Architectural record magazine january 2006

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  • 1. TeAM YYePG Proudly Presents, Thx for SupportYYePGDigitally signed by TeAM YYePGDN: cn=TeAM YYePG, c=US,o=TeAM YYePG, ou=TeAMYYePG, email=yyepg@msn.comReason: I attest to the accuracyand integrity of this documentDate: 2006.01.16 08:38:19 +0800 A Shimmering Facade Cloaks Jean Nouvel’s Striking Agbar Tower in Barcelona also in this issue RESIDENTIAL SECTION Houses on Hills
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  • 6. YYePG Proudly Presents, Thx for Support EDITOR IN CHIEF Robert Ivy, FAIA, MANAGING EDITOR Beth Broome, DESIGN DIRECTOR Anna Egger-Schlesinger, DEPUTY EDITORS Clifford A. Pearson, Suzanne Stephens, Charles Linn, FAIA, Profession and Industry, SENIOR EDITORS Sarah Amelar, sarah_ Sara Hart, sara_ Deborah Snoonian, P.E., William Weathersby, Jr., Jane F. Kolleeny, PRODUCTS EDITOR Rita Catinella Orrell, NEWS EDITOR Sam Lubell, PRODUCTION MANAGER Juan Ramos, DEPUTY ART DIRECTOR Kristofer E. Rabasca, ASSOCIATE ART DIRECTOR Clara Huang, WEB DESIGN Susannah Shepherd, WEB PRODUCTION Laurie Meisel, EDITORIAL SUPPORT Linda Ransey, Monique Francis, COPY EDITOR Leslie Yudell ILLUSTRATOR I-ni Chen EDITORIAL ASSISTANT Sarah Cox EDITOR AT LARGE James S. Russell, AIA, CONTRIBUTING EDITORS Raul Barreneche, Robert Campbell, FAIA, Andrea Oppenheimer Dean, David Dillon, Lisa Findley, Blair Kamin, Nancy Levinson, Thomas Mellins, Robert Murray, Sheri Olson, FAIA, Nancy B. Solomon, AIA, Michael Sorkin, Michael Speaks, Ingrid Spencer SPECIAL INTERNATIONAL CORRESPONDENT Naomi R. Pollock, AIA INTERNATIONAL CORRESPONDENTS David Cohn, Claire Downey, Tracy Metz GROUP PUBLISHER James H. McGraw IV, VP, ASSOCIATE PUBLISHER Laura Viscusi, VP, GROUP EDITORIAL DIRECTOR Robert Ivy, FAIA, GROUP DESIGN DIRECTOR Anna Egger-Schlesinger, DIRECTOR, CIRCULATION Maurice Persiani, Brian McGann, ASSOCIATE PROMOTION MANAGER Laura M. Savino, DIRECTOR, MULTIMEDIA DESIGN & PRODUCTION Susan Valentini, MANAGER, ADVERTISING PRODUCTION Stephen R. Weiss, DIRECTOR, FINANCE Ike Chong, DIRECTOR, SPECIAL PROJECTS Charles Pinyan, REPRINTS Reprint Management Services, EDITORIAL OFFICES: 212/904-2594. Editorial fax: 212/904-4256. E-mail: Two Penn Plaza, New York, N.Y. 10121-2298. WEB SITE: SUBSCRIBER SERVICE: 877/876-8093 (U.S. only). 609/426-7046 (outside the U.S.). Subscriber fax: 609/426-7087. E-mail: AIA members must contact the AIA for address changes on their subscriptions. 800/242-3837. E-mail: INQUIRIES AND SUBMISSIONS: Letters, Robert Ivy; Practice, Charles Linn; Books, Deborah Snoonian; Record Houses and Interiors, Sarah Amelar; Products, Rita Catinella Orrell; Lighting and Interiors, William Weathersby, Jr.; Residential, Jane F. Kolleeny; Web Editorial, Ingrid Spencer. ARCHITECTURAL RECORD: (ISSN 0003-858X) January 2006. Vol. 194, No. 01. Published monthly by The McGraw-Hill Companies, 1221 Avenue of the Americas, New York, N.Y. 10020. Periodicals postage paid at New York, N.Y. and additional mailing offices. Ride Along enclosed in edition 010 and 011. Canada Post International Publications Mail Product Sales Agreement No. 40012501. Return undeliverable Canadian addresses to: DPGM Ltd., 2-7496 Bath Road, Mississauga, ON L4T 1L2. Email: Registered for GST as The McGraw-Hill Companies. GST No. R123075673. Postmaster: Please send address changes to ARCHITECTURAL RECORD, Fulfillment Manager, P.O. Box 566, Hightstown, N.J. 08520. SUBSCRIPTION: Rates are as follows: U.S. and Possessions $71; Canada and Mexico $79 (payment in U.S. currency, GST included); outside North America $199 (air freight delivery). Single copy price $9.95; for foreign $11. Subscriber Services: 877/876-8093 (U.S. only); 609/426-7046 (outside the U.S.); fax: 609/426-7087. SUBMISSIONS: Every effort will be made to return material submitted for possible publication (if accompanied by stamped, self-addressed envelope), but the editors and the corporation will not be responsible for loss or damage. SUBSCRIPTION LIST USAGE: Advertisers may use our list to mail information to readers. To be excluded from such mailings, send a request to ARCHITECTURAL RECORD, Mailing List Manager, P.O. Box 555, Hightstown, N.J. 08520. OFFICERS OF THE MCGRAW-HILL COMPANIES: Chairman, President and Chief Executive Officer: Harold McGraw III. Executive Vice President and Chief Financial Officer: Robert J. Bahash. Executive Vice President, Human Resources: David L. Murphy. Senior Vice President and General Counsel: Kenneth M. Vittor. Principal Operating Executives: Kathleen A Corbet, President, Standard & Poors; Henry Hirschberg, President, McGraw-Hill Education; Glenn S. Goldberg, President, McGraw-Hill Information and Media Services. MCGRAW-HILL CONSTRUCTION: Norbert W. Young, Jr., FAIA, President. Vice President and CFO: Louis J. Finocchiaro. COPYRIGHT AND REPRINTING: Title ® reg. in U.S. Patent Office. Copyright © 2006 by The McGraw-Hill Companies. All rights reserved. Where necessary, permission is granted by the copyright owner for libraries and others registered with the Copyright Clearance Center (CCC), 222 Rosewood Drive, Danvers, Mass. 01923. To photocopy any article herein for personal or internal reference use only for the base fee of $1.80 per copy of the article plus ten cents per page, send payment to CCC, ISSN 0003-858X. Copying for other than personal use or internal reference is prohibited without prior written permission. Write or fax requests (no telephone requests) to Copyright Permission Desk, ARCHI- TECTURAL RECORD, Two Penn Plaza, New York, N.Y. 10121-2298; fax 212/904-4256. For reprints call 800/360-5549 X 129 or e-mail Information has been obtained by The McGraw-Hill Companies from sources believed to be reliable. However, because of the possibility of human or mechanical error by our sources, The McGraw-Hill Companies or ARCHITECTURAL RECORD does not guarantee the accuracy, adequacy, or completeness of any information and is not responsible for any errors or omissions therein or for the results to be obtained from the use of such information of for any damages resulting there from. THE AMERICAN INSTITUTE OF ARCHITECTS 2006 BOARD OF DIRECTORS • OFFICERS: Kate Schwennsen, FAIA, President; RK Stewart, FAIA, First Vice President; Ronald J. Battaglia, FAIA, Vice President; Michael Broshar, AIA, Vice President; Jerry K. Roller, AIA, Vice President; Norman Strong, FAIA, Vice President; John C. Senhauser, FAIA, Secretary; Tommy Neal Cowan, FAIA, Treasurer; Jeremy Edmunds, Associate AIA, Associate Representative to the AIA Executive Committee; Elizabeth Mitchell, CACE Representative to the AIA Executive Committee; Christine W. McEntee, Executive Vice President/CEO. • REGIONAL DIRECTORS: Peter J. Arsenault, LEED AP, AIA; Michel C. Ashe, AIA; William D. Beyer, FAIA; Jay Brand, PhD; David J. Brotman, FAIA; Stephan Castellanos, FAIA; Anthony J. Costello, FAIA; David Crawford; James H. Eley, FAIA; Glenn H. Fellows, AIA; Robert D. Fincham, AIA; Jonathan L. Fischel, AIA; Marion L. Fowlkes, FAIA; Maureen A. Guttman, AIA; Walter J. Hainsfurther, AIA; John J. Hoffmann, FAIA; Richard Jackson, MD, MPH; Leevi Kiil, FAIA; Michael Lischer, AIA; Clark Llewellyn, AIA; Stephen K. Loos, AIA; Marvin J. Malecha, FAIA; Clark D. Manus, FAIA; John M. Maudlin-Jeronimo, FAIA; Linda McCracken-Hunt, AIA; George H. Miller, FAIA; Hal P. Munger, AIA; Robin L. Murray, AIA, PP; Thompson Nelson, FAIA; Celeste A. Novak, LEED AP, AIA,; Gordon N. Park, CDS, AIA; Marshall E. Purnell, FAIA; Miguel A. Rodriguez, AIA; Jeffrey Rosenblum, AIA; Ken Ross, FAIA; Greg Staskiewicz, Associate AIA; James M. Suehiro, AIA; Leslie J. Thomas, AIA; Bryce A. Weigand, FAIA; Enrique A. Woodroffe, FAIA; Eric Zaddock. • AIA MANAGEMENT COUNCIL: Christine W. McEntee, Executive Vice President/CEO; James C. Dinegar, CAE, Chief Operating Officer; Richard J. James, CPA, Chief Financial Officer; Jay A. Stephens, Esq., General Counsel; Laura L. Viehmyer, SPHR, CEBS, CAE, Chief Human Resources Officer; Helene Combs Dreiling, Hon. SDA, FAIA, Team Vice President, AIA Community; Ronald A. Faucheux, Ph.D., Esq., Team Vice President, AIA Government Advocacy; Barbara Sido, CAE, Team Vice President, AIA Knowledge; Elizabeth Stewart, Esq., Team Vice President, AIA Public Advocacy; David Downey, CAE, Assoc. AIA, Managing Director, AIA Communities by Design; James Gatsch, FAIA, General Manager, AIA Contract Documents; Suzanne Harness, Esq, AIA., Managing Director and Counsel, AIA Contract Documents; Maan Hashem, Managing Director, AIA Software Products and Services; Richard L. Hayes, Ph.D., RAIC, CAE, AIA, Managing Director, AIA Knowledge Resources; Brenda Henderson, Hon. AIA, Managing Director, AIA Component Relations; Christine M. Klein, Managing Director, AIA Meetings; Carol Madden, Managing Director, AIA Membership Services; Philip D. O’Neal, Managing Director, AIA Information Technology; C.D. Pangallo, EdD, Managing Director, AIA Continuing Education; Terence J. Poltrack, Managing Director, AIA Communications; Andrea S. 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  • 12. ©2005 Adobe Systems Incorporated. All rights reserved. Adobe, the Adobe logo, Acrobat, the Adobe PDF logo and Better by Adobe are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and / or other countries. All other trademarks are the property of their respective owners. GET YYePG Proudly Presents, Thx for Support EVERYONE
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  • 15. YYePG Proudly Presents, Thx for Support01.2006 On the Cover: Agbar Tower, by Ateliers Jean Nouvel. Photograph by Roland Halbe Right: ING Head Offices, by Erick van Egeraat. Photograph by Christian Richters News Building Types Study 853 29 AIA Gold Medal recipient and 2006 Firm Award 125 Introduction: Adaptive Reuse by Suzanne Stephens 30 Special Hurricane Report 126 Independence Park, California by Joseph Giovannini* Frank R. Webb Architects Departments 132 The Barn at Fallingwater, Pennsylvania by James Murdock* 19 Editorial: Reconstructing Kuwait Bohlin Cywinski Jackson 21 Letters* 136 Local Union 580, New York by Suzanne Stephens* Daniel Goldner Architects 47 Archrecord2: For the emerging architect by Ingrid Spencer* 140 Masanari Murai Art Museum, Japan by Naomi R. Pollock, AIA* 51 Correspondent’s File: New Orleans by Sam Lubell Kengo Kuma & Associates 57 Critique: Worlds apart by Robert Campbell, FAIA 61 Books: Marketing Tips For additional Adaptive Reuse projects, go to Building Types Study at 69 Snapshot: Pixel House by Beth Broome228 Dates & Events*248 Lost to Katrina: Sullivan’s Cottage by Suzanne Stephens* Architectural Technology 149 The Perils of Restoring “Less Is More” by Sara Hart* Features Performing reconstructive surgery on Mies’s C.R. Crown Hall. 74 Turning Surface Into Symbol by Joseph Giovannini Design firm Sussman/Prejza enriches architecture with graphics. Residential 80 Openness in the Era of Security by Jane C. Loeffler 159 Introduction by Jane F. Kolleeny Supreme Court Justice Stephen Breyer speaks on courthouse design. 160 Long Residence by Victoria Medgyesi Cutler Anderson Architects Projects 164 Hill House by Michael Webb 88 Agbar Tower, Barcelona by James S. Russell, AIA* Johnston Marklee & Associates Ateliers Jean Nouvel, with b720 arquitectos 170 Art Studio and Residence by Jane F. Kolleeny Barcelona’s skyline welcomes a startling new icon. The Office of Peter Rose 96 Desert Broom Library, Arizona by Ingrid Spencer* 176 Sunset Cabin by Kelly Rude Richärd+Bauer Taylor_Smyth architects Clad in weathered steel, a library makes its home in the desert. 183 CEDIA Review by Rebecca Day102 Architecture and Art Building, Texas by Sarah Amelar* Roto Architects Products A “dancing” new building brings inspiration to a campus. 187 Preservation by Rita Catinella Orrell108 ING Head Offices, Hungary by Tracy Metz* 191 Product Briefs Erick van Egeraat Associated Architects 194 Promosedia Review by Charles Linn, FAIA A hyperkinetic facade shakes things up on a staid streetscape.116 Daniel Arts Center, Massachusetts by Sam Lubell* 197 Product Literature Ann Beha Architects Quirky and progressive, a complex feeds off a school’s creative spirit. 224 Reader Service* 226 AIA/CES Self-Report Form* * You can find these stories at, 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 01.06 Architectural Record 13
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  • 17. CONTINUING EDUCATIONAll courses Special Continuing YYePG Proudly Presents, Thx for Support Education SectionJanuary 2006 Issue TURN TO PAGE 202 for four new self study courses. All courses qualify for one Learning Unit.202-206 Thermal and Moisture Control in Exterior Metal Walls 213-217 Concrete Waterproofing with Crystalline Technology By Peter J. Arsenault, AIA, NCARB, LEED-AP By Stanley Stark, FAIA Provided by Centria Provided by Xypex207-211 Air Barriers: Increasing Building Performance, 218-222 The Pros and Cons of Restoring and Replacing Wood Decreasing Energy Costs Windows By Charlotte Forbe By Karin Tetlow Provided by Dupont Tyvek Provided by Artistic Doors & Windows connecting people_projects_products Find us online at
  • 18. YYePG Proudly Presents, Thx for Support January 2006This month at Projects From the Arizona desert to Texas to Budapest to Spain, this month Architectural Record takes you across the globe to view a variety of inspiring projects, both public and private. Sponsored byPhoto: Bill Timmerman House of The Archrecord2 Month Three Los Angeles-based architects Defying its location—a decided to pool their talents under conventional suburban the umbrella name “Flux.” And, like neighborhood in Austin, the name suggests, they’re up to the Texas—the Twin Valley challenge of fluidly flexing ideas and House by Danze Blood resources to best suit the needs of Architects provides their clients. privacy, flexible living spaces, and boundless views of the Texas Hill Country. Courtesy Flux Sponsored by Building Types S tudies As these extreme makeovers prove, not every preservation and renovation project need be done with subtlety; sometimes a more radical approach is needed—but it all depends on the original building. Sponsored byPhoto: John Blood Courtesy Osborn connecting people_projects_products Find us online at
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  • 21. YYePG Proudly Presents, Thx for Support Reconstructing Kuwait Editorial By Robert Ivy, FAIA T o drive through contemporary Kuwait today, you could hardly guess in a distinctive culture: climate, people, economy, myth, and belief system? the context. Sitting stalled in traffic on the ring road, a thoroughly What is the role of ornament (in this case, geometric Islamic ornament)? Of contemporary highway more reminiscent of Palm Springs than craft? Examples within this forum dissected distinctive historic patterns within Desert Storm, there is little memory of the area’s Bedouin past or its recent his- the Arabian Peninsula, reminding audiences how tight-knit social systems pro- tory, especially of the early morning of August 12, 1990, when Iraqi forces duced clustered housing with clearly differentiated public and private zones rolled into town with violent force. Except for the occasional checkpoint at a and interconnections through internal passageways. Today, standard lots with sensitive government site, there is also little realization of another Iraqi war, large freestanding houses or apartment blocks seem derived more from just over the border. Desperate Housewives than from a people’s deep memory. Instead, today’s Xanadu-like Kuwait City, a metropolis of approxi- While drawing no firm conclusions, the conference—and a simulta- mately 1 million, seems to be thriving, running on a river of oil down to a neous gathering of architecture critics sponsored by the Aga Khan Award for sunlit sea (with apologies to Coleridge). This prosperous, tiny state, which con- Architecture—produced discussion on the potential role of a cluster of factors trols a staggering 10 percent of the world’s oil wealth, is translating black gold such as climate in shaping a new architecture, one more appropriate for a new to concrete, banking on the real estate of its capital city as economic anchor for Kuwait. This energy-rich nation can theoretically lead others toward a more the 21st century. Kuwait City’s emerging character serves as a case study for all sustainable architecture, where climatic response helps shape the buildings of architects, engineers, planners, and clients, because Kuwait City is rebounding the future. from invasion, with equal, liberated force. Simultaneously, a competition for the downtown node near the city’s International architects have made the trek up to the crux of the historic post office and Salhia Plaza demonstrated that the time has come for Persian Gulf before, in the construction frenzy of the late 1970s. That was when freewheeling growth to be channeled into authentic, three-dimensional the Swedish-designed, blue-button-covered tower trilogy that defines the sky- urbanism. While conceptual, the competition provided a new vision for Kuwait line appeared. The market peaked, and waned, as did Kuwait’s stock market, City’s downtown that may spur urban planning for other Middle Eastern cities. which rose and then fell with a thud in 1982, prompting an exodus of con- Since the trip to this distant country demands 14 hours of hard flying struction capital from the capital. In the absence of another Iraqi threat to time from the United States, it might be easy to dismiss the professional rumi- Kuwait’s sovereignty, the money has returned. nations of a group of architects or engineers on the far side of the globe. What Examining the skyline from the highway, the view appears vaguely does this desert have to do with California’s? Kuwait proves how quickly cities Americanized and totally new. Major design houses from Europe and the can change, as well as the existential crisis such a recovery can provoke. In ourP H OTO G R A P H Y : © A N D R É S O U R O U J O N United States, together with their local counterparts, have each contributed tall new, interconnected world, with man-made and natural crises abounding, buildings that stand in ribbons from north to south, with large gaps in between. what becomes of Kuwait City—in its search for meaning, for an appropriate At the human scale, the lower-scaled remnants of a 1950s city peer out at ran- urbanity, as well as for its sense of self—bears meaning for the rest of us. dom, lively witnesses of a modified International Style, layered in neon and paint. Where are we, anyway? The Kuwait Society of Engineers, a group that includes its architects, recently convened a symposium on Middle Eastern architecture called “Directions” to address such questions. The conference asked, what values do we want our cities to reflect? What are the formative constraints on architecture 01.06 Architectural Record 19
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  • 23. YYePG Proudly Presents, Thx for Support LettersHard times in the Big Easy action in the aftermath of Modern optimism ask, don’t care, it’s not in my DEPARTMENTSThank you for your editorial about Hurricanes Katrina and Rita. In it The introduction by Jane F. Kolleeny backyard—let the locals deal withNew Orleans [“What Architects Can you ask, “Are there that many trees to “Multifamily Housing: Fighting the problems. As a profession, areDo,” November 2005, page 17]. and nails available for the massive Sprawl” cited traditional families as we mercenaries for hire? Or do weWe certainly are in a mess and rebuilding effort? That much con- the reason for suburban sprawl and serve the greater good?desperately need the support of crete? And with so many demands credits nontraditional families, and —Brion Lipschutz, AIAthose in Washington. Many of us made on resources, how can the others, for the renewed interest in Ayers Saint Gross Architects &feel that the cry for help is falling sheer numbers of housing units urban living. While this is probably Plannerson dead ears. New Orleans is one required be realized?” I ask, must mostly correct, it is striking that Baltimoreof the most important cities in the we rely on traditional building ARCHITECTURAL RECORD doesn’tcountry—if not the world—for materials, such as timber, nails, assume a more positive outlook for Dog daysarchitecture. No other city in the and concrete? The current situation the future of traditional families Your writing on poorly designedU.S. has the number and percent- presents a great opportunity for returning to the city. Supporting this buildings truly struck a chord withage of historic structures we have. architects, engineers, and planners blame-game truism reinforces me. I am involved in traditionalAnd it’s a unique blend with numer- involved in the rebuilding efforts to unfortunate misconceptions about architectural design; however, myous house types unheard of take a nontraditional look at the the lifestyle desires of all kinds of work focus over the past 20 yearsanywhere else. It simply has to be problem and apply sustainable con- people, and forgets that urban influx has been real estate due diligence,rebuilt and revitalized. Yet, as you struction materials and techniques. housing is primarily affluent housing which has allowed me to becomedrive around, three and a half —Evonne S.C. Chong (The D.C. Fiscal Policy reported that intimately familiar with buildings ofmonths later, entire neighborhoods Tasmania, Australia affordable housing in the district note in most every major market inare dark, the flooded cars are still fell by nearly 12,000 units last year). the country. I agree with you whole-on the street. It has to be seen to Taking down the de Young Kolleeny proposes that it’s predomi- heartedly that the architecturebe understood. Your recent review of the de Young nantly single parents, retirees, profession will be well served by An issue devoted to New Museum in San Francisco empty nesters, and young profes- stepping back, looking at the mis-Orleans detailing the history and [November 2005, page 13], well sionals who desire to move into takes, and learning from them. I amculture of the city, along with pic- written as it was, neglected the urban areas. Why exclude tradi- fortunate to be in your fair city sev-tures of the variety of houses, problems the building has with its tional families? Why not take an eral times each month, and yes, youbuildings, and neighborhoods, exterior massing and finish. Only a inclusive stance about the attrac- have a few shining examples ofwould be a real eye-opener for dismissive comment at the article’s tion of good design? Why not these buildings. However, the won-many around the country who are end mentioned many people’s resurrect the Modern optimism derful architecture in New York Cityunaware of what we have (had). strong dislike for its hulking and about good design’s universal balances these out very well. Not toThere are also architects here with homely exterior. The building does attraction and powerful models for pick on them, but Boston, Chicago,talent, firms that need work (there not work with regard to exterior light future living instead of past failures? Atlanta, and Los Angeles could learnis none right now as we sit waiting conditions as they affect massing, —Camilo Llorens Bearman from the same self appraisal. Keepto hear our fate, waiting for insur- texture, and color. Furthermore, the Ritter Architects up the great work.ance companies, and for the photographs featured do not con- Alexandria, Va. —Ron Hadaway, Associate AIAverdict on the extent of levee pro- vey its unrelenting massiveness. Atlantatection Washington will provide). There are movements in Modern Drawing the professional lineCertainly, if there is a federally architecture which today are With regard to your September edi- Corrections:backed revival and reinvestment reviled, but once were greeted torial, “The View From Two Penn” In the obituary for Edmund Baconstarts, we will all be very busy. with great enthusiasm. Witness [page 19]: Where is the line [December, 2005, page 36], theThe question is, how long can we Brutalism: As architects know, between professional responsibili- phrase “who was raised as aexpect to wait? How long can we many cities today cannot wait to ties and profit? As a profession, is it Quaker” was accidentally omitted.keep paying our staff members? get rid of many of the concrete not our role to ask “how does this The sentence should have read:The problem is many layered and monstrosities they produced. project fit in?” as part of the charge “Always his own man, Edmundwill take much time to resolve. The ungainly, misshapen, and unat- of protecting the health, safety, Bacon, who was raised as a Quaker,—Mac Ball tractive exterior of the de Young and welfare of the public? When a entered the Navy during World WarWaggonner & Ball Architects Museum, however stylistically cur- developer client asks a firm to con- II, instead of registering as a consci-New Orleans rent it may be today, will certainly ceptualize a project in another city, entious objector.” be on that list in the future. does that architectural firm have aSustainable solutions —James Shay, FAIA responsibility to ask the toughI read your editorial about taking San Rafael, Calif. questions? Or is it a matter of don’t Send letters to 01.06 Architectural Record 21
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  • 31. YYePG Proudly Presents, Thx for Support Record News pp. 30–36 Special Hurricane Report p. 36 Power struggle heats up at Ground Zero Highlights p. 38 Viñoly sued over Kimmel Center project p. 40 Culture within steel mills in Bethlehem AIA Gold Medal, Firm Award go to Antoine Predock, Moore Ruble Yudell Antoine Predock, FAIA, has won the surrounding each building. Predock employing glass, steel, AIA’s highest honor, the 2006 AIA notes that poets, writers, painters, and bronze, and utilizing Gold Medal, and California-based and dancers are some of his greatest high-tech materials like Moore Ruble Yudell Architects have influences, next to the likes of Louis photovoltaics throughout won the 2006 Firm Award. Kahn and Frank Lloyd Wright. “We its meshlike facade. Predock, based in Albuquerque, delve into everything about a site,” he Predock, born in New Mexico, becomes the 62nd AIA says of his firm’s highly site-specific Missouri, studied architec- Gold Medalist. His work, which spans work, which he calls “episodic,” and ture at the University of roughly 40 years, is inspired perhaps even “cinematographic.” New Mexico and at most by the country’s rugged land- One well-known project is the Columbia University. His scapes, with buildings that often Minnesota Gateway in Minneapolis, firm has won numerous Predock’s McNamara Alumni Center in emulate rock formations, combined whose facade seems similar to a regional AIA awards, and Minneapolis. with contemporary angular forms. large stone face. Its interior is high- he won the American Another major influence, says the lighted by a public space formed by Academy’s Rome Prize in 1985 and overlapping interior and exterior architect, is the cultural landscape an irregular polyhedron of colliding the Chicago Architecture Prize in 1992. areas, and juxtaposing brick, metal, granite planes and glazed fissures Completing an honors lineup and concrete materials. The “Tango” that allow sunlight to enter in sharp tilted toward the western states, Housing in Malmö, Sweden [RECORD, beams. The recently completed Flint Moore Ruble Yudell, headquartered February, 2002, page 156] employs RiverQuarium in Albany, Georgia in Santa Monica, has garnered subdued massing and angular [RECORD, May, 2005, page 218], acclaim for its humanistic, urban, geometries to both mesh with its merges the rocky geology of the welcoming, large-scale residential surrounding streetscape and add city’s Flint River with the building and mixed-use projects. The firm is excitement to its interior courtyards. itself, formed with concrete and lime- led by partners John Ruble, FAIA, The firm has also completed stone blocks. Predock recently and Buzz Yudell, FAIA, and was civic, cultural, institutional, and completed a new City Hall for Austin, established in 1977. An excellent research projects. In addition to Texas, and a new baseball stadium example of the firm’s work is the architecture, it provides interior and for the San Diego Padres. His office recently completed Joseph A. graphic design services. has just opened a branch in Taipei, Steger Student Life Center at the Both the Gold Medal and FirmP H OTO G R A P H Y : C O U R T E SY A M E R I C A N I N S T I T U T E O F A R C H I T E CT S Taiwan, and last month broke ground University of Cincinnati [RECORD, Award will be handed out at the on the National Palace Museum in August 2005, page 118]. Here, the AIA’s Accent on Architecture Gala in Moore Rubell Yudell’s Steger Student that city. The project, like much of firm created a lively, light-filled col- Washington, D.C., on February 10. Life Center in Cincinnati. Predock’s latest work, is lighter, lection of spaces by carefully Sam Lubell Topaz Medallion and 25 Year Award complete major prizes Topaz Medallion William McMinn, for the department from the National 25 Year Award This year’s recipi- rhythmic series of diamonds FAIA, will receive the AIA and Architectural Accrediting Board ent of the AIA 25 Year Award is appears in a system of cross-lattice Association of Collegiate Schools of (NAAB) and changed its status to a Thorncrown Chapel, designed by wooden members overhead, which Architecture (ACSA)’s 2006 Topaz school of architecture in 1997. E. Fay Jones. The building is consid- are a counterpoint to the attenu- Medallion for Excellence in McMinn also served as dean of the ered the most famous work by ated volume. These trusses also Architectural Education. McMinn, College of Architecture, Art and Jones, the highly regarded student recall the intertwined tree branches 74, is best known as the founding Planning at Cornell and as NAAB of Frank Lloyd Wright. Located in viewed through the chapel’s 425 dean of the architecture program at president, and helped establish Eureka Springs, Arkansas, the struc- windows. Jones passed away last Florida International University. architecture programs in Jordan and ture rises from a flagstone wall that year at age 83 [RECORD, October McMinn achieved full accreditation Saudi Arabia. nestles into an Ozark hillside. A 2004, page 31]. David Sokol 01.06 Architectural Record 29
