Steel, Smoke, and Night.
Italian Trade Commission, New York City. CIRCLE 222

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 URBAN APPEAL

CaesarStone Model No. 2003 | CONCRETE (877) 9QUARTZ | www.caesarstoneus.com

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SHOT ON LOCATION AT TOY FACTORY LOFTS / LINEAR CITY – DOWNTOWN, LOS ANGELES, CA.
 Product Briefs Coverings Show Review


New age Americana

Maine-based rug and textile designer Angela Adams has interpreted her
unique aesthetic to suit ceramic tile in a recent collaboration with Ann Sacks.
Characterized by an organic geometric quality, the collection comprises floor
and wall tile derived from Adams’s body of work. The Corice (below), a 4'' or 6''
leaf-inspired tile, and Manfred, 4''-square wall relief patterns (right), are two of
five hand-drawn designs available in high-gloss or matte finishes in a selec-
tion of 20 exclusive Angela Adams shades and an Ann Sacks palette of more
than 200 colors. Ann Sacks, Portland, Ore. www.annsacks.com CIRCLE 223

Transparent building blocks

Structurally stable and elegantly transparent,
Sicisbrick from Sicis eases the fabrication of
interior elements such as partition glass tile
walls and showers. Available in three shapes and
sizes, the “bricks” are made of a patented clear-
plastic material from Sturm und Plastic covered
on one or two sides in 5⁄8'' iridescent glass mosaic
from the Sicis Glimmer Collection using silicon
adhesive. To facilitate the installation process,
they connect together with a methacrylate ring to create self-sup-
porting structures. Italian Trade Commission, New York City. www.italytile.com CIRCLE 224

 Parkland-inspired wood-look tile

Part of the Materia e Colore group of porcelain tile by Rex Ceramiche Artistiche, Abisko was inspired by the spectac-
ular landscapes of the Swedish national park that is its namesake. Rectified and squared for superior performance
and installation, Abisko is available in
five realistic wood hues—Ebony (Ebano),
Mahogany (Mogano), Birch (Betulla),
Oak (Rovere), and Iroko—in a wide variety
of sizes: 4'' x 18'', 4'' x 24'', 5'' x 36'', 6'' x
24'', 8'' x 36'', and 24''-square. Decorative
mosaics on a 12''-square format, 18'' x
36'' stylized Arte barklike motif, and
12''-square Lamellare laminated striplike
tile are also available, as are a selection
of trim pieces. Italian Trade Commission,
New York City. www.italytile.com
CIRCLE 225

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 Product Briefs Coverings Show Review

get  Faux travertine gets a reality check

Durable and lifelike, Travertino Romano is a collection of porcelain color-through tile for walls and floors by

I need Ceramiche Cotto Emiliano (CO-EM S.p.A.). Available in a subtle vein-cut pattern with an unpolished or patina
finish or slightly textured cross-cut version with an antique finish ideal for random arrangements, this group
is notable for its faithful repre-

cabinetry sentation of the real thing.

Available in a selection of three
colors—walnut, beige, or

specs to white—and a range of sizes,

including 3'' x 12'', 6'' x 12'',
12'' x 18'', 12'' x 24'', and 6''-,

create great 12''-, and 18''-square. Mosaics

in .6'' and 3'' sizes come in

designs. 12'' sheets. Optional metal or

ceramic decorative trim, as
well as bullnose edging, and
at stair treads, complete the

kraftmaidspec .com
extensive offering. Italian Trade
Commission, New York City.
www.italytile.com CIRCLE 226

Playful shapes for floor and wall

Whether installed in a textural monochromatic
arrangement or in any number of hip Pop Art patterns,
Candy from the Forma series of matte-glazed porce-
lain tile by Garogres is one tile with myriad guises.
Indeed, this versatile 10'' x 13'' cookie-cutter shape fits
into itself like a puzzle piece and has virtually limitless
configuration possibilities, depending on the choice and
placement of the colors, which include Miel (honey),
Hueso (bone), Acero (steel), Oceano (blue), and Moka
(brown). Appropriate for both indoor and outdoor resi-
dential and commercial walls and floors. Tile of Spain
Center, Coral Gables, Fla. www.spaintiles.info CIRCLE 227
Only KraftMaidspec.com lets you
download AutoCAD drawings of
every single cabinet and gives
 Form and function indoors and out
detailed information on door
The brainchild of Spanish industrial designer Francesc
styles, finishes, storage solutions
Rife, Efir (Rife spelled backward) by Saloni is a com-
and our quality construction.
prehensive collection of contemporary glazed
Visit KraftMaidspec.com and see
porcelain suitable for use on ventilated facades, floors,
why so many architects rely on it
or walls both indoors and out. Manufactured with a
as their design resource.
standard thickness of .4'' to assure strength and a
consistently flat surface, the collection comprises 12''-
and 23''-square, 12'' x 23'', and 18'' x 36'' field tile, as
well as a 4'' x 23'' bullnose, a 2'' x 4'' x 36'' listelli, and
stair features. A full range of modular Corian bath
accessories provides designers with the ability to inte-
grate elements such as shelving and towel bars into
the tile itself. Saloni, Plantation, Fla. www.saloni.com
www.kraftmaidspec.com CIRCLE 228

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Built one at a time, so you
get exactly what you want.
In an industry moving toward mass
production, we still make each resi-
dential elevator one at a time in our
Pennsylvania plant. Elevette® has
more choices in styles, finishes,
options and price levels than any
other manufacturer. And, we provide
a parts warranty no one can beat. Your
customers will love this unique fea-
ture, and you’ll love its high-profit
return. Call us today to learn more.
www.inclinator.com
800-343-9007 • DEPT. 66
RESIDENTIAL ELEVATORS
WHEELCHAIR LIFTS • DUMBWAITERS
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Product Briefs Coverings Show Review

The essence of quartz
Developed to meet the stringent demands of such installa-
tions as commercial flooring, interior and exterior claddings,
kitchen and vanity counters, stair treads, risers, and thresh-
olds, Innovative Stone’s new Indore quartz-based surfacing
comes two ways. Slab material is available measuring 55'' x
120'' in either a .75'' or 1.25'' thickness. Alternatively, 1⁄2''-thick
tiles come in 12''-, 16''-, 24''-, and 48''-square, 12'' x 24'', and
24'' x 48'' sizes. The neutral Earth tone palette includes
Vanilla Bean, Black Malabar, Anise Star, and Ginger Crystal.
Innovative Stone, Hauppauge, N.Y. www.innovativestone.com
CIRCLE 229
 Traditional “woodwork” twice fired
Dimensionally constant architectural detailing is
the raison d’etre behind the classic styling of
Ceramiche Grazia’s Electa white-body double-
fired ceramic panels. Ideally suited for baths and
entrances, this 7.9'' x 31.5'' panel features a cen-
tral raised relief and a full complement of borders
and trim. The range is available in green, beige,
and white, with a glossy crackle glaze; and beige,
white, apricot, ginger, and Muscat, in a soft
matte finish. Italian Trade Commission, New York
City. www.italytile.com CIRCLE 230

Shades of stone
Echoing the variegated colors of natural slate,
Fioranese Ceramica’s Kanyon porcelain interior floor
and wall tile is reliably consistent, easy to install, and
low-maintenance. Available in hues of Marron (brown),
Arancio (orange), Ramato Verde (copper green), and
Beige, Kanyon comes in 24''-, 12''-, and 6''-square sizes,
plus an assortment of trim. On a whimsical note, the
series includes decorative inserts with a silvery “wave”
motif (right). Italian Trade Commission, New York City.
www.italytile.com CIRCLE 231
 Trompe l’oeil slate
Imbued with all the visual cues of its natural counterpart,
Marazzi Tile’s Jade glazed porcelain comes in slatelike tones
of Sage, Ochre (left), Chestnut, and Taupe—complete with
the effects of distinct clefts, layers, and mineral deposits.
The surface, however, is satiny smooth, making it comfort-
able underfoot. Granted a Class 4 durability rating, the tile is
available in 20''- and 13''-square sizes and is suitable for
moderate-to-heavy traffic in residential, medium-commercial,
and light-institutional floor and wall applications. American
Marazzi Tile, Sunnyvale, Tex. www.marazzitile.com CIRCLE 232
For more information, circle item numbers on Reader Service Card or go to
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 What’s
Next?
October 19-20, 2005
Washington, D.C.
www.construction.com/event/

Industry trends. The economic forecast. For more information, to register,

or for sponsorship opportunities:
Join us for our 67th annual Outlook Executive Conference, being held October
19-20, 2005 in Washington, D.C. visit:
www.construction.com/event/
• Find out what's next from Robert Murray, McGraw-Hill Construction's vice call:
(866) 727-3820
president of economic affairs, Kermit Baker, chief economist for The American
Institute of Architects, and David Wyss, chief economist for Standard & Poor's, email:
cynthia_gutierrez@mcgraw-hill.com
as they provide insight into the economic trends that will shape the construction
industry for 2006.
Space is limited –
• Hear from the experts at J.D. Power & Associates, as Paula Sonkin, executive Register for the Outlook 2006
director, Real Estate Industries, discusses how to learn more about your customers Executive Conference today!
and increase your marketshare.
To register separately for the ACE
• A panel of Association Leaders from AIA, ASCE, AGC, and CURT will discuss Mentor Program of America banquet,
both key issues affecting their members and the overall construction industry. call (203) 323-8550.
Presenting Partners:
KEYNOTE SPEAKER: The Honorable Henry G. Cisneros, chief executive officer
of American CityVista, former Secretary of Housing and Urban Development,
President of the National League of Cities, and four-term mayor of San Antonio,
will offer his insights as one of the nation’s most respected authorities on economic
progress, the construction industry, and building a brighter future.