  • 32. YYePG Proudly Presents, Thx for Support Record NewsSPECIAL HURRICANE REPORTMississippi charrette report is completeAmid the bleak news from the “should pay attention to the details ofMississippi Gulf Coast comes a place-making.”beam of optimism: the completionof a report on the mid-October plan- Revive downtownsning charrette led by the state and Beyond advocating such Newthe Congress for the New Urbanism Urbanist trademarks as(CNU) in Biloxi. The report, released pedestrian-friendly, mixed-in print on November 21, posits that use, and transit-basedthe Gulf will emerge a better place, communities, the report sug-and that the nearly clean slate left gests stopping the exodus ofby Hurricane Katrina offers the area retail from historic towns. Toan opportunity to be the first U.S. revive downtowns, it suggestsregion “to arrive at the inevitable establishing business-future” of sustainable development. improvement-district Mississippi Governor Haley authorities. Historic buildingsBarbour gave Miami-based architect would be rebuilt or restoredand planner Andres Duany the go- and form-based zoning codesahead to lead the charrette, which and regulatory boards wouldtook place from October 11 to 18. be adopted. CoordinatedOne hundred and twenty members of leasing plans could be used to attract Proposed plans includeCNU—designers, engineers, and leading retailers and big boxes, and it walkable, human-scaledother specialists—plus an almost has been suggested that new casinos downtown streetscapes I M A G E S : C O U R T E SY M I S S I S S I P P I G O V E R N O R ’ S C O M M I S S I O N O N R E C O V E R Y, R E B U I L D I N G , R E N E WA Lequal number of Mississippi officials could be located in downtown shop- (top), stilted housingand professionals, gathered for a ping districts, or linked to them. developments (above),week to brainstorm ideas for resur- Overall, regional planning would be a raised casino (right),recting a 120-mile coastal region, used to discourage sprawl. and development begunincluding 11 cities. far from the coastline Housing issues (below).Reconnect towns A section on housing options recom-The report first suggests reconnecting mends that temporary buildings bethe Gulf’s towns and their region by designed so that they can later beturning Highway 90 into a beachfront made permanent, and points out thatboulevard, moving the CSX freight rail permitting needs to be expedited.line to the north of I-10, transforming Modular and prefabricated structuresthe abandoned CSX right-of-way into “with individual identity” could cuta boulevard for cars and transit, and construction time, and that bringingcreating a high-speed, east-west rail manufacturers to the region couldnetwork linking the Gulf Coast with reduce costs and delivery times.Mobile and Pensacola to the east and Setting regional design standards forBaton Rouge or Houston to the west. architectural detailing could enhanceImproved freight and passenger rail safety. The report also recommendsservice, says the report, “has the appointing town architects to oversee replace prescriptive flood-control wide openings, tall ceilings, andpotential to substantially bolster the the rebuilding. As a companion to the standards with performance-based appropriate ground-floor finisheseconomy and vitality of the Southern report, Urban Design Associates pro- principles, and offers some alterna- that permit storm surges to flowstates.” As for roads: “There is a duced A Pattern Book for Gulf Coast tives to expensive, “anti-urban” stilt through. These ideas are not univer-sense of urgency to restarting the Neighborhoods, a resource for home- houses. Recommendations include sally accepted. Todd Davison,local economy that can be assisted owners, builders, and communities. “submersible dwellings,” designed mitigation director for the Federalthrough strategic road and bridge on raised porches using hurricane- Emergency Management Agency,projects.” Because “design matters,” Flood control and mold-resistant technologies insists it is not possible to buildall road, transit, and bridge projects The report also exhorts FEMA to and materials, and buildings with beachfront homes or buildings that30 Architectural Record 01.06
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  • 34. YYePG Proudly Presents, Thx for Support Record News for this place be?” He points out that the New Urbanists’ small town model grew out of 19th-SPECIAL HURRICANE REPORT century conditions. “This is a very different (continued from page 30) have to take projects under their time,” he says. “Tocan withstand a major hurricane wing, the Mississippi Department assume that relativelywithout “ugly and expensive” pilings. of Transportation will have to be small-scale groupingsArchitect and urbanist Stefanos convinced to relocate roads and Designers envisioned an area Wal-Mart built of people are ideal isPolyzoides of Pasadena, California, infrastructure, and builders and along the street line. Its traditional exterior and to be conservative andwho led a charrette design team for developers will have to be per- small scale would fit in with local neighborhoods. pessimistic, believingrebuilding Biloxi, told that city’s lead- suaded of traditional urbanism’s that people want toers, “You have two choices, as I see value. Finally, the report urges towns approach.” While agreeing with New live in homogeneous, no-risk, no-it. Either scrap Biloxi and move north, to stay in close contact with each Urbanist ideas about creating dense tension situations. The uncertaintyor create a town that can take a other during planning and rebuilding, communities sensitive to transit quotient is a part of making cities.”swim every 30 years.” so that good “solutions can be dupli- issues, he asserts that “any ideas Steve Badanes, a founder of the Time is of the essence, warns cated elsewhere in the region.” that can be boiled down to a set of design/build firm Jersey Devil, saysthe document. The best policies, guidelines don’t respond to the he disagrees with some aspects ofcodes, and design criteria must be Resistance diversity of human nature and the New Urbanism, but says, “How canput in place quickly “so that redevel- Predictably, the CNU’s proposals needs of particular locations. Eric you knock a situation where theopment on an appropriate scale can have met heated resistance. Reed Owen Moss, director of SCI-Arc, governor called in architects, rathertake place just as quickly as sprawl Kroloff, dean of Tulane University’s says, “The New Urbanists have a than developers, to solve urbandevelopment would.” The report says School of Architecture, criticizes a priori answers before asking vital problems.” Andrea Oppenheimerthat mayors and other officials will “pattern-book, cookie-cutter questions: What should the vision Dean The Ohr-O’Keefe was to feature pavil- ions topped with curved-metal roof, I M A G E S : C O U R T E SY C O U R T E SY M I S S I S S I P P I G O V E R N O R S C O M M I S S I O N O N R E C O V E R Y, R E B U I L D I N G , displaying pottery inside. pods were seriously damaged. The storm also destroyed the Pleasant Reed House, an 1887 “shotgun” house that had been moved to the site. A center for ceramics, which included storm-resistant storage, was only slightly damaged. Pavilions R E N E WA L ( TO P T W O ) ; F R A N K O . G E H R Y A N D PA R T N E R S ( B OT TO M T W O ) designed to house artists-in-resi- dence and education programsFund established to save Gehry’s Ohr-O’Keefe museum in Mississippi were also damaged. The Ohr pottery collection was off-site during theFriends of David Whitney, the the famed “mad potter of Biloxi.” He takes to get this institution back on storm and was not harmed.respected art curator who died last is celebrated as one of America’s its feet.” Insurance will cover much ofJune, launched a building fund in his first ceramic fine artists. Ohr made Gehry’s design included six the damage, according to Geraldhonor at New York City’s Gagosian the act of throwing pots a perform- twisting, metal-clad pavilions O’Keefe, who was once the mayor ofGallery on December 9. It will aid ance, producing colorful vases and arranged around 26 ancient live Biloxi and helped launch thereconstruction of the Ohr-O’Keefe bowls pinched and ruffled into oaks on a 4-acre site. The gallery museum with a substantial earlyMuseum of Art, in Biloxi, Mississippi. shapes of impressive delicacy. “pods” are like curved silos, and the gift. The David Whitney Fund willThe museum, designed by Frank Whitney was consulting curator for rest are boxy pavilions with overlap- specifically aid the reconstruction ofGehry, FAIA, was headed toward a the museum’s inaugural exhibition ping curved-metal roofs. Gehry used the gallery pods. The museum proj-July 2006 opening when it received when he died. He was also a promi- elements found in local architecture, ect was budgeted at $30 million. Itsubstantial damage during nent art collector, and the long-time such as porches and open-air is unclear how much additionalHurricane Katrina. life partner of architect Philip belvederes, on each pavilion. money will need to be raised to The centerpiece of the 25,000- Johnson. “David was a great friend,” A casino barge blown onshore upgrade storm resistance. Thesquare-foot museum comprised four said Gehry, standing by an architec- by the storm crushed a pavilion museum now expects to reopen inpodlike gallery pavilions to show the tural model of the complex at the devoted to African-American folk art about two years. James of George E. Ohr (1857–1918), fund launch. “I will do whatever it and history. The unfinished gallery Russell,AIA32 Architectural Record 01.06
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  • 36. YYePG Proudly Presents, Thx for Support the sharpest Record News existing codes will see cost increase, says Ronnie Kyle, pres- for the Southwest Region of the American Insurance Association, a ident of Louisiana Homebuilders trade group. Association. “Places like Cameron, The code’s appeal is uniformity which had no code, will have a 17 to and insulation from ever-changingSPECIAL HURRICANE REPORT 20 percent increase,” he says. “Most political influences, says Derrell of Orleans [Parish] was under at least Cohoon, executive director ofLouisiana passes new statewide building a 1995 code, so it’s probably looking Louisiana Associated General at an 8 to 12 percent increase.” Contractors. “It will bring investorscode; critics say it may burden home repairs To make things more difficult for back and send a message that it’sOn November 29, Louisiana Concerns about cost homeowners, Hoffman says, the code not business as usual in Louisiana.”Governor Kathleen Blanco signed While many applaud the adoption of a is “basically a wind code,” addressing Although the new standardslegislation for the state to adopt statewide standard for construction, roofs, wind anchors, bracing, siding, will surely increase costs, “if youthe International Building Code industry experts say the adoption of and glazing, while most of the dam- can’t buy insurance, it doesn’t do(IBC), a uniform code issued by the the IBC will increase the spread age is from storm surge or flood. you any good to rebuild,” says Kyle.International Code Council that will between insurance payouts and Insurance companies, says, Hoffman, “At some point, you’ve got to sayreplace a patchwork of municipal repair costs, perhaps making it too “will only pay for the [flood] damaged the cost is what the cost is.”controls. The legislation requires expensive for many homeowners to areas of the house.” Under the law, the governor willthat new construction adheres to rebuild. In the New Orleans suburb of name a 19-member code council tothe code, and that it be applied to Kenner alone, the Federal Emergency Benefits of uniformity review the code every three years.home repairs if costs are more than Management Agency says more than However, the insurance industry, Legislators have already planned the50 percent of prestorm valuation. 500 houses meet the 50 percent building associations, and contractors first review for March. Elsewhere inAfter the bill was signed, the 11 test. Phil Hoffman, president of say code uniformity for new construc- the region, Texas’s June adoption ofparishes hardest hit by this season’s Hoffman Custom Built Homes in tion is needed to woo insurers and the IBC for municipalities goes intostorms had 30 days to start apply- LaPlace, Louisiana, says due to the secure federal funding. “Insurance effect January 1. Mississippi buildinging the code. Those without cost of bringing those homes up to companies have been taking a really groups are lobbying a statewideenforcement officials had 90 days. code, “They might just as well bring in hard look at whether they want to do adoption of the IBC, but the legisla-The code will take effect statewide the bulldozers and knock it all down.” business in Louisiana anymore,” says ture is not in session until January 3.on January 1, 2007. Louisiana parishes without John Marlow, assistant vice president Angelle Bergeron, with Tom Sawyer Rebuilding slowed throughout Gulf region Most aspects of recovery in New Orleans and the Gulf Coast seems to be FEMA requirements qualifies homeowners for federally underwritten losing momentum, a development that could meet with tragic conse- flood insurance, which can be essential to secure a mortgage. Katrina’s quences. Besides political discord and a lack of funding for preservation, flood-insurance claims may reach $23 billion, perhaps triggering a here are more reasons: congressional bailout of the flood-insurance fund. New Orleans: Levees People and businesses scattered around the Entire region: Housing FEMA’s trailer program, to provide temporary country can’t commit to rebuilding in New Orleans because Congress is housing in the region, has been slow to get under way, especially in New still unwilling to underwrite a multibillion dollar levee upgrade that would Orleans. With much of the city lacking basic utilities, FEMA has been unable resist a Category Five storm. Large-scale private investment that would to deliver trailers to peoples’ properties because they need hookups. It has lure people back will probably not occur unless Congress writes the check. tended instead to create “FEMAvilles”—large encampments of trailers on Nor will the levee investment make sense, it seems, if there is not a coordi- open sites, often in remote locations, that the agency’s contractors can more nated investment in reworking the entire lower Mississippi flood-control quickly supply with sewer, water, and electricity. Opposition has slowed the system. The levees will remain vulnerable if the river cannot flood lowlands building of these enclaves because neighbors view them as instant slums, and supply silt to rebuild fast-retreating coastal marshes and barrier concentrating the unemployed and disconnecting people from schools, jobs, beaches. The total price tag may hit $30 billion. families, and social institutions. Meanwhile, FEMA’s program of housing peo- ple in hotels while they relocate or rebuild was supposed to end November 30. Gulf Coast: Flood resistance On the Gulf, repairs appear to be pro- After thousands failed to find temporary housing, the deadline was extended gressing more quickly, partly because the coast was not inundated as to December 15, and even January 7 for some. A federal judge told FEMA to long as New Orleans. But an impasse to coastal rebuilding may arise as continue the hotel program until at least February 7 for 42,000 more evacuee local governments resist provisional Federal Emergency Management families. Almost 85,000 applications for aid were pending at press time. Agency (FEMA) maps that vastly expand the territory in which structures The Enterprise Foundation, which devotes its efforts to affordable hous- may have to be made flood-resistant. In some areas, the maps require ing, says the federal government should commit $33 billion to fill the gap that homes be raised above storm surge waves as high as 20 feet. Those between total permanent housing losses (on the order of almost $87 billion) requirements raise the cost of rebuilding, and the increased cost is usu- and the amount that insurance and other sources will pay out. Meanwhile, until ally not covered by insurance or disaster aid. However, complying with now homeowner loans have been virtually nonexistent. James S. Russell, AIA34 Architectural Record 01.06
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  • 38. YYePG Proudly Presents, Memorial and Museum. WTC Thx for Support Record News But most dramatic is the devel- tioned themselves for a face-off, the Port Authority of New York and New oping struggle between Bloomberg Jersey (PA) has been flexing its own and Pataki. During his first term, muscles. In mid-November, the PAProgress moves slowly at Ground Zero as Bloomberg mostly deferred to Pataki said it will reduce the size of the regarding development at the World chiller plant it is constructing to serv-political power struggle heats up Trade Center site. He changed that ice the site. This means that Work on Santiago stance in late October, just before his Silverstein will have to construct his Calatrava’s transit station reelection, when he told the New York own chillers to service the Freedom has just gotten under Daily News editorial board that he Tower and other office buildings at way, while the World Trade would prefer to see more residential the site, increasing the cost for his Center Memorial development on the site. The site is project reportedly by as much as Foundation, which over- now slated to include about 10 million $100 million. A few days later, the sees funding on the square feet of office space. PA released plans to develop up to memorial and cultural Bloomberg also told the board that 550,000 square feet of retail at the buildings, on December 5 the city would be better served by Trade Center along Church Street, at announced that it had removal of Silverstein, who owns the the bases of towers 2, 3, and 4, which issued a request for pro- right to build the Pataki-backed have yet to be designed. The develop- posals for a memorial Freedom Tower. In mid-November, ment would replace the World Trade construction manager. Bloomberg named six new members Center’s original retail mall, which, PA The toxic Deutschebank to the LMDC board of directors. Four chairman Anthony Coscia pointed out Building to the south is of them are senior advisers to the in a statement, “was one of the most slowly being dismantled mayor. Pataki subsequently successful in the country.” At the to make way for park and appointed three of his backers to the same time, the PA offered to assumeThe Port Authority’s commercial space at Ground office space. On board. The LMDC is a joint state/city control of construction of the WorldZero would sit at the base of towers 1, 2, and 3. November 29, Goldman corporation that oversees rebuilding Trade Center Memorial, and to cover Sachs broke ground on its in Lower Manhattan. Its board has any cost overruns. The offer wouldThis fall, progress on a few construc- Pei Cobb Freed Partners–designed 16 members, eight appointed by the streamline building on the complextion projects at Ground Zero headquarters, just northwest of mayor, and eight by the governor. PA-owned site. But some point outcontinued to crawl, while the real Ground Zero, and on December 15, Pataki has since backed away that the WTC Memorial Foundation’saction seemed to be in the offices of developer Larry Silverstein from his long-held position that all of fund-raising efforts would be hurt if S A N T I A G O C A L AT R AVA S . A . ( B OT TO M L E F T A N D C E N T E R ) ; J . PAU L G E T T Y M U S E U M ( B OT TO M R I G H T )local politicians. New York City Mayor announced that Norman Foster would the space lost when the World Trade the public perceives that the memor-Michael Bloomberg appears to be build the third office tower at Ground Center towers collapsed should be ial’s costs could be absorbed by thegetting ready for a fight with New York Zero, on the eastern edge of the site, rebuilt, telling the Post, “I don’t know PA. Others say it would be unwiseGovernor George Pataki over the fate at 200 Greenwich Street. Completion that 10 million is the magic number. for the foundation to give up controlof proposed office space here. is scheduled for 2011. That same day, I’m not going to project where things over the construction, even as costMeanwhile, the Port Authority of New the Lower Manhattan Development might be with office space demand, estimates have gone as high as I M A G E S : 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 ( TO P ) ;York and New Jersey, which owns the Corporation (LMDC) approved allocat- in five, 10 years from now.” $800 million. S.L., with Charlesproperty, continues to assert itself. ing $200 million in funding to the As the mayor and governor posi- Linn, FAIAJust Opened … white concrete design resembles a spaceTurning Torso, Malmo, helmet, and wasSweden This 54-story residential completed this fall.tower, designed by 2005 AIA Gold Although its inauguralMedalist Santiago Calatrava, FAIA, concert took placefeatures nine rotating box units that then, the building won’tturn 90 degrees from base to sum- officially open untilmit. The rumor mill suggests that next year.Calatrava will be asked to design asimilar structure in Las Vegas. Getty Villa, Los Turning Torso (left); Valencia Opera Angeles The fabled (above); Getty Villa (right).Valencia Opera, Valencia, Roman-style villa,Spain Santiago Calatrava’s opera which was the original J. Paul The museum has a new mission museum has new galleries, ahouse, located on the western Getty Museum, reopens January as an educational center and new auditorium, a new outdooredge of his massive City of Arts 28 following a major renovation by museum dedicated to the study of theater, new office space, and isand Sciences in Valencia, is the Machado & Silvetti; SPF:architects the arts and cultures of ancient now seismically protected by acomplex’s final piece. The spherical, served as the architect of record. Rome, Greece, and Eritrea. The steel support system. S.L.36 Architectural Record 01.06
  • 40. YYePG Proudly Presents, Thx for Support Record NewsViñoly sued overalleged KimmelCenter design flawsOn a Friday night in December2001, Philadelphians gathered tocelebrate the opening of theKimmel Center for the PerformingArts, the new home for theirbeloved Philadelphia Orchestra. Butfour years after the opening, the The Kimmel, with its glass-barrel-vaulted exterior (left) andcenter is struggling to remain afloat cello-shaped main performance hall (above), has been a hit inwith the burden of a $30 million Philadelphia. But it’s facing a budget loan debt: $23 million fromconstruction overruns and $7 mil- $157 million originally budgeted for Because the case is still construction overruns and fromlion from funding shortfalls. construction.” pending, neither party would com- falling short of fund-raising goals. To help alleviate the issue, the Costs shot up, the document ment directly on the matter. A December 14 story in ThePhiladelphia Regional Performing says, when steel erection was Viñoly’s office released a state- Philadelphia Inquirer noted thatArts Center, which manages the delayed by 16 months, threatening ment saying that it was “extremely this debt is compromising theKimmel, is suing the building’s the center’s long-planned opening. disappointed” by the complaint, center’s ability to amass anarchitect, New York–based Rafael The shorted time frame prompted adding, “The same people who endowment and develop top-Viñoly Architects (RVA), over what it overtime filings from workers, and praised the building are now criti- level programming.alleges—in its 28-page complaint costly charges for expedited man- cizing it. We feel the claim is The case goes to trial onfiled on November 23, 2005, in ufacturing services. unsubstantiated.” January 28, 2006, and comesPhiladelphia’s United States District The complaint alleges that The 425,000-square-foot, after the Kimmel’s 30-monthCourt offices—are costs resulting documents were late, inaccurate, glass-barrel-vaulted performing effort to resolve the matter withfrom “deficient and defective design and incomplete; that design arts center, which contains three RVA failed (an effort it charges in P H OTO G R A P H Y : © J E F F G O L D B E R G / E S TO ( TO P ) ; C O U R T E SY R A FA E L V I Ñ O LY A R C H I T E CT S ( B OT TO M )work” at its hands. work was inadequate; and that theaters, is located on Broad the complaint that the firm The complaint concludes that equipment underperformed and Street in Center City Philadelphia. stalled by its delays in attempting“most, if not all, of the cost over- required repair or replacement. Today, the center—which has to find counsel). The suit couldruns” were “the result of [Rafael The complaint states that RVA spearheaded a transformation of open up many issues about anViñoly Architects’] performance on broke its contractual promise to Philadelphia’s cultural life and civic architect’s financial and legalthe project.” It states, “The con- correct—at no cost to the identity—struggles to pay the $2 accountability for constructionstruction cost $180 million, which Kimmel—any defects in design or million annual bank loan fee serv- overruns.was significantly more than the in specification. icing the $30 million debt from Joseph Dennis Kelly II Architect starts “university” in his offices Rafael Viñoly (discussed in the story above) has that can be explained and taught,” says Viñoly. developed a 14-week training course for architec- The course covers topics including strategic ture students and young practitioners. He is teach- thinking, getting and executing projects, the design ing it from his office. process, recognizing architectural ideas, self-criti- The course, which began in September with cism, time management, defining an ideological two-hour weekly sessions, attracted 53 applicants base, and positioning a practice. The program is an worldwide. Viñoly handpicked the 19 participants, opportunity for Viñoly, who has taught at Yale and who range from students enrolled in architecture other schools, to teach within the setting of his schools to architects starting their own practice, office rather than in university studios that seem far based on the quality of their portfolio and applica- removed from practice. Frances Gretes, director of tions. The participants are not employed by Viñoly and do not pay a fee for new business for Rafael Viñoly Architects, observed, “He learns a lot when the course. he teaches. He has really articulated a lot of his philosophy (in the course).” Why would an architect, with a busy schedule and projects around the Viñoly expects to conduct the program annually. More information on globe, take on such a course? “There is a need to address the questions of the course is available at the Web site, John E. Czarnecki, people coming into the workforce, to offer a pragmatic set of techniques Assoc. AIA38 Architectural Record 01.06
  • 41. YYePG Proudly Presents, Thx for Support
  • 42. YYePG Proudly Presents, Thx for Support Record NewsBethlehem group hopes to develop artscenter within city’s old steel millsIn 2003, the once-great Bethlehem Youth Ballet, the Pennsylvania YouthSteel Company closed its doors for Theater, and the Hispanic Americangood, ending, some said, the indus- League of Artists. The 3.5 acres oftrial age in America. Now, those land for the project was donated bydoors may open to the age of cul- BethWorks Now, a developer that isture, as a proposal is being hoping to build a commercial anddeveloped to make the steel mills residential complex on the mill site.the backdrop for a new city arts No funding has been secured, but thecenter called SteelStax. team has assured seed contributions The Festival Hall would seat up to 3,000, with the mills as its backdrop. The 200,000-square-foot from local donors, and hopes soonfacility, designed by New York–based to attract government arts grants. Much of the project is adjacent to while “Summerfest,” a yearly festi-Rockwell Group with Boston-based Officials say they cannot discuss the an elevated train track that runs val, hosts 500 bands and about aDesign Lab Architects, will be project’s price tag at this point. through the mills, and the buildings million people per season. Much ofwoven in, under, and around the Rockwell Group principal David will likely be elevated to lessen Summerfest’s performances wouldmonumental mill structures. A Rockwell says the buildings, mostly vibration issues. take place in Steelstax, says Parks.50,000-square-foot Festival Hall, cubes (although he’s not “ruling out Completion is set for 2008.which will seat up to 3,000 people for anything rounder”), will feature a Rich arts scene in Bethlehem Rockwell admits this is an ambi-music and large events, will use the similar industrial aesthetic to the In recent years, the arts community tious date, but people in thismain blast furnace as its backdrop, mills; they will be clad in both steel has taken off in this town, known for once-great steel town are eagerrevealed via a glass curtain wall at and masonry, for instance. They will so many years for its steel produc- to move forward, especially afterthe back of the facility. Other venues not, however, try to compete with tion. ArtsQuest president Jeff Parks plans for such a facility havewill include a 500-seat performing the size and scale of the gargantuan says that the city already has 1,200 stalled numerous times. BethWorksarts theater, a 300-seat music mills, which Rockwell likens to the arts students taking part in arts Now is currently on hold pending avenue, and 25,000 square feet of “Grand Canyons of industry.” after school and summer programs. state decision on whether to allowperforming arts education space. Building next to the massive His organization’s “Banana Factory,” gambling on the site. The mills The project is being developed furnaces and forges of these an old distribution facility turned themselves are set for renovation,by the local nonprofit cultural founda- industrial icons will present some arts facility, holds space for artists’ a separate project that is still intion Artsquest, the Pennsylvania challenges, Rockwell acknowledges. studios and performing arts groups, early discussions. S.L. Architects create animal shelters in Pakistan earthquake zone In the aftermath of the devastating About 20 have been built so far. Using has been criticized for its slow earthquake in Pakistan and India last readily available materials, such as response to events like the October, Architects for Aid (A4A)—an corrugated galvanized iron for roofing; Southeast Asian tsunami and organization that helps improve the woven grass reed or canvas for walls; Hurricane Katrina. Consequently, design and management of disaster and reclaimed rubble for foundations, A4A has begun creating a registry shelters—recognized that since the structures provide animals with of trained professionals ready to many of the area’s inhabitants are protection and insulation. They also travel to disaster sites as well as I M A G E S : C O U R T E SY R O C K W E L L G R O U P ( TO P ) ; dependent on animals to survive the ventilate the heat produced by larger an online repository for knowledge winter, destruction of livestock shel- animals. The shelters are designed to on structural emergency work. ters and veterinary facilities could hold up to three buffalo, eight sheep “The life cycle of a humanitar- © T H E A S S O C I AT E D P R E S S ( B OT TO M ) worsen the crisis. The organization or goats, one horse, and 20 chickens. ian aid worker is often about 5 joined with the World Society for the While dispatching more volun- years, so there is an inevitable Protection of Animals (WSPA), and in teers for the animal shelter project, relearning process that must late November sent Sam Price of A4A, which was formed in 2004, is regularly occur. This should be London’s UV Architects to Pakistan to working with organizations such as mitigated and the expertise develop prototype animal shelters. the U.N.’s Habitat and Shelter retained,” says Dr. Victoria Harris, Together, the parties developed Center and Registered Engineers for managing director of A4A. More small, lightweight frame structures Disaster Relief (RedR) to promote information is available atEarthquake refugees in Balakot, designed for easy transportation, fab- disaster-preparedness among, cannot protect livestock. rication, modification, and replication. architects. On the whole, the field Nick Olsen40 Architectural Record 01.06
  • 43. YYePG Proudly Presents, Thx for Support mesmerizingS TA R O N ® T H E S O L I D S U R FA C E M AT E R I A L B Y S A M S U N G , O F F E R S A C O L O R ,S E L E C T I O N W I T H G R E A T E R D E P T H . With nine new colors in 2005, Staron offers designersmore than 50 choices to complement any residential or commercial project. Staron is also a value thatleaves room in a budget for other key upgrades. For more in-depth information about Staron countertopsand sinks, visit or call 1.800.795.7177 ext. 350.COUNTERTOP | QUARRY MALLARD© 2005 Cheil Industries Inc. Staron has been certified by NSF International under its NSF51 rating for food zones. CIRCLE 17 ON READER SERVICE CARD OR GO TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/
  • 45. Record News On the BoardsYYePG Proudly Presents, Thx for Support The project will also include a valley, a small canal park, a red carpet zone, and a walk of fame. Coop Himmelb(l)au directing cinema Coop Himmelb(l)au completed another Cinema complex in Korea Center, the UFA Center in The Pusan International Film Prix, envisions a structure with a Dresden Germany, in Festival has selected Austria-based swooping, metal-clad roof imbedded roof for viewers to see from sur- 1998. This will be the firm’s first Coop Himmelb(l)au to design its with a LED smart skin on both sides, rounding structures. Korean project. Construction has 430,000-square-foot PIFF Cinema acting as film screens. Images can The “flying building,” as Prix not begun, but Prix is planning to Complex and urban plaza in Pusan, be projected from below for visitors calls it, will include six cinemas, an have the center completed in time South Korea. The firm, led by archi- inside the complex to view, but also exhibition hall, and an entry plaza for the 2007 film festival. tects Helmut Swiczinsky and Wolf D. from above so they appear on the that allows guests to arrive by boat. Sarah CoxI M A G E S : C O U R T E SY C O O P H I M M E L B ( L ) AU ( TO P ) ; Henning Larsens Tegnestue building concert center on fishery siteH E N N I N G L A R S E N S T E G N E S T U E ( B OT TO M ) In Reykjavik, Iceland’s waterfront, and a 450-seat rehearsal hall, as well Snæfells Jökull. Other elevations will violin strings are replacing fishing as a conference room holding 750 be clad in prisms and mirrors that lines. This fall, the city (along with people. The spaces are contained in reflect changes in weather and inte- the national government) selected two irregularly shaped volumes that rior lighting. The facade is being Henning Larsens Tegnestue in an follow the path of the shoreline. designed by artist Olafur Eliasson, invited competition to design the Concertgoers will approach via who collaborated on Larsen’s Icelandic Congress and Concert a curved path intended to shield Copenhagen Opera House. Centre, on the site of a decommis- them from Faxaflói Bay’s whipping Just outside, a new public plaza The commission is part of a sioned fishery. winds. Extensive glazing in the multi- will feature cauldrons of geothermally $190 million redevelopment of the The 250,000-square-foot build- level foyer will provide views of the heated water, enshrouding the crys- East Harbor district. The hall is sched- ing comprises an 1,800-seat concert city, Mount Esja, and the glacier at talline structure in steam. uled to open in 2009. David Sokol CIRCLE 19 ON READER SERVICE CARD OR GO TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/
  • 46. YYePG Proudly Presents, Thx satellite campus building, The for Support News Briefs located in the historic Ansonborough Assembly, held in Luxembourg on November 18 and 19, ACE, the neighborhood, includes gallery, class- National Council of Architectural room, and studio space for design Registration Boards (NCARB), andAIA names first female C.E.O. of “exploring the power of architecture students. The city’s Architectural the AIA signed an agreement forChristine McEntee has been named to elevate and enrich the human Review Board has supported the “mutual recognition of professionalthe AIA’s first female executive vice experience,” while also spending more design, though final approval isn’t qualifications between architects ofpresident and chief executive officer, time with his family. Koonce estab- the European Union and the Unitedsucceeding Norman L. Koonce, FAIA, lished closer working relationships States.” With such recognition, sayswho retires on December 31. between local, regional, and national Ellen Delage, AIA director of interna- I M A G E S : C O U R T E SY A M E R I C A N I N S T I T U T E O F A R C H I T E CT S ( L E F T ) ;McEntee, whose tenure becomes AIA components, and increased asso- tional relations, qualified U.S.effective February 1, 2006, formerly ciation membership 12 percent, to architects with at least seven yearsserved as C.E.O. of the American 74,000 in 2004. Tony Illia of substantial post-licensure experi-College of Cardiology. She is credited A rendering of Clemson’s Architecture ence would be considered eligible towith increasing that organization’s Modern building draws ire in Center in Charleston (above, at right). apply for a license to practice inrevenue by $18 million annually and Charleston Boston-based Europe (and vice-versa). The agree-growing membership to 33,000 dur- Kennedy + Violich Architecture’s expected until March. Clemson’s ment comes after about five years of K E N N E DY + V I O L I C H A R C H I T E CT U R E ( R I G H T )ing her seven-year term. design for the new Clemson archtiecture dean, Janice Schach, negotiations between the signatories. “I am extremely energized to be Architecture Center in Charleston, says that Clemson understands the It is the first mutual recognition ofworking with such a dedicated cadre South Carolina, has drawn intense traditional atmosphere in Charleston, professional credentials to be signedof professionals who are criticism from preserva- and hopes to enrich preservation dia- between representatives of the E.U.deeply committed to mak- tionists and neighborhood logue. “We’re willing to be flexible on and the lives better through activists. One letter to the form, height, massing, and materials, ACE has ratified the agreement;spaces and environments,” Charleston Post and but we will not mimic historic styles,” AIA officials expect that the NCARBsays McEntee. Koonce, her Courier said the building’s she says. Alan G. Brake and AIA boards will ratify it later nextpredecessor, who had design “is obviously year. Then, a final legal agreementbeen AIA C.E.O./E.V.P. since copied from one of the Agreement with international would be negotiated for adoption by1999, wanted a break to New AIA C.E.O. worst periods in American architects At the Architects the European Commission and U.S.turn his attention to issues Christine McEntee. architecture, the 1960s.” Council of Europe (ACE) General jurisdictions. S.L. CHERRY TREE DESIGN Architectural Doors, Shoji Screens, Lighting and Mirrors Sophisticated Design, Exceptional Craftsmanship, Natural Warmth Handcrafted in the USA. Call for full-line catalog: Tel: 800-634-3268 or visit CIRCLE 20 ON READER SERVICE CARD OR GO TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/
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  • 48. YYePG Proudly Presents, Thx for Support It’s time to look at architectural metals in a whole new light. 800-477-2741 • www.fabral.com800-486-2723 • CIRCLE 22 ON READER SERVICE CARD OR GO TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/
  • 49. YYePG Proudly Presents, Thx for Support For and about the emerging architect archrecord2 We begin the year with concepts that define future ways to work as architects and at home. First, DEPARTMENTS in Design, a trio of architects is pooling their resources under an umbrella called Flux, offering clients multiple brainpower for innovative design. Then, in Work, we give a hearty nod to appliance giant Electrolux, who is challenging students worldwide to design home appliances for the future. Design Flux: Three heads are better than one Architects Michael McDonald, Darin Johnstone, AIA, and Scott Parker (left to right, at left) were busy working on individual projects and teaching at SCI- Arc and other colleges in Los Angeles when these pages inspired them to take their endeavors a step further, or, rather, a few steps closer together. “We saw that many of the Vanguard firms were collaborations,” says Johnstone. “We were working that way anyway, and that became the impe- Qingpu Cultural Center, doned cement factory on a trian- tus to create Flux as an umbrella for a body of work created under a series of Shanghai, China, gular island expanded to a strategy partnerships involving the same key players.” conceptual design to develop a park, residential dis- Pooling knowledge has given the three architects a wealth of resources to An adaptive reuse of an aban- trict, and cultural center. draw on, a larger portfolio, and a fresh enthusiasm for finding new work. As solo practitioners Johnstone and Parker have collaborated as delineation.spatial design and Johnstone Parker Architecture, while Johnstone also works alone as Darin Qingpu Pagoda Park, Johnstone Architecture, and with McDonald as Johnstone+McDonald Architecture. Shanghai, China, bidding McDonald runs architecture/industrial design firm Park-McDonald with his wife Four pavilion/teahouses in a park Alice, and Parker works for Los Angeles firm Bauer and Wile. If that weren’t surrounding a 100-year-old pagoda enough, the three architects, as Flux, have even approached a business owner to are nodes along a path, orienting invent a project. “It almost turned into real work for us,” says Parker. “Our pretend visitors toward the pagoda, which is client decided to expand, and at that point our designs became valuable investiga- a vertical moment in a horizontal tions.” Although that particular project never got legs, Flux has attracted the atten- context and serves as a marker along tion of some real clients, including giant urban planning and landscape architec- a water gateway to the district. ture firm SWA Group, which became interested in finding out what three talented designers can do when they put their heads together. SWA Group is creating a 1- million-square-foot development on a small island between historic Qingpu Island and Zhujiajiao off the coast of Shanghai—a project that could potentially serve as Drop, Hi-Lo Fielding, nate spatial experiences from inter- a kind of cultural hub for the region. Flux was asked to adapt an old cement factory Los Angeles, 2004 actions with drop-ceiling units, in the area, and soon became involved in a larger zoning strategy that calls for a A gallery installation at SCI-Arc, which changed according to optionsI M A G E S : C O U R T E SY F L U X park, residential district, and a cultural center in the rehabilitated factory. this project encourages indetermi- executed in series and by chance. “Projects have come to us through random introductions,” says McDonald, who with his partners admits that partnerships, affiliations, collaborations, and skills have ebbed, flowed, and emerged into the coherent body of work that is Flux. “More of the same randomness would be ideal,” says Johnstone. Ingrid Spencer For more information on Flux, go to
  • 50. YYePG Proudly Presents, Thx for SupportWorkStudents envision appliances of the future“One of the biggest mistakes a company can make is to stop listening,” saysHenrik Otto, global design director of Electrolux—the world’s largest manufacturerof home appliances. Indeed, since 2003, this Stockholm-based corporate gianthas sponsored a competition inviting design students to submit their visions offuture home appliances. “Students don’t have preconceived notions as to whatyou should or shouldn’t do,” says Otto. “Consequently, they throw us into newthought processes.” Initially a European initiative, Electrolux Design Lab 2005 attracted 3,058 entries from over 88 countries. Their challenge was to create a total appliance concept for the year 2020 based on Winners were Airwash (above left), The Flavor of Sunshine (far left), and evolving consumer needs and trends. Twelve finalists were select- Happy Feet (above right). ed to develop their ideas—produced as prototypes by Electrolux. The group was then hosted at a series of events in Stockholm con- Ultimately, an innovative Airwash clothes-cleaning system, by Wendy Chua current with an exhibition at the Future Design Days conference and Gabriel Tan from the National University of Singapore, captured first prize P H OTO G R A P H Y : C O U R T E SY E L E CT R O L U X in November, where the winners were announced. for its sleek, intuitive format and no-chemical/no-water approach to fabric care Modularity, adaptability, sustainability, and compactness that could eradicate traditional dry cleaning. The Flavor of Sunshine, an aes- were the salient principles inherent among the final dozen—all thetically balanced washer/dryer combo by a team of Chinese students from worthy candidates for the top prize, according to Otto and fellow Zhejiang University landed second place for its ability to wash, spin, and “sun- judge panelists New York MoMA curator of architecture and design bake” clothes dry through a nature-simulating process. Third prize went to Paola Antonelli; kitchen designer and architect Johnny Grey; Happy Feet, a device purporting to remove odors, and clean and sterilize the creative consultant Ilse Crawford; Bentley head of exterior design inside of shoes and sneakers, by students at Korea University of Technology Raul Pires; and C.E.O. of China Bridge International Cathy Huang. and Education in South Korea. Linda C. Lentz An “Electro/House” kit from Colombia, Digital Placemats from Brazil, vacuuming slippers from Spain, and an odor-removing Oxygenating For finalist information and to find out how you can participate in the 2006 Coat Hanger from the U.S. were among the unique solutions. Electrolux competition, go to Specifications and built-in automation for simplifying LEED certification: 1-888-BSD-SOFT 1 - 8 8 8 - 2 7 3 - 76 3 8 Visit our website: ¥ Two new intelligent checklist sections automatically activate relevant • green sections and select specific provisions Exclusive offering of ¥ Green building provisions added to relevant sections • CSI-DBIA and BSD. ¥ LEED submittals added to relevant sections • ¥ Automatic LEED submittals report • CIRCLE 23 ON READER SERVICE CARD OR GO TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/
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  • 55. YYePG Proudly Presents, Thx for Support New Orleans does not look as bad as you think—it’s worse Correspondent’s File Story and pictures by Sam LubellNew Orleans ing upward, like marks DEPARTMENTSNovember 10–12, 2005 parents make on a wall to track their child’s growth.I’m in New Orleans for the Louisiana Whether many homes willRecovery and Rebuilding Conference, be saved has not beena gathering organized by the AIA, the determined, so the build-American Planning Association, and ings sit in an uneasyother organizations to discuss the limbo. And while theystate’s development in the aftermath stand, they’re lifelessof Hurricanes Katrina and Rita. More without occupants. Therethan 650 participants share their per- is virtually no one in twospective on topics such as building thirds of New Orleans. Inew levees, developing mixed-income realize I’m a tourist look-communities, and saving historic ing at what was once aproperties. The discussion, which great city.takes place at the Marriott on Canal The only activity isStreet, in the Central Business the work of those clearingDistrict, is good, but after a few junk from houses. Truckshours, I decide it’s time to get out and forklifts are haulingand see what we’re talking about. mattresses, family albums, lamps, The scene outside couldn’t be trees, and whatever else into gargan-more different than the grand ball- tuan piles. Along Canal Boulevard,rooms and seasoned lecturers at the which has become a giant garbageconference. Throughout the city, there dump, piles reach up to 30 feet high,is an empty, crippling stillness. Much with front-loaders working on top.of the place in mid-November, almost Inside, homes are either gutted—three months after Hurricane Katrina, owners got to them before the moldstill feels frozen in time, like Pompeii. took its destructive toll—or smell likeTree limbs still litter the sidewalks as an old bathroom. Most homes areif the storm had just occurred. Some marked with yellow and red Xs andhomes are decimated, but most are numbers, signifying, I’ve been told,still standing and look fine from the either that the house must be demol-outside, except for some broken win- ished, or that its fate is in question, ordows. But inside, they’re a wreck; that it is salvageable. In some cases,possessions are completely gone or the marks remain from just after theare scattered like junk. storms, signaling that the residence The best measure one gets of has been checked for bodies.a home’s fate is the height of the Driving east on St. Claudeorange-tinted waterline on its facade. Avenue in the Lower 9th Ward, one Orange waterlines are sometimes the only clue to the devastation insideThe line sometimes reaches below first has the illusion that things aren’t homes and buildings. Canal Boulevard, near City Park, has been turned intothe windows, and in other cases sits so bad. But inside any house or busi- a giant trash dump.below the eaves. The longer the water ness, the sense of destruction issat at that level, the darker the streak overwhelming. At an old burger joint,is. Sometimes, I can see the line eas- the flies and the intense, unbearable 01.06 Architectural Record 51
  • 56. YYePG Proudly Presents, Thx for Support Correspondent’s Filesmell of rotting food dominate. Many and in Gentilly.of these buildings will be knocked Near the 17th Street Canal, indown. Poorer owners don’t have flood the city’s northwest, the devastationinsurance and could never afford to caused by the hurricane is more obvi-renovate their homes. The fate of ous. A real storm came here! Morethose owned by wealthier landlords is garbage, scattered in every direction;also in doubt. It seems unlikely that imploded homes; cars somehowsome of these neighborhoods can be thrown through front doorways. Citysaved. I can’t help thinking what this Park is brown, not its usual green.destruction would mean. Just as an Trees with roots the size of peopleempty home is lifeless, this city with- have been ripped from the ground.out its architecture would be soulless, Driving on Canal Street thatheartless, without an identity. night, I see that electricity has There are so many beautiful returned, but National Guardshotgun homes here, covered with Humvees and police cars line mostbright yellows, purples, greens— intersections for safety. Areas justraised cottages with intricate wood outside here are pitch dark, and 8:30and masonry work. Gorgeous at night might as well be 2:30 in theVictorian mansions are marked with morning. I lose track of where I amthe same yellow and red Xs, the while driving with a friend west towardsame orange waterlines. Early Rock N’ Bowl, a newly reopenedreports had said that only the poor nightspot in Mid-City. People at thewere affected, but these sad markers bowling alley, where the few workingalso show up in wealthy Lakeview, lights, run via generator, tend to Views near the 19th Street Canal, in the city’s northwest, resemble a bomb’snear Lake Pontchartrain, in Mid-City, flicker, tell me to pray for them. aftermath (top). Elsewhere, a home is being gutted and repaired (bottom). Insulation Board Mortar Net® Dovetail Shape and 90% Open old-related asthma* can send kids to the doctor…and their M parents to a lawyer. Protect residents health–and your own wealth–by protecting against moisture-buildup in your masonry Weave walls. Our patented MortarNet®, with its unique "dovetail" shape, prevents wall-cavity blockage from mortar droppings. The tough polyester mesh lets air circulate freely. Mortar Net® gives you the best wall-drainage system available. Think of it as cheap insurance for your peace of mind. If you build with masonry, call for more information. We’ll include information on Mortar Net® and HouseNetTM for cavity wall construction and BlockNet® and Blok-Flash®, our moisture management solutions for block construction. *Ask us for a copy of the latest research. Weep Holes/ Weep Vents Use of our products may help you obtain credits toward LEEDTM Green Building Certification. 800-664-6638 Mortar Net® Weep VentsTM BlockNet® Blok-Flash® CIRCLE 26 ON READER SERVICE CARD OR GO TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/
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  • 58. YYePG Proudly Presents, Thx for Support Correspondent’s File annual offshore oil and gas revenues. The state should be able to hold on to more for rebuilding (butThey’re resilient people. Only the ones are beginning to rebuild their homes, not for unnecessary petthat really want to be here will stay. but these structures will be lonely projects). New OrleansThis will be a smaller city in the future. islands in a sea of destruction. Surely, Mayor Ray Nagin didn’t The French Quarter, mostly their owners won’t feel safe from show up for this confer-spared, is quiet the next day. Only a crime, or from another hurricane. ence, and the city held itsfew tourists walk the empty streets, Safety, and new development, own meeting with thepassing migrant laborers looking for will only come through levees strong Urban Land Institute awork rebuilding or cleaning up. enough to withstand a category five couple of days later.Bourbon Street looks like a stage storm. Nobody will build, lend, insure, There is no leader here.set. On CanaI, most stores are still or do anything without these. The lev- Meanwhile, specific ques-boarded up. Some are difficult to ees near lake Pontchartrain, the huge tions that no one wants todiscern from the rubbish piles out- earthen mounds, are fine, but those answer must be answeredside them. City Hall, a clunky Modern nearer the worst-hit neighborhoods very soon. The fate ofbuilding, is also covered with plywood. are barely patched up with sand- A symbol of hope or of devastation? historic buildings must beOn Wisner Boulevard in Midtown, the bags. Experts hope the levees will be decided now or even fewerscent of rot and mold is everywhere. returned to pre-Katrina levels by The smart, idealistic notions will be salvageable. Homes will need And it goes on, mile after mile June. But that won’t be enough. The being passed around at the Marriott, to be condemned to make way forafter mile. After a while, it becomes price tag for proper levees has been familiar to those who have attended bigger levees and improved wet-numbing. I want to close my eyes. It’s quoted at around $30 billion. Yet, past AIA or APA conferences, seem lands. If homes can’t be built on lowdifficult to return to the conference. there is no clear sign that Congress removed from reality. They mean ground, they must be cleared toAttendees there discuss zoning, land has any intention of paying this bill. nothing if leadership doesn’t find a make way for new development.use, and aesthetic integrity, but I have The rebuilding could cost up to $200 way to work together, and if money The life has to return to the city, andtrouble imagining how leaders will billion, the experts are saying. It could doesn’t arrive. Louisiana Senator it could take a miracle to do it. Butbe able to clean up all the trash, let be another 25 to 50 years before this Mary Landrieu says the federal gov- for now, that life is gone, and Newalone rebuild this place. A few people place gets back to normal. ernment keeps most of Louisiana’s Orleans remains still. ■ CIRCLE 28 ON READER SERVICE CARD OR GO TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/