• New in 2005: Attend the ACE Mentor Program of America first annual banquet on
Association Partner:
Wednesday evening, October 19, 2005, and learn what's being done to encourage
young people to choose a career in design and construction.
 Product Resource: Literature

Visual selection catalog

The first section of Designing with
Light, Lightolier’s 176-page catalog,
outlines the key areas of lighting
composition in a series of photo
essays. The body of the catalog
details the product line, along with
full specification information and
guidelines for effective application.
Lightolier, Fall River, Mass.
www.designingwithlight.com
CIRCLE 233

Color forecasting tool

Pantone has announced the winter
2006–2007 Pantone View Colour
Planner, its cross-discipline color-trend
forecasting tool, subtitled Art & Science.
Offering nine palettes for use in fashion,
cosmetics, interiors, and graphics, it
retails for $750 from Pantone distribu-
tors nationwide. Pantone, Carlstadt,
N.J. ww.pantone.com CIRCLE 234
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Lighting catalog doubles in size

Presenting the Acenti Collection.
®
Schoolhouse Electric debuted in Portland,
Oregon, in 2003 with an exclusive line of
period American lighting fixtures and hand-
blown glass shades. The new Schoolhouse
catalog is twice the size of the original
Essentials catalog and features the com-
pany’s signature, high-quality lighting
products with more on-location photo-
graphs that present the diverse line.
Schoolhouse Electric, Portland, Ore.
www.schoolhouseelectric.com CIRCLE 235

Fire-resistant-glass literature
A new product brochure and technical data
sheet for Pilkington’s fire-resistant glass are
now available. The new material includes
information on both the Pilkington Pyrostop
Fire Resistant Glass and Pyrodur Fire
Protection Glass products. A copy of the
Is it art? Or a renaissance of design? new brochure and data sheet can be
downloaded at the Pilkington Web site
1-888-4-ACENTI ®
listed below. Pilkington, Toledo.
www.leviton.com/acenti
www.pilkington.com/fire CIRCLE 236

Leviton Manufacturing Co., Inc.

59-25 Little Neck Parkway
Little Neck, N.Y. 11362-2591 Acenti is a registered trademark of Leviton Manufacturing Co., Inc.
© 2005 Leviton Manufacturing Co., Inc.
For more information, circle item numbers on Reader Service Card or go to
www.archrecord.com, under Products, then Reader Service.
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 Product Resource: On the Web
Student artwork . . . Tat Ito
www.usefrtw.com
Arch Wood Protection’s home
page helps specifiers find the
appropriate type of fire-retar-
dant-treated wood (FRTW) for
different needs. The site offers
two choices: Dricon FRTW for
interior and weather-shielded
applications and FRX FRTW for
exterior applications.

www.kristalia.it
The new Web site for the Italian
manufacturer Kristalia is available
in Italian, English, German, and
Spanish. The home page (left) is
divided into seven sections: com-
pany, designers (sample shown,
below left), tables, seats, acces-
sories, lighting, and
news. Each product is
presented with detailed
photographs and techni-
cal data sheets on
materials and size.

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Products on display include
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an ode to the late designer Masters Degree only
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 Pratt Institute President’s Exhibition Series

50 Years of Record Houses

August 11 – September 17, 2005
Pratt Manhattan Gallery

Pratt Institute’s School of Architecture, in collaboration with

Architectural Record and McGraw-Hill Construction,
has organized Forever Modern.

For each of the past fifty years, Architectural Record has featured a showcase

Pratt Manhattan Gallery of innovative designs in its Record Houses issue. This exhibition brings together
144 West 14th Street, Second Floor photographs, drawings, and models of more than 60 houses featured in the
New York, New York
magazine’s pages. It includes models made by architects as well as those
(Between Sixth and Seventh Avenues)
specially constructed for the exhibition by students in the School of Architecture.
Gallery hours: Saturday, 12:00–5:00 PM
Tuesday–Friday, 10:30 AM –5:30 PM

SPONSORED BY
 21st annual

Sponsored by: Earn your continuing Daily tours including: November 15 – 17, 2005
education and AIA/CES “Big Dig” Seaport World Trade Center
Learning Units (LUs) Boston Underground Boston
The Boston Society
Seaport District
350 exhibits and new Contemporary Boston The convention and
of Architects/AIA
products Courthouses tradeshow for design, build-
MIT ing and management pro-
200 workshops
Boutique Hotels fessionals.
Symposiums on: Green Buildings
AIA New York Chapter Diversity Large-Scale Tensioned FREE admission to the
Housing Membrane Structures
exhibit hall and workshop
MA Building Code Boston Theaters
Dodge
discounts if you register
Sweets Women in Design by October 21, 2005.
Architectural Record
ENR Gala/Design Celebration
Regional Publications Memorials
plus other special events
Smart Growth www.buildboston.com
Materials November 15 800-544-1898
Small Firms McGraw-Hill Construction
K-12 Facilities Design Keynote Luncheon
Public Interest “The Construction
Outlook for the U.S. and
New England”
with Robert A. Murray,
Chief Economist and
Vice-President of Economic
Affairs
 REGISTER TODAY!
Constructing in the 21st Century:
New Ways to Think, New Ways to Build
September 28-29, 2005
FALL S E S S I O N Millennium Biltmore Hotel
Los Angeles

KEYNOTE SPEAKERS:

Timothy J. Leiweke, Major General Charles E. Williams,

President & CEO, Director, Overseas Building Operations,
Anschutz Entertainment Group U.S. State Department

Association Partner: Partners: Sponsors: Supporting Sponsors:

The industry’s leading contractors, engineers, architects, equipment
and building product manufacturers, and building and facility
owners will gather to discuss trends, innovations and business
issues. The Forum’s interactive panel
discussions include:
• Can the Leaders of an Industry Change the Way Their Business
Works?
• Building Information Modeling: Owners, Architects, Engineers
and Contractors Confront the Future, Today
• The Future Workforce: What Are They Learning? What Should
They Be Learning?
• LEED: Green and Environmentally Sensitive and ...
Worth It?
For a complete list of panelists or to register, visit the Forum
website. www.construction.com/TopLeaders.asp/
Call: 212-904-4634 or E-mail: chuck_pinyan@mcgraw-hill.com
Confirmed Panelists include:
Ron Austin, Project Manager, Miami Performing Arts Center
Confirmed Panelists include:
Ron Austin, Project Manager, Miami Performing Arts Center
Sid Dickerson, Senior Vice President, Hirschfeld Steel Co. Inc.
Hank Harris, President and Managing Director, FMI Corp.
Ray Landy, President, DMJM H&N
Jim A. Mitchell, V.P. Capital Projects/Risk Management, PCL
Constructors Inc.
Frank Musica, Risk Management Attorney, Victor O. Schinnerer & Co. Inc.
Huw W. Roberts, AIA, CSI, Global Marketing Director, Building,
Bentley Systems Inc.
Gerry Salontai, CEO, Kleinfelder
Dennis Shelden, CIO, Gehry Technologies
Kevin Wedman, Chief Building Official, California Energy Commission, and
Director of Code Compliance Services, Bureau Veritas, Berryman & Henigar
Rod Wille, Senior Vice President, Manager of Sustainable Construction,
Turner Construction Co.

8/05
The Third Annual McGraw-Hill Construction
INNOVATION
CONFERENCE
SHAPING THE FUTURE OF
DESIGN AND CONSTRUCTION
Enabling Imagination • Enhancing Process • Enriching Design
Presented by Architectural Record in partnership with
Engineering News-Record and New York Construction News.
Innovation: Shaping the Future of Design and Construction
qualifies for 6 HSW Continuing Education Credits
REGISTER NOW!
AGENDA
Tuesday, November 15, 2005
1:30 PM Welcome and Keynote Address
Neil Gershenfeld, Director, The Center for Bits and Atoms,
Massachusetts Institute of Technology
2:00 PM Session 1: Radical New Materials
Each new building material has a unique development trajectory dictated by market
forces, scientific, and creative breakthroughs. This panel of experts will reveal the secrets
of how innovation is achieved through the various cycles of material development:
Moderator: Blaine Brownell, NBBJ Architects, author of Transmaterial.
Big picture thinking and global material trends/trajectories:
Blaine Brownell, NBBJ Architects
Material development driven by design needs:
Gregg Brodarick, B.lab Italia, Gallarate, Italy
Marrying lab-created new materials with creative uses:
Abhinand Lath, SensiTile Systems
Materials driven to market by manufacturers who innovate:
Edward Peck, Foiltec NA

3:45 PM Session 2: Fresh from the lab: Innovative materials for building construction
Materialist Robin Reigi, of Robin Reigi Art and Objects, and Rita Catinella,
Architectural Record’s New Products Editor, will guide the audience through what's
new, what's hot and what is not quite ready yet.

4:30 PM Keynote Address: Can you see it now?

How four-dimensional visualization tools bridge the gap between materials innovation
and the way we fabricate and build. Speaker to be Announced.

5:00 PM Reception in the Materials Exhibit Hall

Attendees will experience the new materials for themselves and can
take home samples.