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  • 61. YYePG Proudly Presents, Thx for Support Worlds apart: Architects and the public talk past each other Critique By Robert Campbell, FAIA “What can we do?” asks a member nitely more difficult task of being What was Jefferson saying with linked his formal campus to the DEPARTMENTS of the university’s Board of Visitors. Jeffersonian? his brands? The message is pretty farmland and wilderness beyond “The students and alumni hate all “Is UVA to become a theme obvious. He was using his imagery with a system of gardens. He built the buildings the architecture pro- park of nostalgia at the service of to announce that his university was with simple vernacular materials, fessors like, and the architecture the university’s branding?” a civic and public presence, neither wood and brick, the materials of a professors hate all the buildings the Branding, of course, is a buzz- domestic nor utilitarian, and that it pioneer, rather than the stone used students and alumni like.” word of the moment. When they say would (among other things) respect for public buildings in Europe. In all You can’t put the case more “branding,” the writers are alleging and promulgate the wisdom of the these ways, he was a remarkable clearly than that. that UVA is selling itself like cereal past. Could he have said that as architect. But that doesn’t mean he The school in question is the by promoting image rather than well in some newly invented man- wasn’t branding. Of course he was. University of Virginia. Recent build- substance. ner? No. Like mad. ings there, both those completed I have good friends among the Jefferson knew, too, that you Karen Van Lengen, the dean of and those proposed, are often faculty at Virginia, and I once served can make your points by violating the school, tells me over the phone designed in imitation of the manner as a member of the school’s advi- convention, if there’s a convention that the purpose of the letter was of Thomas Jefferson, who of course sory council. But I think the faculty to violate. This child of the not to dictate any style, but rather to did the original campus. letter is for the most part silly. Too Enlightenment provided his univer- begin a conversation between the That situation prompted a much of it is a pastiche of verbal sity with no chapel, installing a architecture school and the rest of protest in September. Thirty-four clichés. They’re at least as unorigi- library as the focus instead. He left the university. She’s right, of course, faculty members, most from the nal and annoying as the pastiche of his campus, at one end, open to the in believing that such a conversa- School of Architecture plus a few architectural clichés they’re com- horizon, suggesting that it—like tion doesn’t happen on most others, signed a letter to the Board plaining about. America—was only a beginning. He campuses. And the letter certainly of Visitors and the rest of the univer- sity community. 18th-century branding It’s worth reading. Some There’s one big problem with the excerpts: faculty’s thesis. Thomas Jefferson— “The University is heir to along with his too-often-unsung Jefferson’s progressive vision of collaborator, Benjamin Latrobe— education, created to accommodate was branding all over the place. the challenge of a new democracy Jefferson grabbed brands from and to address the unique American Greek and Roman porticoes, from landscape. Palladio, from Georgian England, “Why has this legacy of innova- from the Pantheon. Why did he doP H OTO G R A P H Y : © DAV I D S A I LO R S / C O R B I S tion in service of ideas been allowed this? Because he wanted to speak to degenerate into a rigid set of sty- an architectural language that the listic prescriptions?” public could understand. And a lan- The letter goes on with a series guage, almost by definition, is a of questions: collection of agreed-upon conven- “Is there not a difference tions. It is understandable only between buildings that merely look when it stays in touch with tradition. Jeffersonian as opposed to the infi- If a language changes too fast, if it’s too revolutionary and inventive, it Contributing editor Robert Campbell becomes incomprehensible, at least is the Pulitzer Prize–winning archi- without special study. That’s why With his design for the University of Virginia, Jefferson took brands from the tecture critic of The Boston Globe. nobody speaks Esperanto. Classical canon because he wanted an architecture people would understand. 01.06 Architectural Record 57
  • 62. YYePG Proudly Presents, Thx forreplacement in particu- appropriate Support Critique larly deserving cases.” read the nominations for Demolition, one of which proposes Ferguson, of course, was to blow up Buckingham Palace assuming that only buildings dis- because it’s too old and dowdy “fordid get people thinking. If you’ve the Stirling was awarded in October liked by the architectural community Queen Camilla.”got a few spare hours, check out to the new Scottish Parliament com- would be demolished. But as we’ve The architect of the Tricorn isthe debate at www.uva-architec- plex by Barcelona architects Enric noted, opinions can differ. Take the Owen Luder. Luder is a former Miralles and Benedetta Tagliabue. Tricorn Center in Portsmouth, a ident of the Royal Institute of British I come back, though, to that The winner on Demolition has yet to parking garage-cum-shopping cen- Architects, the position Georgeanonymous member of the Board be named. Rumor says that the ter. In an unrelated vote in 2001, it Ferguson holds today. (Are theseof Visitors. What, exactly, can he or Parliament is among the con- was chosen Britain’s ugliest building ironies getting out of hand?) Ifshe do? tenders, but it’s only rumor. by the general public and was you’ve got an ear for architectural Demolition is the idea of promptly approved for demolition. (I cliché, Luder is music. He says hisTear it down! Tear it down! George Ferguson, current president don’t know if this has occurred yet.) creation “pushed back the fron-As I write, TV station Channel 4 in of the Royal Institute of British But according to a press report at tiers” of style. (I guess he meansLondon is about to air its long- Architects (RIBA). Ferguson argues the time, the Tricorn, completed in “extended the frontiers.”) It was “anawaited series entitled Demolition. architectural statement about theEarly in the year, the station asked its THE JOYOUS HOPE OF THE SHOW’S early 1960s.” It was “a ‘gee whiz’viewers to nominate the worst build- building, not a ‘so what’ building.”ing in Britain. More than 10,000 PROMOTERS WAS THAT THE SAME BUILDING Some argue that it’s unfair topeople nominated more than 1,000 WOULD WIN BOTH THE STIRLING PRIZE let the public make judgments likebuildings. When the four shows run, those of the Demolition shows, AND THE DEMOLITION late December, a panel of experts because public taste is fickle. Ficklewill look at the buildings that made that along with preservation laws to 1964, “enjoys cult status among it may be, but the taste of the archi-the short list, and will argue with one protect good buildings, there should architecture students as a classic of tectural community is more fickle.another about which should be cho- be an “X list” of buildings that ought the ‘new brutalism’ style.” A replay of How long did it take our leaders tosen for demolition. to be torn down. Listen to the RIBA’s Virginia? get through PoMo, Deconstruction, Demolition was originally sup- Web site: Blob, Excavation, Fractals, Modernposed to air on a date that would “The proposed X-list will iden- Design as a contact sport Revival, and several more? Now thecoincide with the announcement of tify the worst buildings in Britain. The British talk about architecture talk is of Green and Iconic.the James Stirling Prize, which is They will be buildings and structures less politely than Americans do, Two places, Virginia and Britain.given to the best British building of that are judged by popular and just as they watch their soccer Both are reasonably civilized. Inthe year. No doubt, the joyous hope expert opinion to be beyond games less politely. Prince Charles both, there’s a frightening gapof the show’s promoters was that redemption. X-listing will give plan- described the Tricorn as “a between the taste of an architec-the same building would win both ners powers to refuse change of use mildewed lump of elephant drop- tural elite and that of the largerthe Stirling and the demolition vote, and to grant beneficial permissions pings.” You don’t have to admire the public. The good news is that every-thus proving that architects and the for replacement. It is also proposed Prince to admit that he was one is arguing about architecture.public, like the alumni and profes- that there is a grant fund, vested in undoubtedly stating a majority view, The bad news is that we’d make asors at UVA, live on separate English Heritage, to help tip the bal- although not the view of architec- pretty good subject for a Monteplanets. As it turned out, however, ance in favor of demolition and ture students. One wonders if he’s Python sketch. ■ P H OTO G R A P H Y : © D U C C I O M A L A G A M B ALove it or hate it, the Scottish Parliament in Edinburgh by Miralles and Tagliabue has become one of the most talked-about buildings in Europe.58 Architectural Record 01.06
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  • 65. YYePG Proudly Presents, Thx for Support Marketing tips and titles on museums, photography, and cities BooksArchitect’s Essentials of tutorial for setting up a firm’s market- Communication by Design is a DEPARTMENTS lists—none of which directlyMarketing, by David Koren. ing strategy. His straightforward book quick read offering kernels of wisdom address marketing per se. There is,New York: John Wiley, 2004, demystifies the profession’s lingo and in conversational prose. Capelin, a furthermore, no connecting thread288 pages, $34.53. walks the reader through the major long-time public-relations executive, between case studies and the tasks of developing a marketing organizes her book into 29 short, book’s collages of bright images,Communication by Design: strategy: creating a mission state- catchy principles, peppering her nar- some of which are not mentioned inMarketing Professional ment, vision statement, and action rative with anecdotes and quotes the text. Only in the 20-page sectionServices, by Joan Capelin. plan; defining the firm’s identity and from architects. The tone of her book on architectural photography do theAtlanta: Greenway position in the market; and allotting resembles that of a wise aunt freely images clearly illustrate the narra-Communications, 180 pages, and managing a marketing budget. sharing her advice: Be proactive and tive. After a weak conclusion, the$34.95 Koren stresses the importance maintain good communications author finally offers a few useful of gaining clients’ trust and notes among all those involved in a project; guidelines for hiring communica-Is It All About Image?: How that their choice of architect often anticipate possible glitches and ask tions specialists, followed by somePR Works in Architecture depends on intangible qualities such questions ahead of time; be straight- general tips, a bibliography of forward about mistakes resources, and a directory of photo and correct them; always agencies. Larissa Babij follow up; and celebrate small achievements. New Museums: Contemporary Capelin offers exercises Museum Architecture Around for implementing her the World, by Mimi Zeiger. New principles, and also pro- York: Universe Publishing, 2005, vides tips for fine-tuning 208 pages, $29.95. presentation skills. This small, easy-to-carry No building type is so invested with book makes a good potential as today’s museums, motivational read on expected to function as memorials, the way to a confer- menders of urban decay, creators ence or meeting. of new civic images, and even socio- Is it all about political statements (witness the image? That’s the question Laura French government’s recent deci-(Architecture in Practice), by as individual chemistry, personality, Iloniemi asks at the start of her sion to enlarge the Louvre’s IslamicLaura Iloniemi. New York: Wiley- and passion. He emphasizes the richly illustrated book of that title. department). Mimi Zeiger’s com-Academy, 2004, 224 pages, $55. need for architects to be proactive Unfortunately, she never answers it, pendium of recent projects goes and know their clients’ needs. The instead asking the reader to wade beyond previous publications in itsArchitects can’t be players in today’s key, he says, is to make marketing a through a dense thicket of informa- range of museum types and its geo-competitive climate unless they can regular part of the firm’s work, con- tion while offering little advice and graphical scope, with nearly globalmarket their services successfully. tinuously evaluating what strategies few opinions (perhaps her training coverage comprising examples fromThese three books define terms and work for getting new business and in architectural philosophy compels the U.S., Europe, China, and Japan.suggest efficient applications of publicity, and which methods need her to let evidence speak for itself). Included are museums of art, sci-marketing methods. tweaking. Boldly labeled sections Her initial question is followed by ence, natural history, papermaking, In Architect’s Essentials of make the book easy to navigate; a series of firm profiles, project case stonework, volcanoes, and archaeo-Marketing, David Koren, the market- charts, graphs, and a bibliography studies, interviews with architectural logical director for Gensler in New York, and index add helpful information. writers, notes on architectural photog- The book loosely divides muse-provides a quick, comprehensive Joan Capelin’s useful book raphy and presentation, and a few ums into three categories. The first, 01.06 Architectural Record 61
  • 66. YYePG Proudly Presents, Thx for Support Books of circulation areas outnumbering those of exhibition spaces. by Robert Elwall. London: Merrell, 2004, 240 pages. $59.95. The extraordinary proliferation of museums in the last several In his book chronicling the history Zeiger presents Dia:Beacon, reno- years makes it hard to keep abreast of architectural photography, Robert vated by artist Robert Irwin in of the topic. Already Zeiger’s book Elwall features one of the most collaboration with Open Office, as an seems slightly out-of-date: By now, influential pictures ever taken of example of a third type, “Objet d’Art,” Steven Holl’s Bellevue Arts Museum any building—a black-and-white museums that create a spatial syn- has been renovated by a different photo of Mies’s Seagram Building, thesis between art and architecture. architect in accordance with a new taken by Ezra Stoller in 1958. This A single page of text, written in mission. Also, one wonders why portrait remains our primary image an informal, no-nonsense style, SANAA’s recently completed 21st of that classic statement of steel- accompanies several pages of photo- Century Museum of Contemporary and-glass construction. It was taken graphs for each museum. These Art in Kanazawa, Japan (2004), was from a vantage point unavailable to thumbnail sketches are reliably accu- not included in addition to the firm’s the general public, and has about rate and at times even evocative. O-Museum in Nagano (√1999). as much poetry as a mug shot. Zeiger provides the cultural context New Museums does not for each project, such as the regional- attempt meaningful architectural“Civic Pavilion,” includes institutions ism of Chinese architect Jiakun Liu analyses. Rather, like Museumlike the Contemporary Art Museum measured against a backdrop of high- Builders (1994), edited by Jamesin St. Louis by Allied Works profile international practitioners. Steele, and others in a similar vein,Architecture, which enlivens its Missing in most cases, how- the emphasis is on illustrations.urban context. The second, ever, are comparable relationships Its smaller format, however, makes“Regional Response,” refers to between the featured museum and this book the most practical.museums such as Takaharu + Yui other work by the same architect. Victoria NewhouseTezuka Architects’ Echigo- More important is the absence ofMatsunoyama Museum of Natural plan drawings. And while exteriors Building with Light: TheScience in Matsunoyama, Japan, are beautifully illustrated, interiors International History ofwhich relates to a pastoral setting. are often short-changed, with views Architectural Photography, 4,554 architects 2,236 interior designers 82,351 products 168,920 images your source for the best in building + design CIRCLE 33 ON READER SERVICE CARD OR GO CIRCLE 34 ON READER SERVICE CARD OR GO TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/ TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/
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  • 68. YYePG Proudly Presents, Thx for Support Books ratives that emerged following destruction by terrorists in Oklahoma City in 1995 and New York in 2001. The book then movesLikewise, Stoller’s overly corrected Elwall. The most visually rewarding on to historic examples, examiningportraits of Wright’s Johnson Wax pictures here are those in which the symbolic dimension of thebuildings come off as cold and off- art trumps documentary. reconstruction of Washington, D.C.,putting. Such photography did the The book’s best images after the British sacked the city inarchitectural profession no favors; date from the 19th century. 1814; the complex, ideologicallyStoller’s images did as much to Schinkel’s Schauspielhaus is competitive rebuilding of the twobring on the demise of Modernism supremely rendered by a spare halves of postwar Berlin; the Soviet-as any Robert Venturi polemic. 1856 albumen print, while few influenced rebuilding of Warsaw; Building with Light is a wel- painters of ruins captured the the case of Guernica, Spain, thecome reminder of photography’s romance of the Erechtheum Basque village destroyed by Axissymbiotic yet tension-filled relation- better than William Stillman, The Resilient City comes as natural bombing in 1937; and the manyship with buildings. Elwall has American consul to Crete. Robert disasters seem to be gaining in disasters that have befallenprovided a solid chronological MacPherson’s photographs of ferocity and frequency and fear of Jerusalem’s monuments since A.D.survey of the topic. There are Roman antiquities “sacrificed terrorism has added a new level of 70. A final section focuses on thepredictable chestnuts, such as architectural details and the princi- anxiety to urban life. The book sur- politics of reconstruction in mod-Frederick Evans’s cathedral views ples of perspective” to capture veys a wide field of case studies of ern-day Tokyo, Tangshan, Mexicoand Julius Shulman’s California the magnificence of the past. urban rebuilding, ranging from the City, Beirut, and Los Angeles, with ahouses of the 1950s. William Morgan overly familiar (New York after 9/11) further contribution on the effects Is architectural photography to the virtually unknown (the devas- of digital technologies on urbanmerely documentary (we know the The Resilient City: How tating and partially concealed 1976 reconstruction.Larkin building only through pic- Modern Cities Recover from earthquake in Tangshan, China). It is difficult to make broad gen-tures), or is it art? Photography may Disaster, edited by Lawrence J. Essays by 14 academic eralizations from this immense stockhave diminished our architectural Vale and Thomas J. Campanella. experts take differing approaches of information, but to their credit, theexpectations through “desensitizing New York: Oxford University Press, in assessing responses to disasters. editors set out twelve “axioms ofrepetition of the same views,” says 2005, 376 pages, $24.95. The first section addresses the nar- resilience.” These emphasize the QUILITE ® DOCK LIFTS EVERY DOCK NEEDS A LIFT INTERNATIONAL AN ADVANCE DOCK LIFT IS THE ONLY EQUIPMENT THAT CAN SERVICE ALL TRUCKS. Full line of dock lifts including: AVOID BACK INJURIES Portable Top Of Ground noise barrier system Pit Mounted INCREASE PRODUCTIVITY Post/Panel System of Polycarbonate Modules Corrugated on Both Sides for We can tailor a dock lift to fit your needs and budget. Noise-cutting Performance L i g h t Tr a n s m i s s i o n 1-800-843-3625 G r a ff i t i R e s i s t a n c e vancelift 8616 La Tijera Blvd, Suite 509, Los Angeles, CA 90045 Tel 310.641.7701 Fax 310.641.7768 PUT ADVANCE LIFTS ENGINEERING EXPERTISE TO WORK FOR YOU! CIRCLE 35 ON READER SERVICE CARD OR GO CIRCLE 36 ON READER SERVICE CARD OR GO TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/ TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/
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  • 70. YYePG Proudly Presents, Thx for Support Books Modernism, is the director of “a design futures network based in tistics to observations to anec- dotes, from past to present to Amsterdam and Bangalore.” His future, from energy to the environ- book’s title is a phrase used by air- ment, from the Burning Mannecessity of “narratives of resilience targeted the most populated down- traffic controllers to describe their Festival in Arizona to the Bombayfor successful reconstruction town civilian area to instill fear in a state of mind when they feel fully in Lunch Delivery program.efforts”—that is, officially supported population for whom the town sym- control—a feeling he believes we Many of his observationsaccounts of how the disaster bolized Basque democracy and can achieve if “people are designed touch on architecture. A Pradaoccurred and how it is being over- autonomy. Although Francisco Franco back into situations.” The book store in Tokyo by Herzog & decome. The authors add, however, oversaw the city’s reconstruction, it advocates such humanistic redesign. Meuron “smelled like the last daysthat such narratives are always con- was Picasso’s famous painting It is organized by themes of modern of Rome.” The Roissy Terminal 1tested. Successful urban resilience, Guernica that survivors saw as the life, including “lightness,” “locality,” at Paris’s Charles de Gaulle airportthey insist, is linked to larger national real memorial of the event. The and “flow.” Within these themes, is a “disorienting” example of aefforts and is always made possible authors conclude that Guernica Thackara leaps nimbly from sta- “building that serves the system,by political and financial contribu- offers a particularly clear example of not the system’s users.” And Remtions from beyond the immediate the need for long-term study of urban Koolhaas’s Euro-Lille in Francearea of the crisis. The authors believe resilience within cultural, political, makes its users “feel like one ofrebuilding is driven by remembrance, and emotional frameworks. It is, in those tiny humanoid figures archi-and they are fascinated by “power of fact, an approach used in many of tects use to decorate their models:place” in allowing urban residents to the essays included in this thoughtful sleek, but blind.”overcome disasters. They conclude book. Eric Mumford Thackara begins with theby insisting that resilience encom- premise that “if we can design ourpasses more than rebuilding, pointing In the Bubble: Designing in a way into difficulty [and he clearlyto Guernica’s unhealed wounds Complex World, by John thinks we have], we can design ourdespite rapid physical rebuilding. Thackara. Cambridge: The MIT way out.” His final words support The case of Guernica, well pre- Press, 2005, 321 pages, $32.95. connections and collaborations:sented by Julie B. Kirschbaum and “Whatever you choose to do, don’tDesirée Sideroff, has particular reso- John Thackara, whose previous try to do it alone. We are all design-nance today, as the Nazi bombers books include Design After ers now.” Stanley Abercrombie Extreme T ruly cool, truly the ultimate cable system Sublime... Arakawa sophisticated Scandinavian design. photograph: benny chan,, architect: chu+gooding,, scrim: april tsui, DP117 Designed by: Nissan & Gehl, Copenhagen, Denmark Angled aluminum extrusion looks flat from head-on, gives nice finger grip on bottom, good thumb grip on top. Three sizes: 5/8”, 5 21/32” and 9 7/16” One finish: Anodized Aluminum. Arakawa Hanging Systems supplies quick-release cable Grippers for hanging nearly everything, “ F I N E A R C H I T E C T U R A L H A R D W A R E F O R YO U R F I N E F U R N I T U R E ” ® from fabric to metal. With Arakawa, displays are installed quickly, easily secured, and then quickly Doug Mockett & Company, Inc.• Manhattan Beach, CA • 800.523.1269 changed or removed when circumstances require. Visit us today. toll free: 888.ARAKAWA w w w . m o c k e t t . c o m CIRCLE 38 ON READER SERVICE CARD OR GO CIRCLE 39 ON READER SERVICE CARD OR GO TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/ TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/
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  • 73. YYePG Proudly Presents, Thx for Support Snapshot By Beth Broome In a world that seems increasingly to value its privacy and the right to A little house rises like a spread out, a striking home virtually straddles the divide between swell on a brick seaP H OTO G R A P H Y : © K I M YO N G K WA N capitalism and communism, exemplifying an economy of means and a dedication to community. Pixel House lies in the Heyri Art Valley, a planned artist community just south of the heavily fortified Demilitarized Zone that separates North from South Korea. Organized around five hills, the development is overseen by architectural coordinators Junsung Kim and Jongkyu Kim, who preselected a team of architects for the project. The team included James Slade and Minsuk Cho, who were later chosen by a young family seeking to build their home in the valley. The clients, who had been active in the Socialist party, wanted a house that reflected their political back- ground: a simple, compact building that, rather than functioning as a private sanctuary, would take into account greater societal needs. Consisting of three phases (to date, only one has been realized), the residence was 01.06 Architectural Record 69
  • 74. YYePG Proudly Presents, Thx for Support SnapshotThe diminutive PixelHouse practices econ-omy on a number oflevels. The interiors ofthe 900-square-foothome consist ofSheetrock, maple ply-wood, and a livelypalette for the walls. designed to serve a secondary function as a children’s day-care center while the family was gone during the day. Phases two and three involve separate buildings sited to form a courtyard open to the neighborhood— a move that activates the environment, inviting inclusions, rather than creating a barrier. While the valley’s master plan called for a continuous row of houses, Slade and Cho decided to set their home, which sits at the end of the row, apart from the resulting “wall.” However, instead of placing an object on the field—and to avoid having the house appear simply as a fragment of the row—the architects integrated the building into the landscape. Using a sandy-colored concrete brick, Slade and Cho effectively wove the house into the fabric of the surrounding hardscape, creating the illusion of it rising out of the paved area. “Once we broke the rule of separating the house from the row,” says Slade, “we wanted to really break it, and the project evolved into a hardscape bulge”—or, in Cho’s more colorful choice of words, “a pimple emerging from the ground.” The brick, laid in an offset pattern over a waterproofed concrete shell, lends a pixelated appearance to the curved form. On a micro scale, the house mimics the larger development, which consists of a series of boxy structures stepped on a rolling topography. Pixel House stands apart from the neighboring residences, but it is not alienating: It asserts its individuality while blending into the landscape and engaging the community. ■70 Architectural Record 01.06
  • 75. YYePG Proudly Presents, Thx for Support Reverb Reinvented. Music and the spoken word are essential elements of the human experience. A concert, an opera or a worship service enrich our physical, mental and spiritual being. Although equally impressionable, acoustical demands for such events usually differ. Yamaha caters to these variables with Active Field Control. AFC is a reverberation enhancement system that can optimize the reverb time in a room. With AFC, it’s possible to provide specialized settings for different performances in the same venue. The system controls the environment based on the existing room condition by utilizing an acoustical feedback, which provides for a superbly natural sound. Whether it’s an intimate setting for a pianist in a large concert hall, or accommodations for a live orchestra without a sound reinforcement system, AFC provides the flexibility and technical superiorities to produce an ideal performance atmosphere. Recently installed at the renowned Crossroads Church in Corona, CA, AFC allows the diversity of events that take place at this house of worship to personalize sound based on needs. For more information, please visit or contact the AFC Design Center at Yamaha’s Active Field Control. Modernize sound. Revolutionize design.Yamaha Corporation of America • P.O. Box 6600, Buena Park, CA 90622-6600 • ©2006 Yamaha Corporation of America CIRCLE 42 ON READER SERVICE CARD OR GO TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/
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  • 78. YYePG Proudly Presents, Thx for Support Museum of the graphic identity, imbu- African Diaspora, ing the architecture San Francisco with a sense of the dis- ruption that migration Through various forms inevitably entails. A of narrative, this huge composite por- museum tells the story trait that forms the of the migration of the backdrop of one of the African people from main circulation areas their homeland to the personalizes the space rest of the world and boldly announces throughout the course the museum’s presence of history. Sussman/ along a busy street in Prejza designed the San Francisco’s Yerba exhibition areas and Buena district.
  • 79. YYePG Proudly Presents, Thx for Support Turning Surface into Symbol By Joseph Giovannini The environmental S ome architects anticipate the inevitable attachment of FEATURES graphics and signage to their buildings by controlling placement and typeface. Others take cues from graphics instead of treating them as a necessary evil, making a virtue of flat architectural surfaces by coloring con- design firm stituent parts such as spandrels and mullions to create buildingwide patterns, and elaborating flatness into a mutable Sussman/Prejza quality. It is ironic, then, that a graphic design firm rather than an architect has been at the forefront of making graphics in enriches architecture this way for a generation. The Los Angeles–based environmen- with graphics tal design firm Sussman/Prejza has developed and honed a spa- If their work has helped liberate graphics from the tial understanding of graphics, surface, Sussman and Prejza have shown a parallel tendency to logos, and signage—a transi- localize and identify the space in which they situate their graph- tion akin to the strokes of paint ics. When Sussman studied in Switzerland on a Fulbright that Pop artist Roy Lichtenstein scholarship in the 1950s, “the prevalent idea was the globaliza- lifted off the canvas and turned tion of design,” she remembers. “Everybody could use one into sculpture. Off the wall and typeface all over the world. There would be one way of system- independent of surface, signs izing everything.” Sussman, however, had come from a design and even color in designs by culture led by such figures as the Eameses, Alexander Gerard, Sussman/Prejza stand free on and Charles Moore, who resisted the nascent global approach to their own, becoming markers design by supporting the various ways that art and culture have that articulate and organize always been shaped by locale. “A monoculture doesn’t acknowl- space through both placement edge the difference between being by the sea or at the top of a and message. mountain,” says Prejza. “Localization enriches life.” In their wide-ranging Scroll back in memory to the 1984 Olympics in Los practice, the husband-and-wife Angeles: If, during the Athens Olympics of 2004, you felt a sense ofPREJZA, EXCEPT AS NOTED; PHOTOGRAPHY:© JIM SIMMONS (THIS PAGE, TOP RIGHT); team of Deborah Sussman and Mark Prejza embrace the multi- déja vu as you watched athletes bounding through intense colorJOHN JOHNSTON FOR SUSSMAN/PREJZA disciplinary nature of design, not a surprise given their fields, you can trace the visual echoes back to the brilliant graphicRENDERINGS: COURTESY SUSSMAN/ backgrounds—Sussman long worked at the Office of Charles program that Sussman/Prejza invented for the Los Angeles Games and Ray Eames, and Prejza was trained as an architect and plan- over 20 years ago. Together with Los Angeles architect Jon Jerde,(OPPOSITE, BOT TOM LEFT) ner. Their projects, both stand-alone and in collaboration with the designers developed a kit of graphic parts that was sprinkled architects, sit at the nexus of graphics, architecture, and city like confetti among the many sports and cultural locations hosting planning; the work ranges from designs for the printed page to the games. Colorful streamers, bunting, and kiosks dotted Los the visual identity of entire cities. Angeles, along with freestanding, 10-foot-high stars and towering scaffolds strung with banners, all marking venues that became Joseph Giovannini is an architect and critic based in New York backdrops for television cameras. The cameras, naturally, took to and Los Angeles. the vivid colors like moths to flame. Visually, Sussman/Prejza 01.06 Architectural Record 75
  • 80. YYePG Proudly Presents, Thx for Support 1984 Olympics. In creating a signage program inde- owned the pendent of buildings, the firm’s graphics and identity markers became a sort of infrastructure in themselves. The firm has built on this success ever since. Much of this work has involved developing subarchitectural and extra- architectural aspects of the physical environment that are often overlooked by architects, or the clients who hire them. When officials from Santa Monica commissioned Sussman/Prejza to redesign the city’s logo, the firm found the visual DNA of the place in its unique site at the intersection of mountains, beach, and sky. Brilliant sunsets yielded colors that abstracted the city’s view along the coast; blue, yellow, orange, and green represented the sea, sky, beach, sun, and mountains, and in part the palette came from the city’s original seal. As the commission expanded to include Santa Monica’s welcome signs, street signs, and sym- bols on municipal vehicles, the colors migrated from the logo to the infrastructure and environment, as though flocks of exotic parrots had been released into the streets. The public “Blue Bus,” which had inexplicably been painted white for years, became blue again—a spirited Gauloise hue that embodies the pluck of this progressive, upscale seaside community. Other cities have come calling since then—Philadelphia, San Diego, and the Los Angeles district of San Pedro. In nearby Culver City, where Sussman and Prejza have their offices, the designers implemented a thorough, citywide graphic identity program. Here, buses were painted green andCincinnati of Sussman/Prejza’s designs expanded beyond signage toConvention wall finishes and car- encompass the sign’s support struc- R E N D E R I N G S : C O U R T E SY L M N A R C H I T E CT S W I T H S U S S M A N / P R E J Z A ( T H I S PA G E , TO P A N D B OT TO M T W O )Center, pet patterns (above tures—steel poles that dance chaoticallyCincinnati and right) was inspired and are ringed near the top with a col- by the Ohio River and lar. Sussman/Prejza also organized aFrom a distance, pan- helps connect indoors street-furniture program and coordi-els attached to a and out. A sense of nated a landscaping program withstructural cage atop motion, flow, and circu- Santa Monica–based Campbell &the convention center lation is echoed in Campbell. All these elements lentform the letters of an ceiling details with Culver City’s streetscape a physical P H OTO G R A P H Y : © J O H N J O H N S TO N FO R S U S S M A N / P R E J Z A ( O P P O S I T E T H R E E ) ;integrated billboard sinuous curves, like density that gives the commercial arter-proudly announcing the currents in the river ies a lively urban edge and corrects thebuilding’s urban locale (bottom). The 750,000- ambient urban anomie so typical of the(lower right). The calm- square-foot center will streets of Los blue-green palette open later this year. The firm is now in the process of several major projects in which graphics are both spatial and integral to the architecture. No proj- ect exemplifies the team’s expertise better than the nearly completed Cincinnati Convention Center, which it is designing in collaboration with LMN Architects of Seattle. The graphic artists attached huge letters spelling out the city’s name within a structural cage that forms one end of the building. The facade acts as a billboard, but because the words are suspended in space, they also recall the renowned HOLLYWOOD sign nes- tled in the hills. Here, the letters enliven a dense urban setting and are formed kinetically from individual panels that configure into the word only when seen from certain angles. The sign transcends the word itself to become an interactive urban icon. The interpretation of environmental graphics takes an
  • 81. YYePG Proudly Presents, Thx for Support City National sculpture on the Plaza, plaza, the designers Los Angeles created a logo (bot- tom), signage (below), When a large bank and a lively set of pat- recast the landmark terns incorporating ARCO Towers as its the logo in various national headquar- colors, scales, and ters, Sussman/Prejza overlapping motifs. was tapped to imple- The patterns are scat- ment a new logo and tered throughout the environmental design building and plaza— for the interiors and on carpets, wall the plaza between the finishes, and even the buildings. Taking cues café-style tables that from a bright spiral surround the sculpture.
  • 82. YYePG Proudly Presents, Thx for Support ironic reverse turn in this project. Because the designers fre- quently develop interiors inspired by the outdoors, they collapse entire landscapes into fields of color applied to walls, ceilings, and floors. “The Ohio River, with its bridges and river- boats, was important in the formation of the city,” says Sussman, “so at the Cincinnati Center, the idea was to wrap the visitor in an envelope of color that grew from the river.” In the foyers, they designed ceilings and floors with patterns that embody different ways of looking at water, studying Impressionist and Post-Impressionist painters to develop pointillist-inspired carpet patterns in complex colors. By using undulating patterns on the ceiling and walls of the main ball- room, they break down the big-box feel of the space and connect it to the setting. Their graphic program successfully imports the outdoor environment into the center. In San Francisco’s Museum of the African Diaspora, which opened last month, Sussman/Prejza was brought into the design team by architect The Freelon Group to design the logo, graphics, and exhibition spaces. They took the idea of social dis- ruption that Africans have encountered into the entry hall and facade by creating a long, rectangular plane that floats across the three-story space and erupts through the facade, forming a canopy. It’s a slash of color made con- crete as a part of the architecture. Sussman/Prejza also made a poignant portrait architectural—they tapped Runaway Technology to transform a photograph of a young African girl, taken by Chester Higgins, Jr., into a two-story photomosaic composed of more than 2,000 donated portraits of other Africans. The gigantic face claims ownership of the space and personal- izes it. Inside, a mix of immersive multimedia-exhibit experiences and places for public and private reflectionCity of Santa everything from street lend gravitas to the narratives of theMonica, signs to the public bus African experience in different placesCalifornia system. The bright and throughout human history. palette was inspired by With AC Martin Partners, E XC E P T C O U R T E SY S A N TA M O N I C A A R C H I V E S ( S E C O N D F R O M TO P )Just a stone’s throw Santa Monica’s daz- Sussman/Prejza is designing new envi-from Sussman/Prejza’s zling sunsets and ronmental graphics for the twin ARCOoffice in Culver City, unique location near Towers in Los Angeles—landmarkthis upscale, artistic the mountains, beach, skyscrapers now being recast as head-community got a fresh and sea. Following the quarters for the City National Bank.look when the design- success of this pro- The designers have taken their visual P H OTO G R A P H Y : © J I M S I M M O N S ( T H I S PA G E ) ,ers implemented a new gram, several other theme from a spiral sculpture that islogo and comprehen- cities hired the firm for the centerpiece of the plaza. “We oftensive graphic identity for similar makeovers. start with a three-dimensional thing as an inspiration for a graphic,” says Sussman. Ironically, the sculpture is by Herbert Bayer, a renowned Bauhaus graphic artist who worked, like Sussman/Prejza, outside the classic limits of his discipline. In a reversal of their usual process, the designers have transformed the sculpture back into a graphic identity and iconographic logo that appears on win- dows, signs, carpets, and tabletops. “The question is how to give new life to the building and still respect the original,” she says. “We’re taking something that exists and making it new.” ■
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  • 84. YYePG Proudly Presents, Thx for SupportThe architecture ofBoston’s John AdamsCourthouse (restoredthis year by CBT/ChildsBertman Tseckares)dignifies the public’srole in the courts (leftthree), in contrast tocrude security meas-ures installed at LowerManhattan courts inNew York (right).Security issues at theAlfred A. Arraj U.S.Courthouse in Denver(above) have beenaddressed in a publiclywelcoming way byarchitects HOK, withAnderson Mason Dale.
  • 85. The Importance of YYePG Proudly Presents, Thx for Support Openness in an era of security A conversation with Supreme Court Justice Stephen G. Breyer By Jane C. Loeffler C ourts increasingly are called upon to strike a balance enough to warrant a departure from openness; but they should between protecting Americans from acts of terror and pre- focus on the details and squarely face this issue. FEATURES serving civil liberties. For some jurists, who may be targets for terrorists and vengeful defendants alike, striking that AR: U.S. embassies are effectively closed buildings at this time. How do balance in the design of court facilities brings the issue close to home. you argue for openness when security experts say the risk is too high? Each new attack brings calls for greater fortification and less public SB: You have to be brave enough to turn them down. Or see to access—potentially threatening a core value of democratic govern- modifications when the circumstances call for it. If we are not brave ment. Supreme Court Justice Stephen G. Breyer confronted these enough to say no when security needs don’t make much sense, then dilemmas working with Harry Cobb (of Pei Cobb Freed) in plan- we’ll end up with buildings that look like our embassy in Chile, ning the John Joseph Moakley Federal Courthouse on Boston’s Fan which is my example of something that looks like a fortress. People Pier [record, March 1999, page 108]. Speaking at the dedication of in Santiago laugh at it. the newly renovated John Adams Courthouse in Boston’s Pemberton When I visited London last year, they were planning to Square (CBT/Childs Bertman Tseckares, 2005), Justice Breyer close off the roads surrounding our embassy. I asked the embassy renewed his call on public officials to consider the values associated people why. The justification was that someone could approach the with open public buildings before making security decisions of last- embassy with a bomb. Yes, that’s true. You could turn every public ing import. Those remarks prompted this interview. building into a Fort Knox using such a theory. If the secretary of state or a deputy secretary of state actually looked into it, and heardP H OTO G R A P H Y : © F R A N K O O M S ( O P P O S I T E , TO P R I G H T ) ; J O N AT H A N H I L LY E R ARCHITECTURAL RECORD: How can government officials not the argument, and came to the conclusion that central London( O P P O S I T E , L E F T T H R E E ) ; J A M E S S . R U S S E L L ( O P P O S I T E , B OT TO M R I G H T ) heed advice from security experts? streets must be closed off, then I would respect that judgment. I STEPHEN G. BREYER: People in any government agency who are think it’s a matter that calls for careful consideration by such a high in positions of authority have to understand that the issue of secu- official before you close off a main street in central London. rity and the issue of openness are both important, and they It is very easy for anyone to appear to be very popular and sometimes argue in opposite directions. One is sometimes tempted responsible by saying ‘I’m worried about human life.’ Well, I’m simply to turn matters over to security officials. But security offi- worried about it, too. But our architecture must not wall off the cials operate under pressures that force them to err on the side of government from the people. The Constitution permits people to security—even if that means closing off a building that was meant govern themselves; the people are the government. The value of to be open to the public. This isn’t a ground for criticizing them; openness is such in a democracy that you should consider it care- that’s their job. But it is a ground for criticizing the people in fully and give it considerable weight. authority, because they must understand not only the importance of security but also the importance of openness. AR: How did your own experience in planning Boston’s Moakley Openness can make an enormous difference both sym- Federal Courthouse inform your views? bolically and practically. It matters whether a public building is SB: When we built our courthouse in Boston, I felt strongly that it welcoming to the public or shuts itself off as a fortress. Persons in belonged to the taxpayers who paid for it. It should be apparent authority have to become informed about security needs to make that such a courthouse—a public building, a beautiful building on decisions that require intelligent balancing. Their decisions should a beautiful site—does not belong to the judges, nor to the lawyers. favor security if they conclude that the need for security is great It belongs to the people of Boston. It’s hard to work with bureau- cratic institutions that are single-minded. Security people may be Jane C. Loeffler teaches in the Honors Program at the University of Maryland, interested 99 percent in security; GSA [the General Services College Park, and has written for record about embassy design. Administration that builds federal buildings] may be interested 99 01.06 Architectural Record 81
  • 86. YYePG Proudly Presents, Thx for Support you have 20 courtrooms. Inevitably, the when building begins to look like a hospital, an office building, or an apartment house. Cobb showed us an example of a courthouse in Los Angeles that looks like a prison. You would not want people to come into a courthouse that looks like a prison. The challenge is to build a courthouse that tells people—through what it looks like and how it’s used—that it isn’t a prison, that it isn’t an apartment house, and that it isn’t a hospital. Rather, it is a public building where a high-level official—a judge—will deal face-to-face with the most humble, ordinary cit- izen of the United States and spend as much time on that citizen’s problems as circumstances call for. I learned more from Harry Cobb. Before that experience, I think I would have said that we should have a decorated building, and we should have Classical forms. I learned that buildings from many different periods can say many different things. You can have a lovely Modern building or you can have a bad one. You can have a lovely Classical building or one that looks tacky. Our con- sulate in Munich, for example, is a Modern building that is both attractive and interesting. It’s a box, but an interesting box, one that has charm and is beautiful. One cannot automatically choose Classical over Modern styles. On the contrary, what matters, I believe, is the individual building. AR: Is there anything remarkable about the design of Moakley’s courtrooms? SB: The courtrooms in Boston put the judge delib- erately at the same level as the lawyers and focus on the area in front of the judge, the jury, and the wit- ness. That focus promotes a conversation among all the participants. The best example I saw of that is in the Second Circuit courtroom designed by Learned At the Arraj Courthouse, the plaza and lobby pavilion are publicly welcoming, yet Hand [in Cass Gilbert’s 1936 Federal Courthouse in discourage vehicle bombs and limit a terror attack’s damaging effects. New York City]. It looks like a sitting room. The judges in that famous courtroom are at the same eye level as the lawyers. Why? When lawyers are percent in saving money, and a group of judges may be interested forced to carry on a conversation, the judge is more likely to get their P H OTO G R A P H Y : © F R A N K O O M S ( T H I S PA G E A N D O P P O S I T E ) only in courtroom acoustics. Yet it’s possible to break through any truthful opinion, less likely to get playacting. The design facilitates group’s single-mindedness to promote balance. I think the Boston the work of the court. courthouse is an example of how that can happen. Judge [Douglas] Woodlock and I spent a day a week for about three or four years AR: You are obviously proud of the product. working on that courthouse. Was it worth a day a week of our SB: It shows what’s wonderful about architecture. When you walk time? I think it was. It was an important project for the public. into a well-designed building you can feel your spirits rise. When a person walks into the Boston courthouse, he doesn’t need to be an AR: What was the thinking behind the design? art connoisseur to appreciate the Ellsworth Kelly paintings. All he SB: Harry Cobb, the architect for our courthouse, showed us pic- needs to do is open his eyes, and feel his spirits rise. tures of a courthouse in 17th-century Virginia. He also showed us beautiful Beaux-Arts-style courthouses built in the 19th century, of AR: Was the Moakley courthouse altered after 9/11? which the [John Adams] courthouse in Boston is an example. In SB: Yes, security required some changes. As I have said, security has each instance, the courthouse makes a statement that it is a public to be taken into account, but you must try to strike a reasonable building, that the public gathers in that building, and that there is a balance. You don’t just ignore security. judge who will carry out public business there. What works archi- tecturally for a single-room courthouse can work when you have AR: Many architects equate openness with transparency. Do you four or five courtrooms in a building, but it’s very hard to design think open architecture needs to feature glass?82 Architectural Record 01.06
  • 87. SB: No, that isn’t what I had in mind. The plaza inProudlyof the YYePG front Presents, Thx for SupportSupreme Court of the United States is open. Every citizen of theUnited States can walk across it, walk up the steps, and enterthe building. We do have a security system; visitors must walkthrough an arms detector. That is an unfortunate but necessaryconcession to the problem of security that we face. But if we everwere to close off the plaza, or close off the building, I think wewould do irreparable damage to the Constitution and to the coun-try. It is important in a democracy that people be able to come intotheir public buildings, certainly the courts.AR: So you definitely want tourists to be able to visit the SupremeCourt?SB: Absolutely. We used to have a million visitors a year.Unfortunately, because people are traveling less, because of con-cerns about security, and because of construction [at the adjacentU.S. Capitol Visitors’ Center], the number of visitors has fallen tobelow half a million. I very much hope that it will go back up oncethe construction is finished. It is important that people use thebuilding and see it, especially that children use it and see it. That’spart of an education for them of how our democracy works. Itencourages them to participate in our democratic government.AR: What was your reaction to Boston’s newly renovated JohnAdams Courthouse that now houses the Massachusetts SupremeJudicial Court and the Court of Appeals?SB: I liked it. I think it’s a beautiful courthouse. I’m so glad theyrestored it. The architecture, the murals in that huge hall—all of itshows the optimism that people felt about the country a hundredyears ago.AR: Have you any suggestions on how we can better assess risk?SB: When I studied risk for my academic work, I learned that notall risks can be avoided. There are many tiny risks that are notworth eliminating. You cannot cure tiny risks at a large cost or thecountry will soon be bankrupt.AR: Should architects play a role in making security decisions? Seattle’s Federal Courthouse (NBBJ and Fentress Bradburn) presides overSB: I think they should try and get involved. The only thing we a green setback. A lobby water feature doubles as a personnel barrier.can do is create a procedure similar to the one thatworked for us in Boston. That procedure involvesthe government decision maker, representatives ofthe various security agencies, and others workingtogether with the architect. The architect must bepresent, because the architect can sometimeswork out a way to diminish the risk while preserv-ing other values, such as openness. That’s anarchitect’s job.AR: Can we balance security and openness?SB: Yes. But my experience tells me that there areno absolute answers. We can ask government pol-icy makers to become involved in the process, tobring in the architects and listen to them, and talkto the security people. Everyone needs to under-stand that there are competing values at stake. Thetask is to work out a solution that respects all ofthose different values. That can be done. And it canlead to a superior solution and a better building. ■
  • 88. YYePG Proudly Presents, Thx for SupportSome things are impossible.Some simply haven’t been accomplished – yet.Coming soon: the impossibly impressive Architects have always demanded more from energy-saving flatSolarban ® 70XL Solar Control low-E glass. glass. More solar control. More visible light. More of a clear glass appearance. The scientists at PPG have finally created a product that’s up to their standards.Solarban, IdeaScapes, PPG and the PPG logo are trademarks owned by PPG Industries, Inc.
  • 89. YYePG Proudly Presents, Thx for SupportNew Solarban 70XL is the first vision glass that gives architects exactly what they want by delivering a previously impossible set of features.It blocks over 75% of total solar energy while delivering 63% visible light transmittance – and does it with the look of clear glass. After all,looks are still everything. For a Solarban 70XL sample and a white paper detailing the unbelievable energy savings it can bring to your nextproject, call 1-888-PPG-IDEA or visit CIRCLE 45 ON READER SERVICE CARD OR GO TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/ PPG Industries, Inc., Glass Technology Center, Guys Run Road, Pittsburgh, PA 15238-1305
  • 90. YYePG Proudly Presents, Thx for Support
  • 92. YYePG Proudly Presents, Thx for Support The Agbar Tower and a hotel stylishly pat- terned in black and white by Juli Capella Samper (left) are the first structures in what is planned as a 40-acre commercial develop- ment that will transform the Plaça Glories (site plan, opposite). The tower’s intriguing liquid surface renders it a less-imposing competi- tor of the city’s skyline icon, Gaudí ’s Sagrada Familia cathedral (photo, opposite).
  • 93. The effervescing surface of the AGBAR TOWER is YYePG Proudly Presents, Thx for Support the startling symbol Ateliers Jean Nouvel has created for Barcelona’s newest commercial district By James S. Russell, AIA B arcelona’s Plaça Glories is anything but glori- PRO JECTS ous. The subway exits to a beat-up sunken alley. Reaching the street, the visitor faces a throng of vehicles headed up a massive elevated round- about that flings them onto the intercity highway network. Rising improbably out of the blocks of crum- bling and boarded-up warehouses and factories is what Jean Nouvel calls his “ambassador,” the bullet-shaped, 31-story “symbol of the international metropolis,” the Agbar Tower. It’s hard to miss Nouvel’s tower on the city’s skyline, once dominated only by Gaudí’s Sagrada Familia Cathedral. That’s because Agbar is a 466-foot- high advertisement for the city’s desire to remake the Plaça into a new commercial center in a section of the city located apart from established centers of commerce. By creating a newly well-connected, 40-acre, high-den-P H OTO G R A P H Y : © R O L A N D H A L B E , C O U R T E SY T H E M U S E U M O F M O D E R N A R T, sity development, Barcelona planners hope to spur growth without sacrificing the historic core. Under a vast new green square, the city will bury the roundabout, creating a transportation nexus comprising an added subway line, a regional-rail station, and a high-speed intercity rail line. Agbar and a recently built hotel will be joined by other commercial develop- ment around the green. Confronted with today’s scruffy surroundings, all this may seem unlikely, but consider that the city has Nouvel’s little jokeE XC E P T A S N OT E D ; P H I L I P P E R UA LT ( O P P O S I T E ) already extended its famous Diagonal boulevard essentially from For a symbol, Nouvel’s tower takes itself surprisingly unseriously. Agbar is Agbar’s door through the adjacent Poblenou neighborhood to the ocean- the local water company, and Ateliers Jean Nouvel, with b720 arquitectos, front Barcelona Forum, where new parks, marinas, commercial and has built for it a giant bubbler. The inky surface appears to ripple under a residential development, and a convention center have all been willed liquid film, sparkling through a jigsaw-puzzle of color. into being by officials in a few short years [record, June 2004, page 109]. Whether or not you are in on this little joke, Nouvel has created the most sensuous surface for a tower perhaps ever. It’s the culmination of Project: Agbar Tower, Barcelona Julie Fernández, Emmanuelle his long exploration of the tactile and visual qualities of surface. (Ghostly Architects: Ateliers Jean Nouvel, Lapointe, Pascaline Paris, Florence images of performers scud across the painted metal panels of Nouvel’s with b720 arquitectos—Jean Nouvel, Rabiet, Juan Alberto Aibar, Marc Guthrie Theater, for example, which nears completion in Minneapolis.) Jean-Pierre Bouanha, Vander Lemes, Martínez, Doris Sewczyk The local project architect, Jean-Pierre Bouanha, explained on a visit how Cristiano Benzoni, Pablo Garrido, Consultants: R. Brufau & A. Obiol the surface of the tower was scribed into a 1-square-meter-grid (11 square Alexa Plasencia, Cristina Algás, (structure); Gepro (HVAC) feet), onto which was applied ridged, painted-metal panels over insula- Francisco Martínez, Elisabeth Farrés, Contractor: Dragados tion. Below the uppermost floors (which are clad entirely in clear glass), 01.06 Architectural Record 89
  • 94. YYePG Proudly Presents, Thx for Support
  • 95. YYePG Proudly Presents, Thx for Support 1. Entry plaza 2. Moat 3. Lobby 4. Office 9 5. Mechanical 6 6. Meeting 7. Freight elevator 8. Passenger 6 elevator 9. Reception 5 5 4 4 7 5 5 8 4 5 5 4 2 3 1 2 0 30 FT. SECTION A-A 9 M.P H OTO G R A P H Y : © J A M E S S . R U S S E L L ( T H I S PA G E , B OT TO M ) the metal panels descend in tints that vary from white through a range of The rows of fixed, blues. From the bottom, panels of orange, fuchsia, and red (inspired, clear-glass, ceramic- Bouanha says, by the pink-tinted pinnacles of nearby Montserrat) rise to fritted louvers that meet the veils of blue. Impishly, blotches of red spread amid the upper- cover the tower hang level fields of blue; a lightening-bolt of yellow appears as if by accident; from a framework squares of green seem to grow near the shrubbery wrapping the base. (right) 27 inches out- In Agbar, Nouvel abandoned the acres of gridded glass that are side the building the signature of skyscraper office towers. Instead, he opened only about a envelope—making fourth of the panels in an apparently random pattern as red-trimmed room for maintenance windows (in clear glass, except for a few tinted with integral film to enrich walkways floored in an the palette). Another remarkable aspect of the design is that those win- openwork grille (oppo- dows are punched out of a continuous exterior concrete bearing wall that site). The louvers add rises almost the entire height of the tower. a liquid surface effect A layer of glass louvers covers the tower. Fixed and untinted, to the colored wall each glass blade is ceramic-fritted in dot patterns of a wide range of den- panels, dramatically sities. The colored panels blur when seen through this varying glass scrim, enhanced by lighting which is why the surface seems to possess an indeterminate depth and liq- at night (above). 01.06 Architectural Record 91
  • 96. YYePG Proudly Presents, Thx for Support 1. Louvers 2. Glass-and-metal curtain wall 3. Exterior concrete bearing wall 1 6 4. Cantilevered concrete floor 5. Steel-beam floor 2 6. Core concrete bearing wall 4 6 3 5 0 10 FT. SECTION A-A AT DOME 3 M. The uppermost taper- held on a grid of steel. core (plans, below and ing floors cantilever They rise from the left) rises to its own 2 from the core (section, outer concrete wall to dome, visible within a above left), free of a fully glazed dome. top-floor reception nonbearing glass walls The building’s offset space (above). 1 3 4 3 2 2 1. President’s office LEVEL -3 LEVEL -2 LEVEL -1 LEVEL SS LOBBY LEVEL 1 LEVEL 2 2. Office THIRTIETH FLOOR 3. Open to below 4. Elevator vestibule LEVEL 3 LEVEL 4 LEVEL 5 LEVEL 6 MECHANICAL LEVEL 7 LEVEL 8 5. Open work space P H OTO G R A P H Y : © P H I L I P P E R UA LT ( O P P O S I T E , B OT TO M ) LEVEL 9 LEVEL 10 LEVEL 11 LEVEL 12 LEVEL 13 LEVEL 14 LEVEL 15 5 5A A MECHANICAL LEVEL 16 LEVEL 17 LEVEL 18 LEVEL 19 LEVEL 20 LEVEL 21 4 5 LEVEL 22 LEVEL 23 LEVEL 24 MECHANICAL LEVEL 25 LEVEL 26 LEVEL 27 LEVEL 28 LEVEL 29 LEVEL 30 LEVEL 31 LEVEL 31a LEVEL 31b ROOF 0 10 FT. 0 30 FT. 9 M. TYPICAL FLOOR 3 M. 92 Architectural Record 01.06
  • 97. YYePG Proudly Presents, Thx for Support The shadowy lobby uidity. The lobby previews the unique lighting (above), with its reflec- effects inside with its long, high walls dotted tive ceiling and floor, with windows like a screen of flowing pixels. The feels like a cool, fret- visitor may be tempted to parse the contempo- worked arcade updated rary cuneiform text they seem to form. from the Alhambra. Windows lined in pol- A modern-day bearing-wall tower ished metal (left) The concrete bearing wall, tapering from 19- diffuse light to reduce inches thick at the base to just under a foot thick silhouetting. at the top, is a key element of a unique structural solution that maximizes clear-span space across the typical 10,800-square-foot floors. The concrete-framed stair and serv- ices core is offset rather than placed in the middle of the floor. Steel beams span from core to exterior wall to gain a column-free space that is both deep and broad. No one sits far from the window-wall, however, thanks to the oval plan. That is why the design can devote a chunk of the exterior to the main bank of elevators. Nouvel didn’t let the window layout be dictated 01.06 Architectural Record 93
  • 98. YYePG Proudly Presents, Thx for Support Reflective ceilings by conventional concerns about carrying struc- (with coffers toned a tural loads in a direct path downward. Instead, warm champagne) steel reinforcing braces embedded in the concrete gently diffuse the carry the loads around windows as needed. sharp daylight, which By American standards, the layout is is also limpidly filtered both counterintuitive and inefficient. Rectangular through the milky floor plates with a central core offer a theoretically patterned glass of higher proportion of usable space. Central cores, partitions (top and though, require a surrounding racetrack of waste- middle). A masonry ful circulation. They impede the easy stair down from the communication of a layout that groups everyone lobby evokes the dark together, as Agbar’s floors do. moat into which the Both the shading of the louvers and tower visually disap- the thickness of the wall cut the blinding pears (bottom). Mediterranean light. The wall offers fewer openings and more heavily fritted louvers on the surfaces that receive maximum solar exposure, and more openings and less fritting where sun entry would be rare. Each floor frames a clear view to the Sagrada Familia. A mutually reinforcing unity of structure and envelope Bouanha plays down any notion that the Agbar is a “green” tower. Nouvel, in a statement about the design, writes only of querying the materiality of architecture, of creating a “paradox of weight and fragility.” Yet the shad- ing devices, the attention to orientation, and the use of the thermal mass of concrete to absorb solar heat, are all energy-reduction tactics well- attuned to sunny, generally dry climates. This apparently mutually reinforcing unity of program, structure, and envelope has been a long time coming. You can see the offset core, the external elevators, and the diaphanous envelope in Nouvel’s Tour sans Fin project of 1990. This project for Paris, regrettably unbuilt, remains an insightful and innovative skyscraper design more than a decade and a half after it was proposed. Our era’s more prolific tower innovator, Norman Foster, was able to incorporate shaftlike, multilevel light wells (an idea Nouvel showed in the Tour sans Fin) in London’s 30 St. Mary Axe [record, June 2004, page 218], which resembles Agbar in its phallic shape. But the way the light wells chop up the floor plate of the London tower may prove too inflexible over time. And Foster’s skin has an off-putting opacity very much in contrast to Agbar. (Agbar, it must be said, crashes into its plaza with con- siderably less delicacy than the inwardly tapering base Foster’s team devised.) When Nouvel describes this tower using such terms as “l’aven- ture de l’evanescence,” you get the idea that the design focus is almost purely aesthetic—an odd choice if you consider skyscraper history as largely a march toward the most efficient means of placing more people on less property. The arbitrary aspects (like the window placement) suggest Nouvel is operating outside the usual cost-driven norms—as indeed he is P H OTO G R A P H Y : © P H I L I P P E R UA LT ( M I D D L E ) by American standards. He realized that the look is part of the sell (in Barcelona’s urban development terms), but the insightful integration of that Technicolor exterior with a brilliantly reimagined structure and plan may prove to be of lasting influence. ■ Sources Acoustical ceilings: Erco Exterior cladding, curtain wall: Tiles: Pavimentos Mata Fractal; Permasteelisa Paint: Tollins (interior concrete) Windows: Technal; St. Gobain (glass) Skylights: Colt Aluminum: Hydro For more information on this project, Entrances, doors: Dorma; Fichet go to Projects at Hardware: Dorma
  • 99. Where the window YYePG Proudly Presents, Thx for Supportpattern is dense,as in the cafeteria(this page), steelreinforcing bracesembedded in theconcrete carrythe loads horizon-tally to meet verticalreinforcing.