Wednesday, November 16, 2005

Innovation Conference Case Study:
The Hearst Building, New York City
Norman Foster, Architect
Association Partner
Sponsor
Supporting Sponsor
Find us online at www.construction.com
7:30 AM Continental Breakfast in the Materials Exhibit Hall
8:30 AM Session 3: Digitally-enabled fabrication
Construction professionals are using sophisticated new tools to go from CAD-files
to the factory floor in seconds. Here’s how.
Moderator: George Petrides, President, Petrides Homes LLC
An overview of digital fabrication techniques, and their implications on building
information modeling:
Branko Kolarevic, Irving Distinguished Visiting Professor, Ball State University
Digital fabrication from a manufacturer’s point of view:
Ruben Suare, Vice President Architectural Division, 3form, Inc.
Innovations in automated housing prefabrication:
George Petrides, President, Petrides Homes LLC.
Digital fabrication from the small firm’s point of view:
Cory Sharples, Partner, SHoP Architects.
10:00 AM Session 4: Case Study: The Hearst Building, New York City
Representatives from Norman Foster and Partners, Flack and Kurtz, Cantor Seinuk,
Turner Construction, Tishman Speyer, and the Hearst Corporation will participate in
a joint presentation detailing the innovations at work in this remarkable building.
Moderator: Alexander C. Richter, Associate, Adamson Associates.
The Conference will be held at
McGraw-Hill Corporate Headquarters,
1221 Avenue of the Americas, New York City
TO REGISTER CONTACT:
Chuck Pinyan, 212/904-4634 or
chuck_pinyan@mcgraw-hill.com
or go to www.construction.com/event/2005Innovation/
 Dates & Events
New & Upcoming
Exhibitions
Ayse Erkman: Artist-in-
Residence
Long Island City, N.Y.
September 10–November 27,
2005
Ayse Erkman is well known in
Europe for her spectacular public
projects as well as for subtle archi-
tectural interventions. During a
5-week residency, Erkman will
create a site-specific work that
engages both the interior and exte-
rior of Sculpture Center’s nearly
100-year-old steel-and-brick
building. At Sculpture Center. Visit
www.sculpture-center.org.
Sheila C. Johnson Design
Center at Parsons: A
Celebration
New York City
September 14–November 8, 2005
This exhibition will celebrate the
creation of a new campus center at
Parsons, designed by Lyn Rice
Architects, with drawings, models,
and full-size mock-ups of construc-
tion details. Call 212/229-8919 or
visit www.parsons.edu.
Raymond Loewy: Designs for
a Consumer Culture
Atlanta
September 15–December 23, 2005
The exhibition showcases the work
of Loewy and his associates with
an array of drawings, models, prod-
ucts, advertisements, photographs,
archival documents, and rare
footage of Loewy over five decades.
At the Museum of Design, Atlanta.
Call 404/688-2467 or visit
www.museumofdesign.org.
Frank Lloyd Wright and
Taliesen: The Photographs of
Pedro Guerrero
Chicago
September 16–November 19, 2005
From 1939, when Taliesen set up
its western front in Arizona, to the
death of Wright in 1959, Guerrero
created some of the greatest archi-
tectural photographs of the last
century. The open access Wright
granted the photographer ensured
that the images became a true
biography of the legendary archi-
tect. At Architech Gallery. For
information, call 312/475-1290 or
visit www.architechgallery.
Palladian Architectural
Drawing Tour
Venice, Italy
September 17–24, 2005
The sixth annual drawing tour of
the Institute of Classical
Architecture & Classical America is
an exploration of the Veneto and
Venice with a concentration on the
architecture of the great Italian
architect Andrea Palladio (1508–80).
British watercolorist Alexander
Creswell and New York architect
Melissa Del Vecchio will lead
instruction in sketching, perspec-
tive, watercolor, and analytical
drawing. Call 800/390-5536 or
visit www.classicalexcursions.com.
Marion Mahony Griffin:
Drawing the Form of Nature
Evanston, Ill.
September 23–December 4, 2005
Chicago-born architect Marion
Mahony Griffin is known primarily
for her magnificent drafting style
that incorporated architectural
plans into dramatic and stylized
landscapes. This is the first exhibi-
tion devoted to Mahony Griffin’s
graphic work. At the Mary and
Leigh Block Museum of Art. Call
847/491-4000 or visit www.
blockmuseum.northwestern.edu.
International Arts and Crafts
Indianapolis
September 2005–January 2006
Organized by the Victoria and Albert
Museum in London, the exhibition
features more than 300 objects from
Great Britain, where the Arts and
Crafts movement began, as well as
America, Europe, and Japan—where
it developed as the mingei, or folk
craft, movement. At the Indianapolis
Museum of Art. Visit www.ima-art.org
or call 317/923-1331
Samuel Mockbee and the
Rural Studio: Artist and
Architectural Visionary
Hartford
September 29–November 6,
2005
An exhibition celebrating Samuel
Mockbee, who put into practice one
of the nation’s boldest contempo-
rary architecture programs, the
renowned Rural Studio at Auburn
University in Alabama. This inspired
designer and charismatic teacher
was also a painter, poet, environ-
mentalist, and humanist. His work
will be on view at Joseloff Gallery.
Visit www.joseloffgallery.org.
Renewing Wright
Pittsburgh
October 1, 2005–January 15,
2006
This exhibition brings together two
iconic buildings by Frank Lloyd
Wright with, in each case, an associ-
ated project by a leading visionary
architect of today. At the Heinz
Architectural Center, Carnegie
Museum of Art. Call 412/622-3131
or visit www.cmoa.org.
Sacral Space: Modern
Finnish Churches
Seattle
October 7–November 13, 2005
This exhibition presents 12 Modern
Finnish churches, which demon-
strate the remarkable quality of
Modern Finnish architecture.
Sacral Space includes drawings,
photographs, videos, and three-
dimensional drawings. At the
Heritage Nordic Museum. For
information, call 206/ 789-5707 or
visit www.nordicmuseum.org.
Solar Decathlon
DEPARTMENTS
Washington, D.C.
October 7–16, 2005
The Solar Decathlon presents cut-
ting-edge architecture, engineering,
and technology, all of which can be
applied in building homes to gener-
ate their own energy, not simply
consume it. The U.S. Department of
Energy announced 18 teams that
will compete to see who can build
and operate the best-designed
and most-energy-efficient solar-
powered home. The public can tour
the homes and take away valuable
information about where to find
these resources and how to apply
them to their existing homes or
ones they will build. On the National
Mall. For more information, visit
www.solardecathlon.org.
Conrad Buff III and Donald
Hensman Home Tour
Pasadena, Calif.
October 11, 14, and 15, 2005
“A Celebration of the Work of
Architects Conrad Buff III and
Donald Hensman” is a three-day
event featuring a home tour, sym-
posium, and reception. Buff and
Hensman helped define the ultra-
cool and casual California Modern
architecture scene of the 1950s
and ’60s. The tour will consist of six
Buff and Hensman homes in the
Pasadena, Altadena, and Linda Vista
areas, some of which have been
unavailable to the public until now.
For information, call 626/ 793-3334.
Classical Spain: Art &
Architecture of Madrid,
Toledo, and Segovia
Madrid
October 16–23, 2005
Organized by the Institute of
Classical Architecture & Classical
America, walking tours, lectures,
and expert guides will emphasize
extraordinary architecture and
art spanning the Romanesque,
Baroque, and Neoclassical periods
09.05 Architectural Record 217
 Dates &Events
in Madrid and surrounding cities. Call 800/390-
5536 or visit www.classicalexcursions.com.
Prairie Skyscraper: Frank Lloyd Wright’s
Price Tower
Bartlesville, Okla.
October 14, 2005–January 15, 2006
An exhibition of approximately 108 drawings,
models, photographs, documents, building com-
ponents, and furnishings to mark the building’s
50th anniversary. Visitors will be able to tour
both the exhibition and the building’s historic
Frank Lloyd Wright interiors. At the Price Tower
Arts Center. Call 918/336-4949 or visit
www.pricetower.org.
Ongoing Exhibitions
Jean Prouvé: Three Nomadic Structures
West Hollywood
August 14, 2005–November 27, 2005
The first American presentation of the work of
celebrated French designer and architect Jean
Prouvé (1901–84), this exhibition includes
furniture, vintage photography by Lucien Hervé,
and architectural elements that address the
Design as fast most important aspects of Prouvé’s practice.
At the Museum of Contemporary Art Pacific
Design Center. Call 213/626-6222 or visit
as you think. www.moca.org.
Filigree Spaces:
See your most inspired ideas Textile Installations by Piper Shepard
come to life instantly-in 3D! Baltimore
SketchUp is intuitive, powerful Through September 18, 2005
software that allows you to design The two new installations, featuring a dramatic
quickly and communicate your curtain wall in the Baltimore Museum of Art’s
vision easily and completely. lobby and a “room within a room” design in the
It will unleash your creativity museum’s textile gallery, explore the connection
and supercharge your workflow. between textiles and architecture. At the
SketchUp is available for both Baltimore Museum of Art. Call 410/396-7100 or
Mac and Windows platforms. visit www.artbma.org.
Visit www.sketchup.com to
download a free trial or call Romantic Modernist: The Life and Work
303.245.0086 for a demo CD. of Norman Jaffe, Architect
Southampton, N.Y.
Through September 18, 2005
Norman Jaffe built more than 600 projects dur-
ing his 35-year career. He received numerable
architecture awards and also participated in
national and international exhibitions at leading
institutions, including the Museum of Modern
Dream. Design. Communicate. Art, New York. Eastern Long Island is where Jaffe
© 2005 @Last Software, Inc. ® SketchUp is a registered trademark of @Last Software, Inc. found his place in American architecture, creat-
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ing unique vacation homes while exploring his
love of light and form. This is the first major
exhibition to examine the life and work of this
important American architect. At the Parrish
Art Museum. Call 631/283-2118 or visit
www.parrishart.org.
Restoration: The Dissolution of
Ideologies
Stockholm
Through September 25, 2005
Restoration doctrines have succeeded one another
ever since the start of the 19th century. In recent
years, one finds a tendency to fit the approach to
the object of restoration rather than following a
specific doctrine. If there is an ideology of restora-
tion today, what does it look like? This exhibition
presents 10 important restorations completed
recently. At the Arkitekturmuseet. Call 46 0 8/587-
27000 or visit www.arkitekturmuseet.se.
a_show Stage 2: Austrian Architecture
in the 20th and 21st Centuries
Vienna
Through September 2005
Due to the sheer scope of material covered by
the exhibition, a_show is being subdivided into
10 themes to be opened successively in three
stages. The first stage, covering the period
1850–1918, opened in March 2004 with much
success. Stage 2 extends to the period from
1919–58. At the Architekturzentrum Wien. Call
431/522-3115 or visit www.azw.at.
2005 Young Architects Program
Long Island City, Queens
Through September 2005
Los Angeles–based architecture firm Xefirotarch
has been selected as the winner of the sixth
annual MoMA/P.S. 1 Young Architects Program,
a competition that invites emerging architects to
propose a building project for the courtyard of
P.S. 1 in Long Island City, Queens. Call 212/708-
9400 or visit www.moma.org.
On Tour with Renzo Piano & Building
Workshop: Selected Projects
Los Angeles
Through October 2. 2005
Featuring several seminal works, this exhibition
shows an intimate view of the work of one of
the most respected and visionary architects of
our time. Piano’s involvement in each stage of a
building’s development, from concept and master
plan to construction and detailing, is chronicled.
 Dates &Events
In the Ahmanson Building at the Los Angeles
County Museum of Art. Call 323/857-6000 or
visit www.lacma.org.
Zero Gravity: The Art Institute, Renzo
Piano, and Building for a New Century
Chicago
Through October 2, 2005
This exhibition presents delicate models, detailed
renderings, and calligraphic sketches of the new
north wing at the Art Institute of Chicago created
by the architects of the Renzo Piano Building
Workshop. At the Art Institute of Chicago, in the
airy, evocative setting around the balcony in
Gallery 200. Call 312/443-3600 or visit
www.artic.edu.
Transformed: Uncommon Uses of
Materials in Contemporary Design
Philadelphia
Through October 9, 2005
With a focus on both form and function, this
exhibition comprises 19 contemporary design
objects in the Philadelphia Museum of Art’s
collection, providing an illuminating look at what
happens when today’s designers fuse utilitarian
objects with unconventional materials, such as
silicon, recycled plastic, fibrated concrete, and
even goose feathers. The exhibition includes
pieces by Ingo Maurer, Frank O. Gehry, Tokujin
Yoshioka, and Fernando and Humberto
Campana, among others. At the Philadelphia
Museum of Art. Call 215/ 763-8100 or visit
www.philamuseum.org.
Tools of the Imagination
Washington, D.C.
Through October 10, 2005
This exhibition will show how various devices
have revolutionized the way in which architects
and designers imagine and create architecture.
Included are 250 years of design tools and tech-
nologies—from historic pencils, ink, and drafting
equipment to the latest and most sophisticated
software and hardware, simulations, models, and
lasers—as well as a wide array of drawings, ren-
derings, and sketches from well-known architects.
At the National Building Museum. Call 202/272-
2448 or visit www.nbm.org.
Going, Going, Gone? Mid-Century
Modern Architecture in South Florida
Fort Lauderdale, Fla.
Through October 30, 2005
Can we still save South Florida’s Midcentury
Modern architecture? This exhibition is a photo-
graphic journey through Broward and Miami-Dade
counties, featuring the work of photographer
Robin Hill, who has shot dozens of outstanding
South Florida structures dating back to the
mid-20th century. At the Museum of Art. Call
954/525-5500 or visit www.moafl.org.
The High Line
New York City
Through October 31, 2005
This exhibition features Field Operations and
Diller Scofidio + Renfro’s winning entry for the
redesign of the High Line, a defunct, elevated
railway bed that runs along Manhattan’s far
West Side. In the Architecture and Design Gallery
at the Museum of Modern Art (MoMA). Call
212/708-9400 or visit www.moma.org.
Lectures, Conferences, and
Symposia
Promosedia 2005
Udine, Italy
September 8–11, 2005
The 29th Promosedia International Chair
Exhibition, the only exhibition in the world dedi-
cated to seating, is a gauge for new trends in
design, technology, and marketing. Included in the
line-up are promising emerging designers, the win-
ner of the International Chair Design Competition,
design talks with leading architects and designers,
exhibitors from around the globe, and more. For
further information, visit www.promosedia.it.
The Semi-Permanent Design Event
New York City
September 9–10, 2005
Creative companies from the U.S. and Australia
gather to examine the current design climate,
showcase leading talent and technology, and
offer insight into the future of creative industries.
The conference will include a full weekend of
speaker presentations and an atrium lounge
packed with product and sponsor displays. At
Lincoln Center. For more information, visit
www.semipermanent.com.
GlassBuild America
Atlanta
September 13–15, 2005
The Glass, Window, and Door Expo will be held at
the Georgia World Congress Center. For further
information, visit www.glassbuild.com.
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NATIONAL BUILDING MUSEUM Dates &Events