  • 100. YYePG Proudly Presents, Thx for Support Four volumes housing all heating and cooling systems protrude through the roof (oppo- site), while clear and colored glass skylights bring daylight inside (this page). Interior col- ors are muted shades that respond to the desert—purple and blue drawn from the mountains, and green and gold from the palo verde, mesquite, and ironwood trees in the surrounding vegetation. P H OTO G R A P H Y : C O U R T E SY R I C H Ä R D + B AU E R , B Y B I L L T I M M E R M A N
  • 101. Richärd + Bauer designed the new YYePG Proudly Presents, Thx for Support DESERT BROOM LIBRARY in Phoenix as a nurturing presence on an untamed siteBy Ingrid SpencerW hether the result of Will Bruder setting a new standard for Richärd, AIA. “We wanted to build responsibly. Also, in this kind of site, PRO JECTS library design with his 1995 flagship Phoenix Central little cornices don’t mean anything. You need big gestures.” Library, the city’s 2001 move to make the Phoenix Public For Richärd, building in the arid Sonoran Desert meant pre- Library (PPL) a separate city department, or the rain- serving the authenticity of what was there. Desert Broom’s site, with itsmaking by Toni Garvey, the city’s dynamo of a head librarian, Phoenix braided streams, arroyos, and abundance of wild brush and saguaros,continues to build libraries that break the mold and redefine the building offered a metaphor that gave the project direction. A young saguaro needstype. With the completion of the 15,000-square-foot Desert Broom the shade and nutrients provided by an older, stronger tree or shrub, andLibrary, in north Phoenix, Richärd+Bauer takes the concept of redefini- the design of the library embraces the metaphor physically—the library’stion to another level, creating a striking yet harmonious addition to the 25,000-square-foot roof extends 60 feet from the building, to shade visi-desert landscape, clad in weathered steel. tors and provide comfortable outdoor spaces—and philosophically. Phoenix, the nation’s sixth-largest city, with a population of “Libraries nurture intellectual growth,” says Richärd. “We took that con-nearly 1.5 million, has given the PPL, with its 14 public libraries, the free- cept a few steps further.”dom and support it needs to create its identity with new services, new The brain nourishment begins before you even get to the frontbranches, and a new attitude about library design. “Cities can go in one door of Desert Broom. The building and parking lot are nestled in desertdirection or another with libraries,” says Garvey. “They can go with a wilderness, and visitors approach the entrance from the northwest, cross-cookie-cutter, or they can create libraries that make a statement.” ing over an arroyo on a perforated-metal bridge. Immediately, the right Richärd+Bauer had worked on several libraries within Phoenix angles of the building are contradicted by a random pattern of slender, 4-and nearby Scottsdale, including a renovation of a Bruder-designed branch. inch-diameter steel columns that continue throughout the building andIts latest project, which includes a park, was a chance for the firm to createa destination that would qualify for LEED Silver status, sit gently on the Project: Desert Broom Library, Stacey Kranzvirgin desert landscape of its 45-acre site, and stand out without imposing Phoenix, Arizona Engineer: KPFF (civil andon the land. “Communities are erasing the desert,” says principal Jim Architect: Richärd+Bauer—Jim structural) Richärd, AIA, principal; Steve Kennedy, Landscape consultant: E-GroupIngrid Spencer is a contributing editor and former managing editor of architec- AIA, Erik Koss, project architects General contractor: Linthicumtural record. She writes about design from her home base in Austin, Texas. Interior designers: Kelly Bauer; Constructors 01.06 Architectural Record 97
  • 102. YYePG Proudly Presents, Thx for Support A perforated metal bridge brings visitors directly over an arroyo that becomes a rushing torrent during monsoon season (top). Randomly placed steel-pin columns support the structure and reference the varied flora of the desert, echoed by the patinated-steel cladding of the building’s eastern wall (bottom).
  • 103. YYePG Proudly Presents, Thx for SupportMaterials are honestand sustainablethroughout, as in theinformation desk (leftin photo, right) that ismade of recycled soft-drink bottles. Alsomade of recycled mate-rials are the removablecarpet tiles throughoutthe space, which allowfor flexible computerplug-in stations. 1. Reading terrace 2. Meeting 3. Stacks 1 2 3 0 10 FT. EAST-WEST SECTION 3 M. 01.06 Architectural Record 99
  • 104. YYePG Proudly Presents, Thx for Support 3 4 1 2 5 5 7 10 6 8 9 11 N 0 20 FT. SITE/FLOOR PLAN 6 M.1. Lobby 5. Lounge 9. Children2. Service desk 6. Computer resources 10. Meeting3. Staff 7. Information desk 11. Garden terrace4. Teens 8. Computer training100 Architectural Record 01.06
  • 105. YYePG Proudly Presents, Thx for SupportWavy screens of rebarkeep critters out of out-door reading spaces,which are positionedfor maximum viewing ofthe spectacular desertsunsets (opposite).Inside, a temporarywall of glowing polycar-bonate panels allowsdaylight in the stacksarea and eliminates theneed for harsh over-head lighting (right).support the overhanging roof. from the roof. Heated or cooled air moves directly into the open space Looking surprisingly delicate, strands of metal rebar stand in from each one of these volumes, eliminating the need for overhead duct-curtainlike waves under the roof ’s great overhang, defining the library’s work. In the outside seating areas, where dramatic sunsets can be seenoutdoor spaces without totally enclosing them. In other places, a series of when the closing time permits, building relief air (which is usually thrownopenings penetrate the roof, allowing light to come through, unfiltered out the top of the units on the roof) heats and cools the space.outside and distilled through colored and clear glass inside. Indoors, the While the southeast wall of the building is clad in Cor-Ten steelarchitects echoed the rebar waves with undulating screens of metal mesh, panels patinated to a rusty brown, the southwest wall of the library—indelineating certain areas, such as a lounge and computer-resource tables. anticipation of expansion—features a double layer of polycarbonate pan- “Libraries are not ‘shush’ places anymore,” says Garvey. “They els with cotton insulation stuffed in between. Daylight seeps through theare destinations, places where people can get together to communicate.” translucent panels and renders the wall a glowing conclusion to the space.Richärd agrees. “Libraries compete with bookstores now. We’re building “The building is like a found object in the desert,” says Richärd,coffee bars into them, and teen-only sections.” who is also a pilot, and has surveyed the area from above. The commu- While Desert Broom doesn’t have a café, it does have shelves nity’s response has been strong. Using cars, not planes, more than 2,000loaded with enough multiple copies of recently released DVDs to put the people found the library on its opening day, and the PPL is already on tolocal Blockbuster to shame; self-checkout areas; a meeting room sec- the next phase, planning more branches and renovations. “Libraries aretioned off with frosted glass; staff and computer training areas; a teen about possibilities, and change,” says Garvey. “We’re keeping up.” ■section with listening stations for audio CDs; and reproductions of clas-sic Midcentury Modern furniture scattered about for those visitors who Sources End panels: Polygalactually came for the plentiful supply of books or magazines. Structural Steel: Maricopa Metals Lighting: Tech Lighting; Erco; Delta Those who do come to read will do it in comfort—without a Curtain wall: Elwary Construction Light; SporLight; Se’Lux; Bartco;smidgen of harsh overhead lighting. Instead, skylights provide daylight, as (steel wall panels); Mirror Works Abolight; Lithoniado low windows, which keep out the harsh midday sun and allow views of (glazed aluminum, polycarbonate)the rustic landscape. Custom-made stacks have their own fluorescent Plastic laminate: Nevamar For more information on this project,lights built in. Other comforts include high-efficiency mechanical units Flooring: Econights; Crossville; Shaw go to Projects atfor HVAC, enclosed in the tops of each of four colored cubes protruding (carpet tile); InterfaceAR 01.06 Architectural Record 101
  • 106. YYePG Proudly Presents, Thx for Support On the north face, the drumlike auditorium opens (this page) with a great flap of brick. The south elevation includes a sunscreen (opposite). A breezeway opens the building from front to back and leaves unob- structed an existing drainage plane.
  • 107. Teaching by example, ROTO raises brickwork to YYePG Proudly Presents, Thx for Support imaginative new levels with the ARCHITECTURE AND ART BUILDING at Prairie View A&M in Texas By Sarah Amelar A t first, we were afraid to ask the brick what it wanted to be,” says foot building would house construction-science and community-develop- Michael Rotondi, FAIA, of his design for the Architecture and ment programs, as well as the Community Urban Rural Enhancement PRO JECTS Art Building at Texas’s Prairie View A&M University.“What if it Service and the Texas Institute for the Preservation of History and Culture, still wanted to be an arch? But then the answer came: It wanted with its focus on African-American contributions to the state. to dance.” So, Rotondi; his partner, Clark Stevens, AIA; and their firm, Roto, Rotondi began interacting with the students through nonarchi- experimented with the material, creating a sheathing, with great rhythmic tectural, almost meditative exercises aimed, he says, at “heightening pleats and gaping flaps, that billows like a huge, windblown garment. awareness, concentration, and focus,” while opening windows to their sub- Brick was a given, mandated by the campus planning guidelines. cultures. After getting his pupils to savor and describe the textures and But Rotondi, a seasoned educator, who had headed the Southern California unfolding flavors of “a fresh food item that a grandmother would prepare,” Institute of Architecture (SCI-Arc) for a decade, saw this requirement—and he asked them to bring in a favorite piece of music. They diagrammed what the entire project—as an opportunity to challenge the conventions of mate- they heard on 6-foot-long pages, tracing melodic lines and rhythmic struc- rials and spark the imaginations of architecture students. tures, and relating the drawings back to the body’s movement through space. In interviewing for the commission, Rotondi told Ikhlas Sabouni, “From gospel and rhythm and blues to bluegrass, all the music had roots in Prairie View’s dean of architecture, that he was ready to “download 30 years East or West Africa,” the architect says.“So, right there, in those incremental of experience as an architect and educator.” He proposed not only to review rhythms and long melody lines, we found our building’s ordering system.” the curriculum, but also teach the students, as part of the design process. Though Rotondi considered various partis, he settled on a long With the search committee’s approval, Sabouni soon signed on, dedicated, configuration with a central space and linear arrangement of studios—a as she puts it, to finding “an architect of national renown, who’d create a diagram that had proved successful in SCI-Arc’s latest incarnation. PrairieP H OTO G R A P H Y : © A S S A S S I , E XC E P T A S N OT E D laboratory for design, a beautiful structure that students could learn from.” View initially offered him a site buried at the back of the campus, but Just as Rotondi had been eager to embrace Native American cul- Rotondi convinced the university president (a man committed to architec- ture when he built at Sinte Gleska University, on South Dakota’s Rosebud ture as an educational tool) to place the building as a gateway to the school. Reservation [record, November 1999, page 84], he hoped to gain an As realized (in conjunction with HKS), the three-story, 450-foot- understanding of Prairie View’s culture. Historically, this 130-year-old long, concrete-framed structure presents its most eclectic face on its south, branch of Texas A&M University, sited 45 miles northwest of Houston, has or entry, side. Here, a curving shell of brick wraps the cultural center, at the had a predominantly African-American student body. In 2000, the school building’s west end, while a brise-soleil of painted, perforated steel veils won a $190 million Office for Civil Rights settlement to compensate for long-term denial of adequate financial resources. The university allocated Project: Architecture and Art pals; Tom Perkins, project architect; the funds for four new structures for the following disciplines: architecture Building, Prairie View A&M Jim Basset, Alyssa Holmquist, Devin (which shared a building with engineering), nursing, juvenile justice, and University, Prairie View, Texas McConkey, Sergio Ortiz, Otoniel electrical engineering. In addition to the architecture school, with its 225 Architects: Roto Architects—Michael Solis, Jack Nyman, John Lessl; undergraduate and graduate students, Roto’s $20 million, 108,000-square- Rotondi, FAIA, Clark Stevens, princi- HKS—Jess Corrigan, AIA, principal 01.06 Architectural Record 103
  • 108. A rhythmic diagram with the north eleva- YYePG Proudly Presents, Thx for Support(below) shows the plan’s tion, which fans out likeordering system. A live a skirt (far right). A sun-oak (near right) was pre- screen (bottom) veilsserved and integrated south-facing studios. P H OTO G R A P H Y : © DAV I D G U T H R I E ( O P P O S I T E , TO P L E F T )
  • 109. YYePG Proudly Presents, Thx for Support On the north elevation, small, punch-card aper- tures in the brick walls play against large, tri- angular windows in the perpendicular spaces between wall planes (left). The glazed north entrance forms pleats and folds around the existing live oak tree (below). A small bal- cony—or penalty box, as Dean Sabouni jokingly calls it—pene- trates the brise-soleil, providing a break-out space from the archi- tecture studios, while the art studios, on the ground floor, can open with glassy, roll-up garage doors (right). glazed architecture studios to the east. Though this elevation offers the pro- ject’s most collaged and even disjointed composition, the contrasting materials and forms effectively distinguish among the functions within. And the sunscreen, dipping toward the ground, mediates between the prairie grasses in front of the building and the campus behind it, while alluding to a shady Southern front porch. As if entering a truly lived-in home, students typically access the building not from its formal street approach, but from the back, or campus, side to the north, where an ancient oak tree commands an entry courtyard. Here, on the north face, the brickwork becomes extraordinary. Using old- fashioned, wire-cut clay bricks, instead of the more artificial-looking versions that clad the surrounding buildings, Roto inventively explored cor- beling, displaying a jubilant range of possibilities in full view of the students. The skin, with mortar matching the deep orange bricks, wraps the cylindri- cal auditorium like taut fabric, flaring out toward the base. Like a monumental flap swaying in the breeze, a wall of brick opens from the drum, creating an interstitial space, where stairs spill out from the theater. Farther down the long north elevation, a series of canted walls fan out beneath the roofline, creating in-between spaces for tall triangular win- dows perpendicular to the wall planes. Playing against these large openings, small punch-card apertures punctuate the planes of brick. If the battered masonry and little windows evoke a fortress, it is one transformed by an accessibly human scale and sense of whimsy. The inventiveness continues, for example, where the walls surge out at their bases, transforming the geometry as they undulate up to crisp, 90-degree angles at the top. Paradoxically, the brickwork expresses heft or solidity, but billows like a skirt. The craft of bricklaying, Rotondi says, was originally brought to this region by African-American slaves. At Prairie View, the architect encour- aged his bricklayers to use traditional hand methods in new and creative ways, fine-tuning the corbels to enhance the walls’ sculptural qualities. For the interior, Roto produced a central circulation “canyon” that 01.06 Architectural Record 105
  • 110. YYePG Proudly Presents, Thx for Support 15 15 9 14 4 16 0 10 FT. SECTION A-A 3 M. 1. Cultural archive 9. “Canyon” 17. Theater/lecture hall 2. Cultural gallery 10. Lecture hall 18. Reference library 3. Breezeway 11. “Main space” 19. Classroom/seminar 4. Gallery/pinup area 12. Art studio 20. Computer lab 5. Existing oak tree 13. Wood/metal shop 21. Open to below 6. Administration 14. Lounge 22. Café 7. Conference 15. Architecture studio 23. Roof deck 8. Office 16. “Porch” extends up the building’s three stories, providing an informal amphitheater and gallery/pinup space. This central zone is crossed by a web of catwalks, 15 15 and stairs on tubular steel trusses that swoop like roller coasters. Scrims of 21 steel cable net, resembling chain link, partially screen the area, not only 14 21 14 defining a space within a space, but also producing moiré effects, animated 21 by abundant daylight from the canyon’s clerestory and end windows. 15 15 Slender steel columns, supporting the slung steel net without reaching the ceiling, lean like casually planted wooden stakes, adding to the dynamism.LEVEL THREE From the canyon, little remains hidden, with glass-fronted administration and art studios on the ground floor, offices on the second, and architecture studios at the top. The interior glazing invites views into work spaces, stimulating cross pollination.“Multipurpose ‘piazzas’ or social 8 8 8 8 20 areas are where idea exchange really happens,” says Rotondi. And because the 17 7 19 19 19 19 21 “melody line”—long concrete floor slabs flanking the central zone—forms 21 21 9 14 a quiet datum, the interior achieves balance, keeping the rhythmically 7 19 19 19 19 22 23 charged circulation elements from becoming distracting or overwhelming. 8 18 8 8 10 8 8 While Rotondi sees SCI-Arc’s home as “neutral, enduring, and forgiving inLEVEL TWO its industrial nature” and Alvar Aalto’s Helsinki architecture school as “intimidating in its perfection,” he considers Prairie View a middleground: an architectural presence that is neither totally neutral nor overpowering. A Hardly intimidating, the “dancing” new building has inspired everyone, reports Dean Sabouni, to spend more time at school, a place they 8 8 8 8 5 5 7 6 8 10 12 13 helped create. Certainly, the scheme emerged from an ongoing dialogue, a 11 1 2 5 true give-and-take, between students and architect. But that was just the 9 14 beginning: The degree candidates, actively engaging a new set of architects, 3 4 16 are already vetting designs for the next three structures on campus. ■ 15 4 15 16 16 SourcesLEVEL ONE A Brick: Acme Brick For more information on this project, N 0 30 FT. 9 M. Sunscreen: Beck Steel go to Projects at Glazing: Viracon 106 Architectural Record 01.06
  • 111. YYePG Proudly Presents, Thx for SupportStairs slung on bowedtrusses dynamicallycross the central“canyon,” amid cantedcable-net scrims (thispage and opposite).Warm terrazzo floorsresemble cork. As aconsultant, AprilGreiman oversaw thecolors and finishes.
  • 112. YYePG Proudly Presents, Thx for SupportSet in a neighborhood Egeraat negotiated the Dozsa Gyorgy Streetthat has a park and difference in heightlandmarks such as the between a 19th-cen-municipal museum, the tury villa on one side ofING building maintains ING and a Communist-the scale and massing, era concrete structure Benczur Streetthough not the archi- on the other by design- Promenadetectural expression, of ing a roof that steps upnearby buildings. Van from west to east. N 0 50 FT. SITE PLAN 15 M.
  • 113. Erick van Egeraat provides a shot of architectural YYePG Proudly Presents, Thx for Support adrenaline to a staid streetscape with his ING HEAD OFFICES building in Budapest PRO JECTS
  • 114. The ING building offers YYePG Proudly Presents, Thx for Supporta vibrant contrast tothe older buildings inthe area (right). Thevertical, mosaicliketreatment of thestreet elevation wrapsaround the corner ofthe building with thebanking hall inside it(far right).By Tracy MetzH ungarians talk about “the changes,” a blanket term covering from the increasingly cosmopolitan Andrassy Boulevard (home of both the fall of the Iron Curtain in 1989 and the country’s entry Budapest’s only Apple store). The building’s expressive exterior has into the European Union in 2004, but admit little has changed already become a symbol of a new era in the city’s architecture. For the in terms of Budapest’s architecture. “Socialism still has a strong developer, the project turned out to be a very good deal: A day after takinggrip on our minds,” said a young Hungarian late one night at one of the possession, ING sold it to Deutsche Bank for a serious profit.clandestine cafés that pop up unpredictably at changing locations in the The 270,000-square-foot building, which sits above three levelscity’s many interior courtyards. “Our buildings are still mediocre.” Dutch of underground parking, accommodates public functions on thearchitect Erick van Egeraat, though, is shaking things up with projects ground floor, such as a bank and a restaurant, with six floors of officesuch as the ING Head Offices on Dózsa György Street, commissioned by space above (including EEA’s Budapest branch), and a penthouse board-the real estate arm of ING, the large Dutch financial services company. room. It replaces two Stalinist-style office blocks from the 1950s and is Van Egeraat, who had been a principal at the firm Mecanoo, bordered on one side by a Modernist box in the best Communist tradi- P H OTO G R A P H Y : © C H R I S T I A N R I C H T E R Snow heads Erick van Egeraat Associated Architects (EEA), with offices in tion (which EEA had renovated earlier), and on the other by aRotterdam, London, Prague, Budapest, and Moscow, an arrangement that 19th-century villa: “It was my intention to bring cohesion to the streetkeeps him on the road 200 nights a year, he claims. without copying the past,” explains van Egeraat. The new building The ING project, a multitenant office building that addressesthe street with a hyperkinetic facade, makes a striking addition to Project: ING Head Offices, Ágnes Benkö, Gabriella Grand, ZsófiaBudapest, with its tradition of solid, even stolid architecture. Located near Budapest, Hungary Gutvill, Zoltán Gyüre, Sándor Kogan-landmarks such as the municipal museum, Városliget City Park, and the Architect: Erick van Egeraat Szabó, Darko Kovacev, Áron Láncos,vast and empty Square of Heroes, the building sits around the corner Associated Architects—Erick van Michael Rushe, project team Egeraat, János Tiba, Judit Z. Halmágyi, Engineers: MTM (structural); SMG-Tracy Metz is record’s international correspondent in Amsterdam and writes for Eszter Bódi, project architects; Zita SISU (mechanical and electrical)the Dutch newspaper NRC Handelsbad. Balajti, Zsófia Bálint, Balázs Beczner, General contractors: Csarnok 2002110 Architectural Record 01.06
  • 115. YYePG Proudly Presents, Thx for Support 7 8 6 6 6 6 6 6 6 6 6 2 1 1 3 4 5 5 0 30 FT.SECTION A-A 9 M. Van Egeraat broke the looping, decorative1. Foyer 5. Parking building into three vol- metal ribbons (above).2. Banking hall 6. Offices umes separated by a Fenestration on the3. Meeting 7. Boardroom pair of glazed atria, sides and back is a4. Café 8. Roof terrace then tied the composi- sly reference to Dutch tion together with Modernism (below).