AT NBM Prague: 20th-Century Architecture in

Transition
Prague
the conference will be held at the historic
Empire Theatre. For more information, visit
www.designingtomorrowsarchitect.org.
lectures September 17–23, 2005
Spotlight on The AIA Committee of Design conference will 100% Design

& ASSOCIATES ARCHITECTS

Design explore design of buildings, sites, and the city in London
An ongoing lecture relation to political, social, cultural, and economic September 22–25, 2005
series featuring transitions and the permanence of the historic, The internationally renowned commercial con-
architects and designers climatic, and geographic environment. At the temporary design exhibition promises an exciting

COURTESY GWATHMEY SIEGEL

of distinction Hotel Alcron. Visit www.aia.org.
Smart Growth 2005 AIA New York Chapter Design
A series of noontime Awards Public Symposium
lectures exploring New York City
development strategies that preserve
September 19, 2005
community character and protect the
A moderated discussion and presentation of
environment
outstanding architecture, interior architecture,
DC Builds and unbuilt projects located in New York City or
An ongoing lecture series focusing on designed by New York architects. At the Center
current architectural, planning, and for Architecture. Call 212/358-6117 or visit
public policy issues affecting www.aiany.org.
Washington, D.C.
Spotlight on Design: James Eyre
Building for the 21st Century Washington, D.C.
A lunchtime lecture series exploring September 19, 2005
energy-efficient and economical new
The British firm of Wilkinson Eyre Architects
technologies and construction techniques
employs new technologies and materials with
breathtaking results. James Eyre, RIBA, a found-
exhibitions ing principal of the practice, will discuss its
projects, including the Gateshead Millennium
© GMBH
lineup of established manufacturers and design-
ers as well as first-time exhibitors and upcoming
design talent. At Earls Court 2. For information,
visit www.100percentdesign.co.uk.
Design for Change: A Symposium on
Design, Social Responsibility, and
Nonprofit Organizations
New York City
September 23, 2005
This symposium will bring together design educa-
tors and practitioners and nonprofit administrators
to discuss the role of design in addressing larger
social issues. The daylong program will include
panel discussions, presentations of case studies,
and opportunities for informal dialogue. At
Parsons The New School for Design. Call 212/229-
8919 or visit www.parsons.edu.
Lecture: Sim Van der Ryn on
Sustainable Design

Liquid Stone: Bridge, the National Waterfront Museum in Washington, D.C.

LITRACON, SEEN IN LIQUID STONE. COURTESY LITRACON

New Architecture Swansea, Wales, and his proposal for a tensegrity September 26, 2005
in Concrete bridge spanning the National Building Museum’s Using his own projects and teaching experiences
through January 29, Great Hall. At the National Building Museum. Call a examples, renowned pioneer in sustainable
2006
202/272-2448 or visit www.nbm.org. architecture Sim Van der Ryn will discuss the evo-
lution of his thinking and the emergence of a new
Jewish
IIDEX/NeoCon Canada 2005 process of collaborative design that honors a
Washington:
Toronto building’s users and connects them to the earth.
Scrapbook of an
September 22–23, 2005 At the National Building Museum. Call 202/272-
American Community
Canada’s largest exposition and conference for 2448 or visit www.nbm.org.
through January 8, 2006
the design, construction, and management of
Washington: Symbol & City the built environment. This year’s focus is on 2005 National Preservation Conference:
long-term exhibition sustainability and the built environment with Sustain America—Vision, Economics,
an expanded architectural program. In the and Preservation
National Trade Centre at Exhibition Place. Visit Portland, Ore.
national building museum www.iidexneocon.com. September 27–October 2, 2005
401 F Street NW The conference brings together experts and
Washington, DC 20001 Internship Conference: practitioners in the diverse specialties that con-
202.272.2448 Designing Tomorrow’s Architect tribute to preservation—architecture and
San Antonio cultural landscapes, historic sites and heritage
www.NBM.org
September 22–24, 2005 tourism, heritage education, smart growth and
For more information and to register Seventy-five invited participants will include regional planning, downtown revitalization,
for programs, call or visit our website. key leadership from each organization and a neighborhood revitalization and housing, organi-
Discounts for members and students.
diverse group of stakeholders in the internship zational management, public policy, real estate
process. Cosponsored by the AIA and NCARB, development, and more. At the Hilton Portland
 Dates &Events
& Executive Tower. Call 202-588-6296 or visit
www.nthpconference.org
CERSAIE 2005
Bologna, Italy
September 27–October 1, 2005
The world’s largest international exhibition of
ceramic tile and bathroom furnishings will
feature more than 1000 exhibitors form 33
countries. CERSAIE 2005 will include the third
annual design symposium, entitled “Bologna
Markitecture: Value in Architecture.” At the
Bologna Fairgrounds. Visit www.cersaie.it or
www.italiatiles.com.
ArtHouses: New Directions in Museum
and Exhibition Design
Houston
September 28–October 26, 2005
A lecture series presented by the Rice Design
Alliance. A new generation of architects has
emerged to imaginatively address the challenges
of designing for art of our time. Lecturers include
Brad Cloepfil of Allied Works Architecture,
Tony Fretton of Tony Fretton Architects, Galia
Solomonoff of OpenOffice: art + architecture
collaboration, and David Adjaye of Adjaye/
Associates. In Brown Auditorium at the Museum
of Fine Arts. Call 713/348-4876 or visit
www.rda.rice.edu.
Competitions
Architecture And …
Deadline: September 12, 2005
In celebration of its 125th anniversary, the
Architectural League is seeking proposals for
lecture series, conferences, and public programs
in other formats; for Web projects, electronic
publishing projects, white papers, exhibitions, or
installations. “Architecture And …” is a yearlong
series of programs, offering analysis, demon-
stration, and proposition about the current
state and future potential of architecture. For
more information, visit www.archleague.org.
2005 AIA New York Chapter Design
Awards
Entry form deadline: September 12, 2005
Deadline for submissions: September 16,
2005
The mission of this design award is to elevate
discussion about architecture and to increase
awareness of today’s outstanding architecture
FOTOglas
among the public as well as among architects.
Architecture anywhere in the world designed by
AIA New York Chapter members or registered
architects working in New York City, or architecture
located in New York City designed by registered
architects practicing anywhere, is eligible. Call
212/358-6117 or visit www.aiany.org.
The 22nd Antron
Fiber Design Award
Deadline: September 16, 2005
This award program recognizes designers
who are setting new standards in commercial
™
design through the innovative use of carpet.
Visit www.antron.invista.com/designawards.
Windscape: An Ideas Competition
Envisioning Renewable Energy for
Cape Cod
Deadline: September 30, 2005
The competition challenges participants to
explore the notion of renewable energy and to
better understand the environmental, visual, FOTOglas by Skyline Design is
and other implications of the infrastructure of a proprietary process which etches
a wind farm. For further information, visit large photographic images perma-
www.architects.org/windscape. nently into the surface of the glass.
Specially formulated for interior
2005 NSA Sunroom Design Awards and exterior applications. Sepia
Competition tone and other finishes available.
Deadline: October 31, 2005
Judged in three cost levels as well as type of roof SKYLINE DESIGN www.skydesign.com
888.278.4660
category, the National Sunroom Association (NSA)
NeoCon East Booth 842
Design Awards Competition recognizes excellence
in design and installation of sunrooms. For more
Manufactured in Chicago
information, visit www.nationalsunroom.org.
2005 Source Awards
Deadline: December 2, 2005
This national lighting design competition, which
focuses on furthering the understanding and
function of lighting as a primary element in
design, is open to all lighting designers, archi-
tects, engineers, interior and professional
designers, and consultants who use Cooper
Lighting fixtures in interior or exterior design
projects. Visit www.cooperlighting.com.
The Harry Ransom Center
E-mail event and competition information two Architect: Lake Flato
months before event or submission deadline to Graphics: Fd2s
Photo: ©2004 Hester+Hardaway
elisabeth_broome@mcgraw-hill.com. Edited by
Alexandra Gates.
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• STRENGTH
Composite steel joists combined with
poured concrete = great diaphragm
• SPANS
Design alternatives
increase with 43’ spans
• FIRE RATINGS
U/L Ratings up to 3 hours

www.hambro.ws
450 East Hillsboro Blvd
Deerfield Beach, FL 33441
Tel: 800-546-9008 – Fax: 800-592-4943
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 PRODUCTNEWS ADVERTISEMENT TO ADVE RTISE: Contact Deidre Allen
T: (212) 904-2010 / F: (609) 426-7136
deidre_allen@McGraw-Hill.com

Kitchen Design Booklet Thin Stone Cladding Systems

1 General data 4 Masonry
Blanco Stone Truss Systems, Inc.

Introducing a booklet from BLANCO Thin lightweight natural stone wall

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designing the most frequently used area offers economical solutions for new
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installation choices, custom accessories, limestone are applied to a structural
and much, much more. Available at framing system of extruded aluminum.
www.blancoamerica.com. Weighing only 6-lb.-psf, the wall system
provides many advantages including
speed and simplicity of installation.

800-451-5782 212-838-7667
www.blancoamerica.com www.thinstonesystems.com

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Commercial Grade Outdoor Furniture Crystallized Glass Ceramic Architectural Panels

2 Site construction 4 Masonry
Modern Outdoor Technical Glass Products

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lead times, environmentally conscious yet stronger than granite. Commonly
materials—these are the attributes used for cladding interior and exterior
of Modern Outdoor—a producer of walls, flooring, and counter or tabletops,
top quality outdoor furniture with a they are virtually impermeable and not
definitive modern aesthetic. The Modern subject to freeze-thaw damage, penetra-
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grade products designed for the substances. Contact Technical Glass
restaurant, hospitality, and resort Products at 888-397-3473 or
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perfect for a residential client's backyard
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Modern Outdoor offers attractive pricing.

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Thin Brick Products Railing Systems

4 Masonry 5 Metals
Boulder Creek Stone HDI Railing Systems

You put a lot of care into your home or The high-end d line™ railing system from
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to withstand the test of time while stainless (AISI 316) for use in any
providing a cost-effective and versatile environment. Features include custom
alternative to traditional applications. bending, modular engineering for fast
on-site installation, and quick order
turnaround to meet construction
deadlines. Complete supply and
installation service is available through-
out North America, which includes
inox™, CIRCUM™, HEWI Nylon® and d line
railing systems.

www.hdirailings.com

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09.05 Architectural Record 225

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T: (212) 904-2010 / F: (609) 426-7136
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Aluminum Flooring Cedar Roofing & Sidewall

5 Metals 7 Thermal & moisture protection
Power Stretch Cedar Shake & Shingle Bureau

Aluma Floor™ is manufactured with The Cedar Shake & Shingle Bureau
3/16-in. solid aluminum . A "Floor of provides installation instructions and
The Future" is now here. Let your AIA Continuing Education Seminars.
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www.aluminumfloors.com. Certi-label™ brand cedar shakes and
shingles for roofing and sidewall
applications. To ensure quality,
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Architectural Columns, Balustrades & Mouldings Fiber Cement Boards

6 Wood & plastics 7 Thermal & moisture protection
Melton Classics, Inc. Cement Board Fabricators

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products in the industry, including high-performance building products for
architectural columns, balustrades, any climate with total disregard for the
mouldings, cornices, and a wide array of elements. Time-tested, as well as
architectural elements. Architectural environmentally friendly, for use in
columns are available plain or fluted, residential, commercial, institutional,
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composite, synthetic stone, cast stone, as an infill panel between masonry,
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Snow Guards Shingles

7 Thermal & moisture protection 7 Thermal & moisture protection
Alpine SnowGuards CertainTeed

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226 Architectural Record 09.05

 PRODUCTNEWS ADVERTISEMENT
Metal Building Components
7 Thermal & moisture protection
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With 19 branches throughout the United
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Rainscreen Systems
7 Thermal & moisture protection
Pohl Inc. of America
Pohl has provided the AEC industry with
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Roof Penetration Flashings
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TO ADVE RTISE: Contact Deidre Allen
T: (212) 904-2010 / F: (609) 426-7136
deidre_allen@McGraw-Hill.com
UL-Approved Glass Flooring
8 Doors & windows
Artwork in Architectural Glass
Looking for a UL-approved, anti-slip glass
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800-788-5942
www.warmedge.com
❘ Circle Reader Service #166
Walkable Laminated Safety Glass
8 Doors & windows
General Glass International
Bi-Step Structural Glass Flooring by BGT
offers design freedom for artful expres-
sion while meeting the functional needs
of any project. It is a walkable laminated
safety glass for use in floors, bridges,
landings, and stairs. It offers code com-
pliant slip-resistant friction values and
proven structural integrity.
800-431-2042
www.generalglass.com
❘ Circle Reader Service #167
09.05 Architectural Record 227
PRODUCTNEWS ADVERTISEMENT TO ADVE RTISE: Contact Deidre Allen
T: (212) 904-2010 / F: (609) 426-7136
deidre_allen@McGraw-Hill.com

Glass Stair Treads & Tiles Decorative Glass

8 Doors & windows 8 Doors & windows
Goldray Industries Ltd. Nathan Allan Glass Studios Inc.

Glass stair treads and flooring tiles are a The latest in "Glass Edge" technology,
new trend in the architectural world, and "Sphere Glass" is now in production at
Goldray has made their own mark on Nathan Allan. Designed for wall parti-
this new market with the development tions, feature walls, backbars, sidelites,
of their new "Traction Control Frit." This doorlites, water features, and overhead
coating has aggressive traction proper- suspended panels. The Spheres are pro-
ties which yield a superior slip coeffi- duced in standard diameters of 1-1/2-in.,
cient as a safety feature for stair treads 2-in. and 3-in., and can be produced in
and glass flooring. Visit Goldray's Web diameters up to 24-in. Standard Sphere
site for more information on this and colors include Clear, Crystal Clear, Blue,
other innovative products from Goldray Bluegreen, Aqua Blue, Green, Grey,
Industries. Bronze and Gold. Custom colors are also
available. View their Web site for
full specs.