  • 116. Each of the two glass YYePG Proudly Presents, Thx for Supportatria is stiffened by acage of steel membersand cables. Cantedcolumns add adynamic quality to thespace (this page).
  • 117. YYePG Proudly Presents, Thx for Supportincreases in height as it makes the transition The banking hall offersfrom the older villa to the much larger a vibrant space withCommunist box. Across the entire length of the decorative wall paint-facade, van Egeraat floated shiny steel ribbons, ing, counters cladvestiges of the flowing lines he drew in one of with zebrano-woodhis very first sketches to indicate the continuity veneer, and Italianof time symbolized by these three buildings. granite floors (above). The architect broke the building into The boardroom (right)three separate volumes connected by a pair of enjoys views at the top.glazed, asymmetrical atria that seem to sway inbetween. He clad all three volumes in irregular vertical strips of alu-minum, glass, and stone, which were hand-mounted on thepoured-in-place concrete structure. To this mosaic of verticals, he addedsilk-screened stripes that look rough and hand-painted, providing acraftsmanlike and tactile element to the skin of the various folds andcreases. In his first project in Budapest, a rehabilitation and extension ofa landmarked building for ING on Andrassy Boulevard, van Egeraatsilk-screened the glass addition with a pattern bearing a remarkableresemblance to stone. That building is now empty, and the architecthopes it can be used as a fashion center, including a department storeand restaurant. The street facade of the new building seems to ripple, with parts 01.06 Architectural Record 113
  • 118. A YYePG Proudly Presents, Thx for Support 1 3 2 6 6 5 5 A 1 5 5 5 5 4 N 0 30 FT. GROUND FLOOR SECOND FLOOR 9 M. 5 5 1. Foyer 2. Café 5 3. Banking hall 4. Lounge 5. Offices 5 6. Meeting 7. Videoconference 8. Boardroom 9. Roof terrace 8 9 6 7 SEVENTH FLOOR ING offers 270,000 square feet of space on seven floors with plans that provide plenty of daylight in offices and spaces such as the banking hall (left).sloping forward at a delicate angle and others leaning back like the ribs of architect created fluid, boatlike forms using white plaster surfaces, anda half-open fan. Then they fold inside to form the ceilings of the offices, horizontal fenestration that evokes the strip windows of Modernism, theatria, and bank lobby on the ground floor. Inside the atria, van Egeraat style van Egeraat loves to hate.stiffened the glass curtain walls with a cage of steel cables stabilized by Inside, though, the off-balance aesthetic starts up again. Forlong steel planks. On the outside, he tied together the entire elevation example, van Egeraat finished the walls of the bank lobby with green andwith looping metal ribbons that are purely decorative. Lamps in the side- gold graphics, clad blocky counters with wooden slats, and tilted silverwalk uplight the facade, heightening the building’s dramatic impact on columns at odd angles. “I felt freer here,” he says, “since this is a publicthe cityscape. space and will probably change more often than the offices.” A jagged roofline—the result of the height differences of the Van Egeraat describes his architecture as “Modern Baroque,” anbuilding’s three volumes—emphasizes the design’s dynamic character. And intentional riposte to the fatigued brand of Modernism that dominatedby making it impossible to read the individual floors behind the mosaic the Netherlands both as an ideology and as a style for most of the 20thfacade, van Egeraat emphasizes the sculptural aspect of the project. century. “My architecture has to do with emotion and intuition,” he states, Van Egeraat calls his design principle “composed randomness,” “not with the anemic less-is-more reductionism that has made architec-and applied it particularly to the building’s fenestration. “Even in this age ture into a dogma rather than an art. My task is to make beautiful things.of computer-aided design, the windows were very complex to design,” he How they are made is not important, what matters is how they look.” ■says. “I used a set number of window types, of course, but I wanted thebuilding to look as if they were all different. Moreover, when you look up Sources Határ-T Plusz, with System Steelfrom the street, some windows seem to tower over you, and others are Glass and aluminum facade: Alukol Granite floors: Reneszánszforeshortened because they lean back.” In the boardroom at the top of the Atrium glass wall and roof: Helmuttallest of the three volumes, some of the windows extend all the way up to Fisher, with RFR For more information on this project,and over the roof, emphasizing the “randomness” of their placement. Internal glass facade: Havasi go to Projects at The building calms down on the back and sides, where the Stainless-steel facade ribbons: Architectural Record 01.06
  • 119. YYePG Proudly Presents, Thx for Support Van Egeraat speaks of his architecture as “composed random- ness,” a concept seen in the angled columns of the poured-in-place concrete structure (seen here in the banking hall), as well as the building’s ani- mated street facade.
  • 120. The dance studio (oppo- YYePG Proudly Presents, Thx for Support site) has a high ceiling and huge, polycarbonate windows. These windows filter bright light during the day and glow at night (this page). Stained cedar clads much of the center’s facade.By Sam LubellF ounded as a 1960s experiment for motivated and restless high campus’s edge. All within a modest $12.5 million budget. school juniors and seniors to advance directly to college, Simon’s The 53,000-square-foot complex, which triples the school’s total Rock College of Bard began with a tiny student body on a cam- arts space, is located on a fairly steep incline on the roughly 5-acre site of pus nestled in the Berkshire Mountains. In recent years, the an abandoned orchard near the campus entrance. It replaces a quaint butschool, hoping to expand its offerings, has enlarged its student numbers outmoded cluster of off-campus dairy barns used for the arts. In order to P H OTO G R A P H Y : © P E T E R VA N D E R WA R K E Rby about a third, and has begun augmenting its facilities to match, build- respect the campus’s scale, maintain intimacy, and make the center’s ele-ing a new athletic center, science center [record, February 2000, page ments more legible, the architects broke the complex into three parts: one88], dormitory, and upcoming student union. But while doing this,explains longtime dean (and now English department chair) Bernie Project: Daniel Arts Center, Great Oldham, project teamRodgers, the school didn’t want to lose the quirky, alternative character Barrington, Massachusetts Engineers: LeMessurier Consultantsthat made it special in the first place. Owner: Simon’s Rock College of Bard (structural); TMP Engineers (m/e/p, Therefore, in designing the school’s Daniel Arts Center, Boston- Architect: Ann Beha Architects—Ann f/p); White Engineers (civil)based Ann Beha architects had a lot to negotiate. It wanted to retain the Beha, FAIA, Robert Miklos, FAIA, Consultants: Reed Hilderbranduniqueness of the college and respect the surroundings of verdant forests, principals; Geoffrey Pingree, AIA, (landscape); Acentech (acoustical);timber frame buildings, converted barns and sheds, and Modern con- project manager; Zachary Hinchliffe, Fischer Dachs Associates (theater);struction. At the same time, it sought a contemporary set of buildings that AIA, project architect; Tom Ripman Lighting Consultants (lighting)would be a symbol of the school’s progress and a literal public face at the Kahmann, AIA, Patrick Tam, Mark General contractor: Mullaney Corp.116 Architectural Record 01.06
  • 121. YYePG Proudly Presents, Thx for Support Ann Beha Architects creates a dynamic PRO JECTS campus symbol while respecting traditionand creativity at the DANIEL ARTS CENTER of Simon’s Rock College of Bard 01.06 Architectural Record 117
  • 122. YYePG Proudly Presents, Thx for Support The cavernous shop, clad in cementitious board (top) resembles a big-city arts loft. Large windows make visual arts rooms feel less cramped (oppo- site). The main-stage theater opens up (bot- tom) to accommodate open-air performances. 1. 3D Studio N 0 50 FT. 2. Wood shop 15 M. 3. Metal shop 1 2 3 4 4. Ceramics studio Shop 5. Rehearsal space 6. Main-stage theater 7. Studio theater 8. Upper lobby Performing 5 6 14 Arts 9. Dance studio Wing 5 10. Electronic arts studio 11. Painting studio 7 8 12. Classroom 12 11 13. Arts lab 10 12 14. Outdoor stage 13 9 13 Visual Arts WingSITE/FLOOR PLAN118 Architectural Record 01.06
  • 123. YYePG Proudly Presents, Thx for Supportfor performing arts, one for visual arts, and a shop, which sits slightly The theaters are sophisticated and technically advanced, ideal forapart from the others. The buildings are oriented to face the rest of cam- students who often felt limited by their high school facilities. The main-stagepus and to maximize exposure to natural light. theater includes a full fly space, spaces for several sets, and computer-con- The performing arts center, the facility’s largest component, trolled sound and lighting. Walls are partially clad with staggered, stainedincludes a 350-seat main-stage theater; a 100-seat studio theater; a dance plywood, a simple solution that produces a dynamic effect. The architectsstudio; and several rehearsal, support, and office spaces. The roof’s gradual attended theater classes in order to better understand students’ needs, result-pitch accommodates and minimizes the tall heights of the theater and ing in unique touches. The theater opens through a large sliding door atdance studios. Stained cedar planking, applied vertically and highlighted at stage left to accommodate outdoor performances; the studio theaterintersections with aluminum flashing, clads the outside of the main-stage includes a walkable grid above the stage so students can learn technical skillsand studio theaters, accenting them and adding a striking overall richness. without having to perch on a catwalk. The high-ceilinged dance studio, sur-Grayish cementitious board, installed with a vertical ship-lapped profile, rounded almost completely with polycarbonate glazing and opening to theclads the rest of the building, including the “back of house” theater spaces. lobby, receives perhaps the most natural light of any space in the complex.Semitransparent polycarbonate glazing, wrapping around wood studs, The sleek visual arts center, clad in a vertical pattern of cemen-elegantly filters light in and out of the building, reducing glare and heat, titious board, clear windows, and polycarbonate glazing, is connected, andand glowing in a mesmerizing fashion at night. In the two-story lobby, perpendicular to, the performing arts component. The space has double-exposed, large-span steel trusses, fir beams, and mechanical systems help loaded corridors that accommodate an impressive selection of artsmaintain lofty heights and reveal the building’s steel frame structure. This facilities, including a darkroom; printmaking, drawing, and paintingspace is also lined partly with cedar, while clear glass curtain walls at its two studios; and audiovisual and electronic-music labs. The cavernous,entrances supply more natural light. cementitious-board-clad shop building, which has large garage doors, a 01.06 Architectural Record 119
  • 124. The two-story visual YYePG Proudly Presents, Thx for Support arts section of the complex (below) is clad with cementitious board, and includes a staggered arrange- ment of clear glass and polycarbonate glazing.loading zone, and its own outdoor work yard, has a more industrial feel piercings and the vertical board-and-batten arrangement. The materialthat Beha compares to an enormous body shop garage. Isolated from the matches best with the industrial shop, and still fits well into the low-keyrest of the complex, it contains facilities for wood working, metal work- campus, where similar materials are, jewelry making, and ceramics. As with most artists’ lofts, its extreme But inside, such concerns are forgotten, as visitors move along anopenness provides room for variation and spatial relocation. “It’s sort of extremely welcoming progression of spaces. While the building has a famil-a stage set for the arts,” says Beha. iar feel, it is also, like the school’s original mission, quirky and unique. The The complex effectively evokes both Modern and vernacular combination of varied spaces and materials, even the art lining the walls anddesign. The main section’s cedar cladding and sloped roofs lend it a con- standing in the lobby, contributes to this impression. Meanwhile, a longtemporary sophistication, but still evoke the pastoral forms and even the boardwalk connects the center to the rest of campus. Students use it for longcedar aroma of New England barns. Each building component establishes its conversations, to balance themselves on its side rails, and ride downhill onown identity, but the three are unified by their proximity, and their simplic- skateboards. Indeed, Simon’s Rock’s creative spirit is alive and well here. ■ity—perhaps the complex’s strongest features. Although it offers plentifulresources, it never feels overwhelming or discombobulating. Some smaller Sources Lighting: Hess America;classrooms can feel a little cramped, but the prevalence of interior light and Glass: PPG; Polygal Cellular Lithonia; Lightolier; Cole; Holophane;spatial order minimize this sensation. Still, outside, the landscape feels a lit- Polycarbonate Kurt Versentle bare, partly due to a construction miscommunication that resulted in the Siding: Hardiplankremoval of several trees from the former on-site orchard. Paint: Sikkens stain For more information on this project, While the rich cedar cladding is a highlight, the cementitious Metals: ICI Devoe Coatings go to Projects atboard, necessitated by budget, is more pedestrian, despite frequent window Drywall: USG Architectural Record 01.06
  • 125. YYePG Proudly Presents, Thx for Support The exposed steel- and-fir beams and mechanical systems of the lobby help open up the space (top). Its cedar cladding lends both a sophisticated and rustic look. The main-stage theater (left) is lined with pol- ished plywood panels. The studio theater (right) features a steel walkway above, used as a teaching space. 01.06 Architectural Record 121
  • 126. YYePG Proudly Presents, Thx for Support
  • 127. YYePG Proudly Presents, Thx for Support
  • 128. YYePG Proudly Presents, Thx for Support
  • 129. ADAPTIVE Proudly Presents, Thx for Support YYePG REUSE Extreme Makeovers NOT EVERY PRESERVATION AND RENOVATION PROJECT NEED BE DONE WITH SUBTLETY; SOMETIMES A MORE RADICAL APPROACH IS NEEDED—BUT IT ALL DEPENDS ON THE ORIGINAL BUILDING. By Suzanne Stephens 1. L ong before Extreme Makeover: Home Edition became the rage BU I LDING TYPES STUDY 853 Downey, California among television viewers, the topic had been covered in print, Frank R. Webb Architects took an old particularly in the dramatic “before” and “after” remodeling aeronautics building in an industrial issues of Architectural Digest. Once a year, since February 1992, wasteland near Los Angeles and made the magazine has presented a riveting assortment of houses and apartments it habitable and visually palatable. turned from dreary, bare-bones residences into ultra-luxurious settings. In the world of larger, commercial buildings—and tight budg- 2. ets—the same dramatic metamorphoses occur. We don’t mean the painstaking restorations of treasured theaters or churches, or even the Mill Run, Pennsylvania careful updating of old buildings for new uses. We are talking about Bohlin Cywinski Jackson knew when the renovation where a deeply problematic piece of nonarchitecture isP H OTO G R A P H Y : © F R E D DA LY A R C H I T E CT U R A L P H OTO G R A P H Y ( 1 ) ; N I C L E H O U X ( 2 ) ; DAV I D J O S E P H ( 3 ) ; to leave well enough alone in convert- transformed into a designed artifact that is truly uplifting—one that not ing two old barns into offices and an only affects the immediate surroundings, but sends a message that archi- event space near Fallingwater. tecture still has the power to enhance the built environment. In this issue, we present four “extreme makeovers” of varying 3. types. Two—Independence Park, an office complex for Kaiser Permanente in Downey, California (near Los Angeles), by Frank R. Webb Architects; and Long Island City, New York Ironworkers Local 580: Apprentice and Training Facility in Long Island City, Daniel Goldner Architects trans- New York, by Daniel Goldner Architects—represent drastic conversions of formed a dilapidated brick structure visual dross into exemplary modern design. Both renovations, which trans- into a training facility for ornamental figure the buildings’ interior and urban environments, are located in and architectural ironworkers. light-industrial areas where architecture with a capital A is rarely seen. A third makeover demonstrates that a renovation can be radical 4. and at the same time leave the best alone. In renovating The Barn at Fallingwater, in Mill Run, Pennsylvania, Bohlin Cywinski Jackson discov- Tokyo, Japan ered that the main barn interior, with its open slats letting in air and Kengo Kuma & Associates created an daylight, was too compelling a space to change. So it didn’t. The firm con-DA I C O A N O A R C H I T E CT U R A L P H OTO G R A P H Y ( 4 ) evocative museum for a Japanese vinced the client to change the program. This space is now rented out for abstract artist using remnants from weddings, receptions, and conferences during the warmer months of the his former house and atelier. year. And it still stands in all its pristine beauty. With the remainder of the complex, the architects sensitively used natural materials, including straw-bale panels, to underscore the structure’s vernacular beauty. A fourth example in this roundup is so extreme, it is in a category by itself. The Masanari Murai Art Museum, in Tokyo, dedicated to the work of the eponymous abstract artist, was designed by Kengo Kuma & Associates to preserve the traces of Murai’s house and workshop. In this case, the original had deteriorated so much that little could be salvaged, except the atelier and parts of the wood structure. Kuma did so with a clar- For more information on these projects, go to Building Types Study at ity and inventiveness that illustrates that even in the most extreme makeover, the spirit of the place can be saved. ■ 01.06 Architectural Record 125
  • 130. YYePG Proudly Presents, Thx for Support Independence Park Downey, California 1 FRANK R. WEBB ARCHITECTS HAS TRANSFORMED A DREARY AERONAUTICS BUILDING NEAR LOS ANGELES INTO OFFICES FOR A HEALTH-CARE PROVIDER. By Joseph GiovanniniArchitect: Frank R. Webb The desolate mammoth that the non- of Karnak. Although theArchitects––Frank R. Webb, AIA, profit health-care-delivery provider second floor did notprincipal; Ken Stein, AIA, senior proj- Kaiser Permanente found in an indus- have the same archi-ect designer; Robert C. Gross, AIA, trial wasteland of expired aeronautics tectural heft—there theproject architect; Pamela Domingo, factories in Downey, California, was so structure changed toproject manager; Greg Coles, AIA, off-putting that the employees, based thin steel columns sup-Shikha Chandrasena, Sagar Chavan, in Pasadena, at first refused even to porting tapered steelAlex Garcia, Patrick Daniels, Danielle consider the move. Abandoned for girders––they decidedYafuso, Yllania Francis, Keith Fine, five years, the building was a cold, to expose the heroicSteve Henrich, Glann Waggner, Betty characterless, 160,000-square-foot concrete structure, withSerafin, project team concrete bunker designed circa loftlike interiors open toClient: Kaiser Foundation Health 1970 by engineers for Rockwell, an the ceilings.Plan aerospace company whose If the architec-Engineers: Brandow & Johnston demands for secrecy precluded tural idea came fromAssociates (structural); Westco Service windows and skylights. within the building, the(mechanical and plumbing); DPB parti grew out of theEngineers (electrical); Paller-Roberts Program paved path leadingEngineering (civil) Kaiser Permanente called on the from the parking areaConstruction management: Los Angeles firm of Frank R. Webb to a new entrance,Intelisyn Architects to transform architectural heralded by an airfoilConsultants: ahbé Landscape dross into a humane office environ- canopy erupting out The east elevation of the aeronautic structure (top)Architects ment fit for 24/7 occupation. At from the east facade. and the west elevation (above) looked hopeless. P H OTO G R A P H Y : © F R E D DA LY A R C H I T E CT U R A L P H OTO G R A P H Y, less than $100 per square foot, The path continuesSize: 160,000 square feet the budget was restrictive and inside along a south axis leading through the New York City grid.Cost: $16,000,000 demanded conventional building straight through the building to the They also burst through theCompletion date: 2004 materials and considerable ingenuity. front guest entrance on the west box vertically: At the employees’ E XC E P T A S N OT E D ; K E N S T E I N / F WA ( T H I S PA G E ) side, housed in a handsome pavilion entrance, the architects carved aSources Solution that was the only architectural arti- two-story interior courtyard thatMasonry: Orco Block Principal Frank Webb, AIA, and proj- fact worth saving from the original rises through the height of the build-Metal curtain wall: U.S. Aluminum ect designer Ken Stein, AIA, looked building. The architects enhanced its ing, breaking through the originalGlazing: Trident inside the ungenerous box for an de Stijl–style composition by adding roofline so that natural light floodsInsulated plastic glazing: Polygal architectural point of departure. more planes and an airfoil canopy. the space via new clerestory win-Standing-seam roofing: Marin Above the suspended ceiling on the The pedestrian street between dows. In this atrium, employees are first floor they found it in the form of the two entrances sets off an brought together by the elevators, a coffered concrete ceilings, supported asymmetry that alleviates the rote monumental staircase that angles by columns with formerly concealed symmetries of the original shell, through the middle of the space, and monumental conical capitals worthy which the architects sustain in the an adjacent cafeteria.For more information on this project, fortress of the right angle by slash- By revealing the columns andgo to Building Types Study at Joseph Giovannini, a critic, has a New ing a diagonal path across the floor, coffered ceiling, Webb and his York-based design practice. much like Broadway plowing used the existing tectonics to organ-126 Architectural Record 01.06
  • 131. YYePG Proudly Presents, Thx for Support In remaking the east steel-and-aluminum facade of this ungen- canopy. The west erous box into the concrete-slab wall employees’ entrance (bottom) was opened (left in top photo), up with glazing and Frank Webb and his articulated with team installed land- screenlike canopies, scaping along with overlooking the parking near the visitors’ parking area.
  • 132. YYePG Proudly Presents, Thx for Support P H OTO G R A P H Y : © K E N S T E I N / F WA ( T H I S PA G E , I N S E T TO P, AND OPPOSITE, INSET MIDDLE RIGHT) The south side of the over a steel frame. building, once concrete Behind it is an open-air with louvers (inset), is mechanical yard that now given a sculptural parallels a long east-west depth with steel panels pedestrian street inside. A 1. Visitors’ entrance 2. Mechanical yard 3. Case coordination 4 5 center 10 4. Pharmacy 12 5. Medical transport 6. Conference area 3 13 7. Atrium 8. Employees’ entrance 11 9 9. Café B 6 10. Facilities 4 11. Employee courtyard 6 7 B 12. Training 1 8 13. Claims center 2 A N 0 30 FT.FIRST FLOOR 9 M. SECOND FLOOR 128 Architectural Record 01.06
  • 133. YYePG Proudly Presents, Thx for Support 1. Medical The cavernous struc- crete columns (right). transportation center ture concealed its The architects exposed 2. Café concrete coffered ceil- the structure, and cre- 3. Atrium ing and its Karnak-like ated a two-story lobby 4. Case coordination capitals over the con- (above and below right). center 5. Conference center 6. Employee entrance 1 2 3 0 30 FT.SECTION A-A 9 M. 4 5 6SECTION B-B 01.06 Architectural Record 129
  • 134. YYePG Proudly Presents, Thx for Support ize the plan—the columns mark the space around which the archi- tects placed conference rooms and offices on the vast floors. Passages expand and contract as these offices and conference pavilions grip and release the interior streets. These small structures within the larger one create a village scale, catalyzing the open-office field with a lively interior urbanism. Some of the conference rooms are articulated to become objectlike pavilions—the browed entries, canted walls of the facades, and joinery of the concrete-board fascia confer to each an individuality that counter- acts the universality of the original structure. In addition, the architects kept the ceilings of the conference rooms and offices low, to give an intimate scale to the tall spaces, and to let natural light flow in clerestory cavities below the waffle ceiling. The removal of concrete wall The sculptural play of swath cuts across the slabs between the structural piers stainless-steel panels ground floor, where at the building’s edge permits gen- articulates the guard/ office areas (below) erous amounts of natural light to reception desk of the with freestanding enter the open-plan offices. In visitors’ entrance canted walls are open order to modulate the sunlight, the (above). A diagonal to the ceiling coffers. designers retrofitted sun shields, shaped again as airfoils, on the front and back facades. Inside and out, such architectonic pieces give depth and shade to the flat wall planes. Commentary Despite the limiting budget, the architects seized every opportunity to enrich a building that by every measure was impoverished. But what gives the design the additional edge is the energizing angularity of the geometry that comes from the parti introduced into this inert, unin- flected space. On both floors, even the entire ceiling of fluorescent lights is shifted at 45 degrees to the floor plan. Walls lean and dropped- ceilings rise, as though taking off. Deft, space-defining formal moves endow the building with an aesthetic of energy that charges formerly passive spaces. Now that the building houses a health-care company, it expresses flight in a way never achieved in its original incarnation. The architects brought energy to space. ■130 Architectural Record 01.06
  • 135. YYePG Proudly Presents, Thx for Support Along the pedestrian passage connecting the visitors’ and employees’ entrances, the architects installed polycarbonate glazing backlighted by fluores- cent fixtures.