604-277-8533
www.goldrayindustries.com www.nathanallan.com

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High-Performance Translucent Building Systems Retractable Roof Enclosures & Skylights

8 Doors & windows 8 Doors & windows
Kalwall Corporation OpenAire Inc.

Gathering LEED™ points through day- Custom-designed retractable roof struc-

lighting can greatly impact any project. tures and operable skylights capable of
Kalwall's highly insulating, diffuse-light spanning up to 140-ft. At the touch of a
transmitting, translucent skylights, wall button, motorized panels retract to open
systems and replacement windows are up to 50% or more of the roof area.
uniquely suited to achieve the desired OpenAire can span up to 140-ft. and do
results. The use of Kalwall can contribute custom designs (domes, barrel vaults,
points in the categories of Sustainable biparting, etc.) using its exclusive main-
Sites, Energy & Performance, Materials & tenance-free, thermally broken alu-
Resources, and Indoor Environmental minum framing. These enclosures and
Quality. operable skylights are perfect for indoor
waterparks, pools, atria, and anywhere
that you want to bring the outside in.

800-258-9777
www.kalwall.com www.openaire.com

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Special Purpose Doors & Windows Electronically Tintable Glass

8 Doors & windows 8 Doors & windows
Krieger Specialty Products Co. SAGE Electrochromics, Inc.

For over 60 years, Krieger has been cus- In the making for over a decade; durable,
tom manufacturing acoustical, blast, bul- tested glass that tints at the push of a
let, security, radio frequency shielding, button. SageGlass® electronically tintable
thermal shielding, stainless steel, and glazing eliminates having to choose
other special purpose doors and win- between a design that maximizes the
dows. Their custom designed and manu- positive attributes of the sun—daylight,
factured doors and windows are utilized view, connection to the outdoors—and
by leading architects in premier installa- one that attempts to minimize its draw-
tions such as the Kodak Theater, Disney backs—heat gain, glare, and fading. You
Concert Hall, Hollywood Bowl, Max get unprecedented solar control without
Fisher Performing Center, Boeing the need for blinds, so the view and your
Integration Center, The Getty Museum, design intent are preserved.
L.A. Zoo, Basketball Hall of Fame, the
Pentagon, and various other U.S. govern-
ment, military, and embassy buildings
throughout the world.
877-724-3321
www.KriegerProducts.com www.sage-ec.com

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228 Architectural Record 09.05

 PRODUCTNEWS ADVERTISEMENT
Wood Interior Windows & Doors
8 Doors & windows
Weather Shield Windows &
Doors
Engineered with unique features and
built for unparalleled performance, the
Weather Shield Legacy Series is simply
one of the best window and door lines
available for custom and luxury homes.
Available in tilt double-hung, casement,
awning, and direct-set windows and
French doors, the premium windows fea-
ture elegant wood interiors in a variety of
wood species from Weather Shield's
Custom Wood Interiors Collection™.
800-477-6808
www.weathershield.com
❘ Circle Reader Service #174
Doors for Interior Architecture
8 Doors & windows
Woodfold-Marco Mfg., Inc.
Some will say that nothing is more
beautiful than wood. Woodfold-Marco
would agree. Woodfold custom made
accordion and roll-up doors (available in
hardwood and non-hardwood finishes as
well) are both functional and beautiful.
Woodfold-Marco has models available
for use as sight, security and acoustic
applications. Its solid hardwood roll-up
doors coil conveniently overhead. And to
assure on time completion of your
projects, Woodfold-Marco has the
industry's best production cycle.
Fax number 503-357-7185
503-357-7181
www.woodfold.com
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Ornamental Plaster Ceiling Tiles
9 Finishes
Above View Mfg, By Tiles, Inc.
ABOVE VIEW ornamental plaster ceiling
tiles are fabricated from a non-toxic,
non-combustible, proprietary composi-
tion. They drop into any standard 15/16-
in. T-Bar grid system. There are more
than 50 standard designs, custom design
work, and 1300 custom colors and faux
finishes available upon request.
414-744-7118
www.aboveview.com
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TO ADVE RTISE: Contact Deidre Allen
T: (212) 904-2010 / F: (609) 426-7136
deidre_allen@McGraw-Hill.com
Granite & Limestone Materials
9 Finishes
Ancor Granite Tile Inc.
Ancor Granite Tile is now pleased to
afford you the design freedom and dis-
tinction you have been denied to date.
Think of custom sizes: 12-in. by 16-in.,
12-in. by 18-in., 16-in. by 24-in. in over
100 granite and limestone materials.
Ancor is pleased to offer tiles up to 24-in.
by 24-in. and sizes in between from 3/8-
in. to 1-1/4-in. in thickness, in a variety of
finishes from high polish to matte, tex-
tured and antiqued. Put their 20 years' of
specialization to work for you. Usher in a
new age of stone design. Contact Ancor
to discuss an upcoming project idea;
they look forward to hearing from you.
www.ancor.ca
❘ Circle Reader Service #177
Ceiling Accents
9 Finishes
Architectural Products by
Outwater, LLC
Ceiling Focus, a dramatic accent, is avail-
able for any large or high ceiling. Suited
for residential and commercial use in
new construction or renovation applica-
tions, Ceiling Focus can be used "right
out of the box" or easily adapted for use
with chandeliers or other lighting fix-
tures by merely drilling through its cen-
ter. Produced of lightweight, extremely
durable high-density polyurethane,
Ceiling Focus comes factory primed, and
is ready to be painted, glazed or faux fin-
ished the same day as installation.
Ceiling Focus is available in two sizes: 48-
in.(w) by 72-in.(l) by 5-in.(d) and 60-in.(w)
by 84-in.(l) by 4-1/2-in.(d).
800-835-4400
www.outwater.com
❘ Circle Reader Service #178
Linear Metal Ceilings
9 Finishes
Chicago Metallic Corp.
Design attractive curvilinear ceilings in
virtually any interior or exterior space
with Planar™. Flat and curved ceilings
are made from durable aluminum in
4-in., 6-in. and 8-in. widths in a wide
range of painted colors, wood and
reflective finishes. Lighting, air distribu-
tion and acoustical performance are
integrated for uninterrupted linear
appearance. Contact Chicago Metallic for
samples and product literature or visit
their Web site.
800-323-7164
www.chicagometallic.com/planar
❘ Circle Reader Service #179
09.05 Architectural Record 229
PRODUCTNEWS ADVERTISEMENT TO ADVE RTISE: Contact Deidre Allen
T: (212) 904-2010 / F: (609) 426-7136
deidre_allen@McGraw-Hill.com

Sculpted Panel System Authentic Terrazzo

9 Finishes 9 Finishes
Formglas Inc. Surface Elements

Using 3D modeling and CNC Technology, Terrazzio is an Authentic Terrazzo used

Formglas Inc. has transformed a TVS flat for floors, counter tops and as an exteri-
geometric design into a curved 14-ft. by or wall panel. Terrazzio is first manufac-
9-ft. sculpted diamond panel system. tured as a 4-ft. by 8-ft. by 1/4-in. bisque
Suspended on rods, the panels form an then polished and cut to your specifica-
intricate 3D vaulted surface. For more tions. With twelve 'time tested' tradition-
information on Formglas products please al colors, and twenty-two vibrant
visit them on the Web. contemporary colors, Terrazzio has the
beauty and durability of traditional ter-
razzo with today's warm tones and
refreshing colors. Terrazzio is ideal for
schools, dazzling 'up scale' restaurants
and retail stores.

931-845-3434
www.formglas.com www.Terrazzio.com

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Decorative Wall Panels Thin-Set Waterproofing

9 Finishes 9 Finishes
Kemlite Company The Noble Company

frpDesign Solutions is a family of decora- NobleSeal® TS is a thin, sheet membrane

tive wall panels that provides an alterna- for waterproofing and crack isolation of
tive to traditional wall coverings such as thin-set tile or stone. TS can be bonded to
ceramic tile, wood paneling or vinyl wall a vertical or horizontal substrate, and tile
coverings. Offering both functionality can be bonded to TS. It's ideal for shower
and design, products in the frpDesign floors, walls and drying areas. NobleSeal
Solutions line are made of a moisture- TS can be flood tested as soon as the
resistant frp panel with a decorative fin- bonding agent has cured (usually
ish that includes myriad colors, patterns, overnight). This helps insure watertight
and woodgrains, as well as a tile-look installations. TS is recommended for
panel. Available with over 500 hundred wheelchair accessible showers and other
choices, frpDesign Solutions is easy to applications where a full mortar bed is
install and maintain. For more informa- not desired.
tion, visit Kemlite on the Web.

888-332-6377
www.frpdesignsolutions.com www.noblecompany.com

❘ Circle Reader Service #181 ❘ Circle Reader Service #184

Cork & Linoleum Floating Floors Clay Floor Tiles

9 Finishes 9 Finishes
Nova Distinctive Floors Viva Ceramica

Nova Cork and Linoleum Floating Floors Colors meet the purest clays forged and
embrace design, function, and environ- pre-compacted in a higher than normal
mental consciousness. Manufactured in thickness (12-mm). Complete penetra-
1-ft. by 3-ft. "klick" (glueless) system tion between body and color grants last-
planks, Nova Distinctive Floors boasts 28 ing optical results, maximum ultimate
designer patterns in cork and nine bold tensile strength, absolute resistance to
linoleum colors with accent tiles. acids, scratches, frost, and dirt. The total-
Harvested from forests that meet ly environment-friendly manufacturing
environmental, social and economic process is assured by ISO9001 quality
standards, Nova products have received system. The XILO series is guaranteed 20
the "Green Spec" distinction from years for private homes and ten years for
Building Green, Inc. as well as FSC and public areas. For further information
SCS certifications. They offer a 20-year please consult the Viva updated price list
residential and 10-year commercial and sales conditions on their Web site.
warranty. Call 866-576-2458 or visit
www.novafloorings.com.

www.novadistinctivefloors.com www.cerviva.it

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230 Architectural Record 09.05

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T: (212) 904-2010 / F: (609) 426-7136
deidre_allen@McGraw-Hill.com

Precast Concrete & Terrazzo Products Adjustable Shelves

10 Specialties 10 Specialties
DEX Studios Rev-A-Shelf

DEX manufactures precast architectural With birch/maple wood construction and

concrete and terrazzo products for com- chrome rails, the 448 Wall Series has 3
mercial, multi-unit, and residential adjustable shelves and a bonus chrome
applications. Superior finishes and colors rail set that can be mounted to the top
in both cast concrete and terrazzo are shelf providing up to 5 surface areas for
available in sinks, bathtubs, shower 36-in. or 42-in. applications. Additional
pans, tile, bar and countertops, tabletops features include their technologically
and fireplaces. All DEX products are pol- advanced patent pending "tri-slides"
ished to a hard dense finish and sealed that prevent side-to-side motion and
to protect the finished product. DEX provide complete stability and their
offers a wide range of standard products, adjustable door mount brackets that
custom design capabilities and several allow up to 5-in. of flexibility for trouble-
Green products using post consumer free installation on any door style. The
recycled aggregates. 448 Series is available in 2 sizes for wall 9
and wall 12 cabinets. Email
hlogsdon@rev-a-shelf.com
404-753-0600 800-626-1126
www.dexstudios.com www.rev-a-shelf.com

❘ Circle Reader Service #186 ❘ Circle Reader Service #189

Architectural Bird Control Ceiling Fans & Lighting

10 Specialties 11 Equipment
Nixalite G Squared

NIXALITE is a simple, direct and humane Clean and simple, the Flyte ceiling fan is
solution to bird problems. Often copied a GOOD DESIGN Award winner. View
but never duplicated, Nixalite is the brushed nickel with mahogany blades
exclusive development of Nixalite of and all white versions on their Web site.
America. Nixalite is an easy-to-install, Includes 100W dimmable light and touch
long lasting and virtually maintenance- control system, remote control available.
free, all 316 stainless steel bird barrier Cap for non-light use included. Whisper
needle strip, suitable for all birds. quiet, powerful and beautifully made,
Inconspicuous, Nixalite functions as an this timeless design can be used on 8-
integral design component blending nat- 1/2-ft. ceilings or on cathedral ceilings
urally with structural features and pro- with optional downrods up to 6-ft.
tecting the original design of a structure. Suitable for sloped ceilings up to 29°.
NIXALITE keeps the birds flying. Lifetime warranty. To buy high-design
architectural fans and lighting please call
or visit their Web site.

800-624-1189 877-858-5333
www.nixalite.com www.g2art.com

❘ Circle Reader Service #187 ❘ Circle Reader Service #190

Electronic Lockers Dual-Sided Filing Cabinet

10 Specialties 12 Furnishings
Penco Products, Inc. Aurora from Richards-Wilcox, Inc.

Penco Product's SmartLocker® elimi- Aurora Products introduces the 2-Tier

nates the need for conventional locks Times-2, a new twist on storage and
and keys. It can use employee/student ID filing. At only 29.5-in. high, the 2-Tier
cards or proximity devices to grant or Times-2 is a perfect desk companion,
restrict access. The locker system is net- providing dual-sided filing in a locking
worked to a central computer in an cabinet that rotates. The Times-2 is
administrative office, where usage can small, but mighty: it holds as much as
be monitored and access codes con- one 4-drawer 30-in. lateral file in a
trolled. Applications for SmartLocker footprint that's just 36-in. wide by
includes schools, health clubs, recre- 25-in. deep. A variety of accessories
ational facilities, retail establishments, accommodate all types of multimedia
police departments, and many more. storage and filing. Use the 2-Tier for
personal storage and filing, or between
two work stations for shared filing.
Email sniemiec@richardswilcox.com

800-562-1000 800-877-8456
www.pencoproducts.com www.timestwo.com

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09.05 Architectural Record 231

PRODUCTNEWS ADVERTISEMENT
Wear-Resistant Furniture
12 Furnishings
Kwalu
Kwalu wall protection is the newest
addition to a collection of virtually
indestructible, scuff- and scratch-resist-
ant furniture, tables and casegoods.
Combining unsurpassed excellence in
design with a 10-year warranty on
construction and finish, Kwalu wall
protection systems are ideally suited to
the most challenging environments
where striking elegance and effortless
functionality is the dream. Call, or visit
the Web site.
800-405-4331
www.kwalu.com
❘ Circle Reader Service #192
Shutters
12 Furnishings
Linetec
Polywood plantation shutters are used in
office parks, restaurants, hotels, and
multi-family dwellings to provide ulti-
mate control of temperature, light, noise,
and privacy. The Polywood shutter is one
of the best window treatments on the
market due to its class-A fire rating,
moisture resistance, and architectural
grade paint finish by Linetec. When you
spec Polywood on your next project, you
can be assured that it will never warp,
crack, split or discolor. And it's guaran-
teed for life.
888-546-3832
www.polywoodshutters.com
❘ Circle Reader Service #193
Curved Church Pews
12 Furnishings
New Holland Church Furniture
Curved pews are "Round For A Reason"™
and are designed and manufactured by
New Holland Church Furniture. Curved
pews are designed for maximum seating,
curved for efficient use of space,
designed to enhance worship, created for
community, uniting the family of God.
New Holland Church Furniture is a certi-
fied member of the Architectural
Woodwork Institute (AWI), so you can be
assured of the very highest quality.
Email nhcw@newhollandwood.com
800-220-1465
www.newhollandwood.com
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232 Architectural Record 09.05
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T: (212) 904-2010 / F: (609) 426-7136
deidre_allen@McGraw-Hill.com
Elevator Systems
14 Conveying systems
Custom Cab Industries
Turn your Residential/Commercial
Elevator Dreams into reality. CCI will turn
your dreams into reality. They have the
resources to design, manufacture, and
install your dream Elevator system.
619-205-1000
www.customcabsind.com
❘ Circle Reader Service #195
Elevator Door Facings
14 Conveying systems
Gage Corporation, Intl.
ECO-NOR offers six distinctive pre-deco-
rated elevator door facings in 18-ga.
stainless steel. ECO-NOR is competitively
priced, making it an ideal choice for
remodeling or budget sensitive projects.
Finishes of all designs complement
existing or new #4 stainless steel frames.
ECO-NOR offers prompt lead times with-
out the need for prior specification. ECO-
NOR is a product of Northern Engraving
Corporation. Fax number 608-269-7622
Email gage@centurytel.net
800-786-4243
www.eco-nor.com
❘ Circle Reader Service #196
Vertical Wheelchair Lifts
14 Conveying systems
Inclinator Company of
America, Inc.
Inclinator's SpectraLift® Vertical
Wheelchair Lift is the only fiberglass
wheelchair lift in the industry. That
means it won't rust, dent, or make those
rattling metal noises. The fiberglass con-
struction allows for rounded corners and
recessed panels for a more attractive
look. All electrical components and con-
nections are completely waterproof. And,
SpectraLift comes in 28 standard colors.
The sealed hydraulic lift provides a
smooth 54-in. ride. SpectraLift comes
with an industry-leading two-year parts
warranty. Indoors or out-it doesn't matter.
Inclinator stocks many standard colors.
www.inclinator.com
❘ Circle Reader Service #197
 PRODUCTNEWS ADVERTISEMENT
Code Compliant Insulation
15 Mechanical
Armacell LLC
For the first time, a closed cell elastomer-
ic foam insulation, the ideal material to
prevent moisture intrusion on cold sys-
tems, meets 25/50 flame spread and
smoke developed index ratings in 1-1/2-
in. wall thickness. New code compliant
AP Armaflex is suitable for the extreme
temperatures and humidity associated
with commercial refrigeration and some
cold water systems. The thicker AP
Armaflex from Armacell conforms to
NFPA 90A and 90B for materials in air
return plenums and ASTM C 534 stan-
dards. All Armaflex elastomeric foam is
fiber free.
800-866-5638
www.armacell.com
❘ Circle Reader Service #198
Metal Plumbing Fabrication
15 Mechanical
Diamond Spas, Inc.
Diamond Spas specializes in metal
plumbing fabrication. The DSI line con-
sists of soaking baths, whirlpool baths,
Japanese baths, shower pans, lavatories,
kitchen sinks and spas/hot tubs. What
sets Diamond Spas apart from other
manufacturers is their ability to cus-
tomize. Every bath fixture or spa is
designed and built specifically for the
client. Your visions become reality when
Diamond Spas is part of your project. DSI
has the talent and expertise to create
artistic, sophisticated, highly durable
products for the upscale home.
www.diamondspas.com
❘ Circle Reader Service #199
Air Conditioning Grilles
15 Mechanical
Worth Home Products
Worth Home Products provides an
attractive alternative to stamped metal
grilles. Worth's computer-aided design
ensures high efficient air flow and won't
void mechanical warranties like site built
grilles. This patent-pending product is
made from paint-grade Poplar and Birch
woods and discreetly blends into ceilings
or walls. Its locking system provides a
safe and easy installation. Over 36 stan-
dard wooden grille sizes and custom
services are available for quick delivery.
www.WorthHomeProducts.com
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Sheer Glass Fixtures
16 Electrical
Charles Loomis, Inc.
Capture radiance, fashion, and drama
with “bauble”– designer Charles Loomis’s
premier introduction to a line of sheer
glass fixtures. “Bauble” combines classic
glamour with contemporary chic. For
details please contact Charles Loomis,
Inc. at 800-755-0471
800-755-0471
www.charlesloomis.com
❘ Circle Reader Service #201
Exterior Emergency Lighting
16 Electrical
Concealite Life Safety
Products
Hydro-Lume is a 12 V, electronic metal
halide emergency lighting system
designed to illuminate long pathways to
and from a building that conventional
exterior lighting systems cannot ade-
quately light. Hydro-Lume incorporates
Concealite's exterior, weatherproof
technology with high output lamps to
provide an exceptional illumination
pattern for the challenging situations
found in exterior lighting. Hydro-Lume
can be customized to meet any
application. For more information and
specifications, visit www.concealite.com
or call 605-542-4444.
605-542-4444
www.concealite.com
❘ Circle Reader Service #202
Custom Light Fixtures
16 Electrical
CP Lighting
CPLIGHTING introduces the
newGROWTH chandelier. Custom fabri-
cated from brushed aluminum, these UL
listed fixtures are a modern sculptural
interpretation of fallen branches. Like
real trees, no two newGROWTH fixtures
are ever alike. Each fixture is built to suit
your specific project needs utilizing line-
voltage type JCD halogen bulbs. Please
visit their Web site to see their complete
line of modern light fixtures designed by
Christopher Poehlmann including the
recycled acrylic Popsicle Pendant series.
866-597-4800
www.cplighting.com
❘ Circle Reader Service #203
09.05 Architectural Record 233
TO ADVERTISE: Contact Diane Soister
T: (212) 904-2021 / F: (212) 904-2074
Diane_Soister@McGraw-Hill.com
AUCTION
POS IT IONS AVAILABLE
SENIOR ARCHITECT AND
PROJECT MANAGER
Deutsch Associates, a professional architectural
design firm, has an immediate opening for a Senior
Architect and Project Manager. Applicant should
have a minimum of 5+ years professional experience
with Bachelors degree in architecture. Diversified
experience in project management, mentoring of
technical staff and strong client interaction capabili-
ties. Requirements: Arizona registration; Contact:
send resume to HR@ 2929.com or fax to 602-840-
6646; Firm info: Deutsch Associates is a
Phoenix-based architectural design firm providing
services to both public and private sector clients since
1981. Market sectors include: government, educa-
tion, high tech, bio, industrial, and retail.
INTERIOR ARCHITECTURE
San Francisco area commercial interiors firm
established in 1988 with a solid book of repeat
clientele plus many emerging opportunities.
Owner is looking toward reduced involvement over
the next 5 to 8 years and seeks a licensed individual
architect, or firm, for exploring the mutual goal of
a gradual ownership transition. Send Inquiries to:
iagamedes@yahoo.com
INTERIOR DESIGNER
Evaluates furniture trends to determine upcoming
market styles or trends. Plans and designs furni-
ture. Req B.S. Interior Architecture & 1 yr. exp in
job. Send Resume: Ron Thames, Riverforks
Imports Inc., 500 S. Greenwood St., Geneva, AL
36340 (jobsite).
234 Architectural Record 09.05
CLASSIFIED ADVERTISING
ARCHITECT
Reynolds, Smith and Hills, Inc., a national
Architecture and Engineering firm, currently has
an opening for a dynamic and multi-faceted
Architect in our Tampa, Florida office. Candi-
dates should be proficient in AutoCad with
experience in design, production, and construc-
tion administration; should be ready to assume
project management duties; and should have
excellent communication skills. Candidates must
be licensed and interested in professional growth
and advancement in the Architectural profession.
RS&H offers a competitive salary and compre-
hensive benefit package. All interested candidates
should submit resume by applying online at
www.rsandh.com. EOE/AAP/M/F/V/D
ARCHITECTURAL DESIGNER
Determine functional & other requirements of
arch. design & planning. Prep. info on design
specs, material, color, equipment, costs & sched-
ule in keeping with zoning & bldg. codes. Prep.
design using VIZ, Illustrator & Photoshop. Prep.
final plans & contract documents using CAD, &
integrate engineering elements into unified
design. Research & Catalog design trends for use
by architects. Req: Master in Architecture. 40
hrs/wk. Job site: Santa Monica, CA. Fax resume to:
Kristi @ WWCOT (310) 453 9432.
INTERIOR DESIGNER
Worksite: Various locations in Bergen County.
Assoc. Deg. in Interior Design. Send ad/ resume to
Danon Group, Attn: Owner, 15 Beekman Place,
Fair Lawn, N.J. 07410
CEO
A leading architectural and engineering firm
with two offices in West MI and gross annual sales
of 10 million is actively seeking an experienced
and energetic Chief Executive Officer.
Qualifications for this critical position are: excep-
tional communication & leadership skills; 10-15
years experience in the capacity of a CEO or
equivalent executive mgmt position; strong
results oriented; a proven history of driving posi-
tive change and measurable returns; ability to
cultivate team working environments; proficient
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09.05 Architectural Record 235
ADVERTISERS INDEX Bold: Indicates Page Number. Italic: Indicates Reader Service Number. Y: Indicates Sweets Marketplace Participation

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236 Architectural Record 09.05
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09.05 Architectural Record 237

 50 Years of Record Houses

From the pages of ARCHITECTURAL RECORD 1991

Feverish Dream House

By Beth Broome

N
ot restrained by traditional notions of good taste,” record noted of the Orange
County, California, home of Joe and Etsuko Price when first covering it in 1991.
P H OTO G R A P H Y : © S C OT T F R A N C E S / E S TO

Depicting the house as a vision from a feverish dream, the article said architect
Bart Prince “combined craft with a futuristic, almost James Bond sensibility.”
Windowless waves of shingles give the Price House the appearance, from the
street, of larger-than-life lichen. Behind its walls lie three levels of fancifully designed
spaces—separated by sliding panels and platforms rather than doors—that fan out to take
in the ocean view. Visually floating staircases, rock gardens, stained-glass windows, wall-to-
wall sheepskin, and organically carved work areas abound. “The space is so copiously
detailed,” record reported, “it makes your head spin.”
“The house, like everything I’ve done, is responsive to its situation, its site, and the
client,” says Prince today. “And this was a more unusual client than most.” Indeed, Joe Price
became an architectural patron of note after convincing his father, in the early 1950s, to

09.05 Architectural Record 239

50 Years of Record Houses
This page: A concrete study center
extending from the Japanese tea-
house (below) is the only addition to
the original home (above).
Previous page: The home’s undulat-
ing shape has made it a must-see
tourist attraction in Orange County.
240 Architectural Record 09.05
commission Frank Lloyd Wright to design the Price Tower for his family’s oil-services com-
pany. Soon after, the younger Price hired Bruce Goff, Wright’s friend and admirer, for his
own home, and later recruited Goff to design a Los Angeles study center focusing on Joe’s
passion, Japanese art. When Goff died, his successor, Bart Prince, completed the study cen-
ter and went on to design Price’s Orange County home. Rather than micromanage the
process, says Prince, this client simply outlined his lifestyle needs. Eschewing a grand state-
ment to the world, he aspired to a “jewel-box” house just for his family.
P H OTO G R A P H Y : © S C OT T F R A N C E S / E S TO ( TO P ) ;
A few years after its completion, Price called on Prince to add a small Japanese study
center for visiting scholars. While the original building is primarily wood with some copper
cladding, the study center, for reasons of security and fire protection, dictated different mate-
rials. The addition appears as a monolith of poured concrete extending from the traditional
M I C H E L E M . P E N H A L L ( B OT TO M )
Japanese teahouse that the architect had originally integrated into the home’s lower level.
Apart from the study center, the Price House appears today much as it did 14 years
ago—and the client, who still lives there with his Japanese-born wife, likes it that way. His one
minor complaint, perhaps, is that despite the design’s focus on privacy (with each family mem-
ber granted his or her own “world”), its eccentricity has made it a must-see on tourist
itineraries, and its proximity to the road gives gawkers easy access. Otherwise, time seems to
have strengthened the bond between the home and its owner. “If I could do it again, I
would carry it even further,” says Price. “Everything is impractical—the garage doors are a
Rube Goldberg thing to get open—but it all works. And nothing has aged—besides me.” ■
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