  • 136. YYePG Proudly Presents, Thx for Support The Barn at Fallingwater Mill Run, Pennsylvania 2 BOHLIN CYWINSKI JACKSON EMPLOY CREATIVE RENOVATION ON AN OLD BARN USED BY THE WESTERN PENNSYLVANIA CONSERVANCY. By James MurdockArchitect: Bohlin Cywinski Although its name might suggest a side: a large, two-level building dat-Jackson––John C. Jackson, AIA, closer physical relationship, the Barn ing from circa 1870, and a smaller,principal; Roxanne Sherbeck, AIA, at Fallingwater is located a quarter single-story addition from the earlydesign manager; Sarah Drake, AIA, of a mile up the road from Frank 1940s. Since barns areproject manager; Michael Gwin, Li Lloyd Wright’s 1937 masterwork. associated with theChuin Toh, Maria Velisaris, Kai Vern Visually, the barn is also somewhat rural landscapes thatTang, Jarrett Pelletier, design team removed from Wright’s aesthetic— are disappearingClient: Western Pennsylvania the Western Pennsylvania across Pennsylvania,Conservancy Conservancy, a nonprofit that owns the conservancyEngineers: Atlantic Engineering both buildings, stipulated as much decided to restore thisServices (structural); H.F. Lenz when commissioning the barn’s barn’s iconic silo.(m/e/p) transformation—but nonetheless,Consultants: Marshall Tyler Rausch they do bear a resemblance. Both Solution(landscape architects) Fallingwater and the revamped barn Bohlin Cywinski JacksonGeneral contractor: Clearview are at one with nature: one through struggled with how toProject Services design, the other through materials. make use of the older barn’s main space, a 5,000-square-foot room, PHOTOGRAPHY: © NIC LEHOUX , EXCEPT COURTESY THE ARCHITECTS ( THIS PAGE , I N S E T )Size: 12,000 square feet on 5,000- Program with its primary entrance at theacre site. The conservancy maintains more rear because of the grade change.Cost: Withheld than 5,000 acres of land adjacent Architects from the Pittsburgh office,Completion date: 2003 to Fallingwater. Although it occupies Roxanne Sherbeck, AIA, and Michael offices on-site and in Pittsburgh, Gwin, AIA, considered placing theSources the organization needed more desk retail shop on this level, but aban-Parallel strand lumber framing space and meeting rooms. It also doned the idea since it would entailmembers: Trus Joist/Weyerhauser wanted exhibition space and a retail adding a bulky entry on the front ele-(Parallam) shop that would be visible from the vation. Fortunately, the conservancyWood and glass windows and main county road. wasn’t committed to a shop.doors: Marvin At first, the conservancy At this point, the architects hadStrawboard panels: BioFab thought only a new building could a revelation: just leave the big spaceSunflower seed biocomposite accommodate these needs. But untouched, preserving its barnlikepanels for cabinets and paneling: since the group seeks to protect character with unfinished, uninsu-Phenix Biocomposites natural landscapes, and the staff felt lated wallboards that allow air andInterior ambient lighting: Zumtobel; uncomfortable with new construc- light to circulate freely. Such a deci-Spero Electric tion, it decided to convert a nearby sion meant the conservancy could storage barn instead. rent out the space for weddings, con- The Barn at Fallingwater is ferences, and other events, bringing actually two structures set into a hill- a windfall in income to the organiza-For more information on this project, tion. The architects excavated itsgo to Building Types Study at James Murdock writes about architec- lower level for administrative ture from New York City. and storage. Meanwhile, the smaller132 Architectural Record 01.06
  • 137. A barn built around 1870 YYePG Proudly Presents, Thx for Support(opposite, inset) and a1940s addition have beentransformed into officesand a meeting center forthe Western PennsylvaniaConservancy. Locatedclose to Frank LloydWright’s Fallingwater atBear Run, much of theoriginal structures’ vol-umes remain intact(right). The architectsadded adjustable woodlouvers on the west eleva-tion (far right), and atrellis to shelter the frontwalkway (below). 01.06 Architectural Record 133
  • 138. YYePG Proudly Presents, Thx for Support In order not to destroy the character of the main barn’s upper loft space (opposite), with its heavy timber, mor- tise, and tenon frame, the space was left raw, with natural light admitted through gaps in the vertical siding.SECTION A-A 0 10 FT. Fireproof straw bale panels (left) line 3 M. the stair, and local fieldstone was used to create a large fireplace wall 1. Exhibit/assembly in the 1940s addition (bottom). 2. Kitchen 3. Restroom addition, formerly a dairy barn, now 4. Mechanical contains meeting rooms that can 5. Storage double as an exhibition hall. 6. Entrance Ecofriendly elements through- 7. Office area out the Barn at Fallingwater earned 8. Silo it an AIA/COTE Green Project Award, 9. Conference and it is expected to receive LEED 10. Skywall Silver certification. For example, wall paneling consists of 2-inch-thick straw bales, while maple flooring in the big barn was salvaged from a 5 3 2 demolition job. Other features include geothermal wells and a zero-dis- charge wastewater-treatment plant. 4 1 Commentary Once considered a problem, the unprogrammed large space is now the project’s selling point. The room’s four oversize doors are opened during warm months, effectively dissolving its eastern wall. Even on UPPER FLOOR rainy days, light filters through gaps between the boards, bouncing off the glossy floor and suffusing this space with a transcendental glow. 6 An eclectic material palette in the meeting rooms also preserves 1 the feel of a barn. The contractor reused cedar planks, moving them 10 8 from the ceiling to the walls, and 9 uncovered glazed terra-cotta wain- scoting, a remnant of the space’s 2 past life as a milking facility. 3 3 Due to a prosaic choice of 6 4 materials, the administrative offices are the only insertion that feel alien A A to the barn aesthetic. Happily, the architects softened the exterior 7 5 impact of new windows by adding a screen of wood louvers. But they overreached when designing a trel- lis for the front walkway. Made of mountain laurel branches, it will eventually be covered by vines. For now, though, the trellis takes the green concept a step too far and N 0 10 FT. GROUND FLOOR 3 M. feels forced. ■
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  • 140. YYePG Proudly Presents, Thx for Support Local Union 580 Long Island City 3 DANIEL GOLDNER ARCHITECTS DEFTLY ORCHESTRATES AN ASSEMBLAGE OF METALS IN A BUILDING RENOVATION TO SIGNIFY A UNION’S IDENTITY. By Suzanne StephensArchitect: Daniel Goldner Long Island City, Queens, may haveArchitects––Daniel Goldner, princi- gained an artistic aura by being thepal; Davis Iszard, project executive; home of P.S. 1 Contemporary ArtAshley Wilson, project architect; Center, the Museum of the MovingJimmy Counts, project manager Image, and the Noguchi Museum,Client: Ironworkers Local 580: among others. But much of the areaApprentice and Training Facility is littered with dreary, low-riseEngineers: Wexler and Associates masonry structures devoted to light(structural); John Guth Engineering industry and related enterprises.(m/e/p) Nevertheless, Ironworkers Local 580: Apprentice and Training FacilitySize: 18,000 square feet (for ornamental and architecturalCost: Withheld ironworkers) shows how a renova-Completion date: 2004 tion can artfully change that tone.Sources ProgramStainless-steel-mesh screen: GKD In transforming a scuzzy medical-Resin-laminated glass: Rudy Art supply storage facility with aGlass setback brick garage into theStructural glass: Depp Glass 18,000 square feet of classrooms The brick facade andInterior acoustical and suspension- and workshops, the union leaders parking court (left)grid ceiling: Armstrong wanted to signify the value of their was covered in a gridCustom metal paneling, windows, craft through the design of the of bead-blasted stain-entrance doors, and entrance-door facade and the public spaces. less-steel panels withpulls: Empire Architectural Metal They didn’t have to look far: Daniel Z-clip reveals (above).Paints and stains: Benjamin Moore Goldner Architects, based in A stainless-steel-mesh(interior paints); Carboline (fire- Manhattan, had remodeled a nearby screen is hung fromrated intumescent paint over steel building for two structural-ironworker the second-story roofcolumns) unions in a clean, planar mode (opposite). evocative of the International Style. In the case of Local 580, it encour- framed interior for a workshop, an bead-blasted stainless-steel (with aged Goldner to make use of a adjoining welding shop, and class- a soft luminous sheen), pearlized range of metals to fully emphasize rooms inserted in the basement. stainless-steel doors, and oxidized the union’s particular craft. With the new facade, Goldner left steel at the north end—plus an most of the brick exterior wall intact etched-brass pylon. This Modernist Solution (infilling places with concrete block). composition, limned by reveals and Goldner and his team gave the Over that he designed an outer shallow volumes pulled out fromFor more information on this project, facade, entrance lobby, and stairway carapace of assorted 3⁄16-inch-thick the brick backdrop, is further drama-go to Building Types Study at the full-metal-jacket treatment, in metal panels at the ground floor— tized by slotlike horizontal addition to revamping the steel- an articulated assemblage of vertical windows incised into the136 Architectural Record 01.06
  • 141. P H OTO G R A P H Y : © DAV I D J O S E P H , E XC E P T C O U R T E SY A R C H I T E CT S , L E F T PA G E B OT TO M YYePG Proudly Presents, Thx for Support
  • 142. YYePG Proudly Presents, Thx for Supportplanes and filled with lime-green,cobalt-blue, and yellow tinted glass. At the roof line, Goldner hunga 27-foot-high, stainless-steel-meshscreen and clipped it in place overthe second floor. Viewed at anangle, the screen appears opaque;dead-on it subtly discloses the brickwall behind it. To underscore thisrevealing-by-concealing approach,Goldner stopped the screen abovethe metal panel base in certainareas so that unadorned glimpsesof the brick wall remain on view. Thescreen also allows the second floor,used as rental space, to receive nat-ural light through existing windows. An aluminum canopy with apainted black soffit continues intothe lobby at an 11-foot height,slightly compressing space in the13-foot-6-inch-high area. Anchoredby the black slate floor, the dramaticinterplay of steel, brass, glass, and In the first-floor lobbyprepatinated copper planes accen- (above), a stainless-tuates the dimensions of this small, 7 steel bench seems tocubiform hall. On the lower level, float over structuralanother lobby receives natural light 8 glass. It hooks into the 5through the glass floor above and in 5 low brass partition thatturn opens onto trimly designed cor- engages the luminous,ridors and classrooms. 5 textured-glass floor of the stair landing. Above 5 3Commentary the bench, prepati-Granted, the actual classrooms and 4 nated copper panels 6workshops inside the building lack 9 define the lobby space.the design drama of the facade and 1 4 2the public spaces. However, the lat-ter carry the day, especially as anurbanistic gesture. If only similar FIRST FLOORrenovations would follow suit. Forthe moment, Goldner’s efforts standout as a visual surprise against the 1. Lobbydreary backdrop of moldering indus- 2. Administrationtrial buildings. 3. Workshop The renovation obviously suc- 4. Officeceeds in advertising the possibilities 11 11 5. Storageof the ornamental- and architectural- 6. Tenant entrymetal workmanship the union is 7. Burning tablesadvancing. Moreover, it reaffirms 8. Welding roomone’s faith in the effect of architec- 9. Parkingture on everyday places. Goldner 5 10. Lower-level lobbyhas shown that craft and material, 11 11. Classroomcombined with proportional and 12. Mechanicalcompositional sophistication (not 10surprisingly, he used to work forEdward Larrabee Barnes) can go far 12 12 12 12in improving the urban landscape— 0 10 FT. Neven if it is step-by-step. ■ BASEMENT 3 M.138 Architectural Record 01.06
  • 143. YYePG Proudly Presents, Thx for SupportAn administrationoffice with tinted, resin-laminated glass adjoinsthe lobby (above left),where the dark slatefloor echoes the toneof the black-paintedaluminum soffit of thecanopy extension.Stainless-steel treads,lightly poised on thestructural-steel spineof the stair (aboveright), lead down tothe classroom area(right), where the lobbyreceives natural lightfiltering through theglass floor above.
  • 144. YYePG Proudly Presents, Thx for Support Masanari Murai Art Museum Tokyo, Japan 4 KENGO KUMA HAS GIVEN A NEW MEANING TO THE TERM “EXTREME MAKEOVER” WITH HIS TRANSFORMATION OF AN ARTIST’S HOUSE. By Naomi R. Pollock, AIAArchitect: Kengo Kuma & It is often said that one person’sAssociates—Kengo Kuma, principal; junk is another’s treasure. But to The entrance to theKenya Hara, graphics Masanari Murai, one of Japan’s first museum (right) with itsClient: Itsuko Murai Modern painters, everything was a recycled slats of woodEngineers: K. Nakata & Associates treasure. “He just hated to throw (opposite) is locatedGeneral contractor: Matsushita stuff out,” says Itsuko Murai, the on the east facade.Industry Company artist’s widow and the director of The former south and the Masanari Murai Art Museum. east facades (aboveSize: 1,761 square feet Moved by the beauty inherent in top left) enclosed stor-Cost: Withheld coffee pots, clay dolls, and countless age areas, and theCompletion date: 2004 everyday objects, the artist preferred door to the atelier was adding rooms to parting with pos- on the north sideSources sessions. Instead of deaccessioning, (above middle). The carLocksets: MIWA Lock Company he simply enlarged his house. Like was moved from theSecurity devices: ALSOK Group Masanari’s bold, abstract canvases, northwest corner of theSpot lighting: iGuzzini his house, with its multiple additions site (above right) to theHome elevator: Mitsubishi and voluminous contents, was a entrance side. work of art. “I thought the house was chaotic, but I like that kind of chaos,” says architect Kengo Kuma. was born,” says Kuma. By the time However, it took the Tokyo architect’s the artist died in 1999, the cluttered editing as well as design skills to house had become a fire hazard P H OTO P G R A P H Y : © DA I C I A N O A R C H I T E CT U R A L P H OTO G R A P H Y, transform this eclectic mixed-media that ultimately had to be taken E XC E P T A S N OT E D ; R Y U J I M I YA M OTO ( O P P O S I T E , TO P T H R E E ) creation into a museum. down. Instead, Kuma preserved the essence of Masanari’s home by Program deftly salvaging parts of the old When the museum was first being building and incorporating them planned, there was talk of leaving into his new architecture. the rambling house as it was and simply opening it up to the public. Solution But this proved impossible. Built in The heart of Kuma’s 1,761-square- 1938, the original house was a “cot- foot museum is a faithful tage style” wood frame structure reconstruction of the artist’s atelier: located in the middle of a residential a pastiche of wood siding, door neighborhood west of central Tokyo. frames, and other lumberyard left- “I loved that house because it was overs artfully added to the main very similar to the house where I house in the 1950s by a local car-For more information on this project, penter. Originally, this atelier juttedgo to Building Types Study at Naomi Pollock, AIA, is record’s out into the garden, but special correspondent in Tokyo. treated it like an artifact by encas-140 Architectural Record 01.06
  • 145. YYePG Proudly Presents, Thx for Support
  • 146. YYePG Proudly Presents, Thx for Support 1. Former entrance hall 2. Atelier 3. Atelier/storage 4. Storage 7 5. Kitchen 6 6. Bedroom 6 5 7. Toilet 4 4 9 7 8. Bath 9. Japanese room 4 4BEFORE: SECOND FLOOR AFTER: SECOND FLOOR 1. Main gallery 9 2. Existing atelier 6 5 4 8 3. Office 2 4 2 4. Bathroom 3 5. Upper gallery 8 6. Archive 9 4 3 1 7. Apartment 8. Existing car 10 9. Artist’s installation 1 10. Parking 0 10 FT. 0 10 FT.BEFORE: FIRST FLOOR N 3 M. AFTER: FIRST FLOOR N 3 M.
  • 147. YYePG Proudly Presents, Thx for Support ing it within the new museum’s The old atelier on the first floor (top steel-frame exterior enclosure. right) has been salvaged (right) and Between the atelier and the new placed within a new, white steel- outer skin is a high-ceilinged trough framed container. In the main gallery of space for a gallery where selec- (opposite and above), paintings by tions from the artist’s vast collection Murai are displayed with collaged of objects are displayed alongside his elements from the former structure. own artworks—paintings, ceramic vessels, and other pieces made of display case Kuma created stands wood and metal. Thin steel stair on three legs of black steel and aP H OTO G R A P H Y : © √ R Y U J I M I YA M OTO ( TO P R I G H T ) treads lead up to the second-floor fourth fashioned from a newel post display area masked by metal-mesh that once stood at the top of the walls and an efficiency apartment for stairs. Made of wood, the post Mrs. Murai. Kuma’s palette of pristine, still bears teeth marks left years white walls, neutral concrete floors, ago by Masanari’s dog. A true mar- and crisp detailing complement the riage of the architect’s passion for robust colors and strong forms of the materials and the artist’s love of artworks as well as contrast with the the memory-laden, the new facade atelier’s dark wood surfaces and well- is covered with irregular, hand-cut used furniture. wood planks harvested from the old Kuma’s intention was not sim- house at the time of its deconstruc- ply to place the artist’s home and its tion. “We didn’t have quite enough contents on a pedestal: He inte- boards, so we put spaces between grated old and new. An elegant them,” explains Kuma. The rhythmic 01.06 Architectural Record 143
  • 148. YYePG Proudly Presents, Thx for Support The former bedroom on the second just enjoyed looking at the car get- floor (left) looked into the stair hall. ting older and changing color amid This level, with original plank floors, nature,” explains Mrs. Murai. is now partially enclosed by a white metal-mesh screen (above). It is Commentary devoted to display, storage, and an In Japan today, very few people apartment for Mrs. Murai. share Mrs. Murai’s sentiment when it comes to holding onto old archi- pattern bears a strong resemblance tecture. And retrofitting existing to the wood louvers that Kuma structures to comply with the coun- often uses in his architecture. try’s stringent earthquake code can P H OTO G R A P H Y : © R Y U J I M I YA M OTO ( B OT TO M ) Below the slat-covered upper be daunting even to the most deter- wall, the plate-glass facade’s smooth mined preservationist. “It frequently surface is interrupted only by the costs more to renovate than to start front entrance. The huge window over,” says Kuma, who notes that wall looks out at two, 6-inch-deep “clients here are just beginning to pools separated by the walkway understand the value of renovation.” leading up from the street. It was Since the old building had to be vir- Kuma’s idea to place Masanari’s tually demolished to build the new treasured Toyota, one of the car- museum, this project goes beyond maker’s earliest models, in one of what you might call an “extreme the ponds. Though the car has not makeover.” Still, Kuma’s building been driven since the early 1970s, succeeds in preserving the spirit of Masanari kept it in his garden. “We the artist and his unique house. ■144 Architectural Record 01.06
  • 149. YYePG Proudly Presents, Thx for Support
  • 150. YYePG Proudly Presents, Thx for Support New Life for the ‘Big Easy’ An international competition for new housing in New Orleans Sponsored by Architectural Record and McGraw-Hill Construction in partnership with Tulane University School of Architecture New Orleans. The Crescent City. Now, wounded by Hurricane Katrina–leaving in its wake widespread damage to homes, lives, and futures–needs your ‘hearts and minds’ to reassess, re-envision and redesign the region’s housing. To breathe new life and rebuild lives. Architectural Record and McGraw-Hill Construction, in partner- ship with Tulane University School of Architecture, invite you to submit your ideas to help design the future of New Orleans. Participants in this competition will design housing for an actual block in the city of New Orleans. Winning designs will be published in Architectural Record and presented at the 2006 AIA Convention and Expo. Selected submissions will appear on McGraw-Hill Construction web sites. Programmatic elements include: • Single family housing • Multi-family housing • Mixed-use urban planning Other programmatic elements: • This competition encourages close attention to issues of sustainability, both in urban planning and architectural design. • Contestants are encouraged to incorporate modular or prefab- ricated building products and processes wherever possible. Important Note: While the competition welcomes visionary or hypothetical proposals, contestants are encouraged to consider that New Orleans faces a severe and immediate housing crisis, and is in need of practical, affordable solutions to this problem. Competition Entry: Go to for submission require- ments and more specific programmatic information. Competition specifics will be included in the competition packet. All entries must be received no later than March 1, 2006.Find us online at
  • 151. YYePG Proudly Presents, Thx for SupportPRECASTBREAKTHROUGHBrowning Day Mullins Dierdorf Architects, Indianapolis, INHigh Concrete’s breakthrough thinking in precast technology insulating and more durable, allowing a virtually unlimited selectionachieved dynamic results with the Children’s Museum of Indianapolis. of colors, textures and finishes. And the 15-wide MEGA-Tee deckArchitects chose High not only because precast’s excellent sound system that enables wider spans and more open plans in totalattenuation qualities solved the problem of a noisy city location, but precast buildings and parking garages. Dynamic structures likebecause High’s solution of using repetitive architectural precast panels the Children’s Museum are possible with High’s expert technicalwas the most cost-effective way to clad the building’s uniquely assistance in all phases of a project, from design to erection. Highcurved surfaces. High’s unparalleled commitment to new technology gives architects the flexibility to explore unique solutions whileand innovation led to this and advancements such as carbon ensuring a job is completed on schedule and on budget. Call High to TMfiber reinforced CarbonCast —precast that’s stronger, lighter, better learn more about precast breakthroughs. HIGH CONCRETE GROUP ■ CONCRETE INNOVATIONS & ANSWERS TM ■ CALL US AT 800-PRECAST ■ WWW.HIGHCONCRETE.COM CIRCLE 50 ON READER SERVICE CARD OR GO TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/
  • 153. YYePG Proudly Presents, Thx for Support The Perils of Restoring “Less Is More” KRUECK & SEXTON ARCHITECTS FACED TREMENDOUS CHALLENGES IN THE RESTORATION OF MIES VAN DER ROHE’S 1956 MASTERPIECE, S.R. CROWN HALL, AT THE ILLINOIS INSTITUTE OF TECHNOLOGY By Sara Hart ARCH I TECTURAL TECHNOLOGY F ormal ceremonies celebrating architecture are usually reserved for ground breakings, openings, or reopenings, rarely for clos- ings. But on May 17, 2005, S.R. Crown Hall at the Illinois Institute of Technology (IIT), designed by Ludwig Mies van der Rohe and completed in 1956, was closed for restoration and renovation amid much fanfare. A hundred or so admirers of the school and the architect convened to witness a symbolic demolition—the inverse of a ribbon cutting—to launch the restoration. Mies’s grandson, Chicago architect Dirk Lohan, won the opportunity to smash one of the 10-foot- tall windows at an online auction on eBay, sponsored by the Mies van der Rohe Society ( In the audience at the ceremony was Mark Sexton, AIA, prin- cipal of Krueck & Sexton Architects, the local firm charged with this phase of an ongoing restoration of Crown Hall and other Mies struc- tures. Sexton admits that after the sledge hammer shattered the glass and the university president announced that the reopening would take place in 15 weeks, reality set in, and his heart began to race. Although an opportunity of a lifetime for any firm, performing reconstructive surgery on what Time magazine called “one of the world’s most inspiring and astonishing structures” is an undertaking fraught with danger, suggestingI M A G E S : C O U R T E SY K R U E C K & S E X TO N , E XC E P T A S N OT E D ; H E D R I C H - B L E S S I N G ( T H I S PA G E ) that a tight schedule might have been the least of Sexton’s worries. Crown Hall is the home of IIT’s College of Architecture, where Mies was director from 1938 until 1958. Thirty-six years after his death, the faculty still consists of Mies disciples, who, with a student body of 600, consider themselves conservators of the masterpiece, which received Chicago landmark status in 1997 and became a National Landmark in 2001. CON T I N U I N G E DU CAT I ON Ludwig Mies van der Rohe circa 1956 standing in S.R. Crown Hall, the Use the following learning objectives to focus your study architecture school he designed at the Illinois Institute of Technology. while reading this month’s ARCHITECTURAL RECORD/ AIA Continuing Education article. To receive credit, turn The weight of “almost nothing” to page 156 and follow the instructions. Other opportuni- Unlike earlier Crown Hall renovations in which the travertine and steel ties to receive Continuing Education credits in this issue include several of the South Porch were replaced and women’s bathrooms were added sponsored sections beginning on page 201. in the basement, this phase was more complex and intricate. Crown L E AR N I N G O B J ECT I VE S Hall contains the architectural DNA of Mies’s entire aesthetic. The After reading this article, you should be able to: beauty exists paradoxically in the metaphorical nothingness of it. The 1. Describe the challenges of restoring a Modernist building. building is a big box, a “one-room school house,” as Dean Donna 2. Discuss the material substitutions made to Mies’s design concept in Robertson, AIA, has called it. The 120-foot-by-220-foot floor plate order to preserve the design aesthetic. seems to hover 6 feet above grade. Meanwhile, the roof hangs 18 feet 3. Explain the problems with the original glass used in the building. above the floor from an exoskeleton made of four, 6-foot-deep steel girders. From the inside, the resulting clear-span, “universal space” expe- rience is that of being in a structure with no visible means of support. Furthermore, the curtain wall had enormous expanses of glass held in For this story and more continuing education, as well as links to sources, place by the slimmest of stops. white papers, and products, go to Ronald Krueck, FAIA, and Sexton, both alumni of IIT, were 01.06 Architectural Record 149
  • 154. YYePG Proudly Presents, Thx for Support Steel corrosion was aged by moisture and extensive. The repair exposes the steel to cycle included sand- the elements, the steel blasting, inspection, rusts and forms a red more sandblasting, dust (right and below). and repair. Steel con- Corrosion pits form,ARCH I TECTURAL TECHNOLOGY ducted moisture along which produce just the base causing con- enough pressure in the densation in the winter. stop to crack the glass When the paint is dam- (below and far right). well aware that the starkness of Mies’s work does not equate to simplic- ADA accessibility standards. ity, nor was his bias in favor of off-the-shelf components suggest a Obviously, the restoration didn’t actually take place in 15 weeks, generic architectural vocabulary. They were ready to preserve and protect as the closing ceremony pronouncements suggested. Assessment of the every detail, adjacency, span, and material. Still, it takes a lot of research existing conditions, study of Mies’s details, and the final design solution and study to restore “almost nothing.” The architects were fortunate to evolved over a two-year period. The actual demolition and construction have the services of preservation consultant Gunny Harboe, AIA, of Austin AECOM (formerly McClier). DEMOLITION AND CONSTRUCTION LASTED The scope of work was extensive: The sandblast removal of all 15 WEEKS, BUT EVERY BEAM, FRAME, AND lead-based paint from interior and exterior steel and repairs to the mem- bers that had rusted. The steel hadn’t been repainted in 25 years, so the PANE OF GLASS WAS ALREADY FABRICATED. dense “Miesian black” from photographs had faded to a dull gray. The lasted 15 weeks, but when the symbolic shattering took place, every beam, glass panels did not conform to any code, so they had to be replaced, and frame, and pane of glass was already fabricated and waiting for assembly the steel stops redesigned. The process also involved refurbishment and nearby. The planning process was methodical, and the execution surgi- reactivation of the blinds, disassembling and retrofitting them with elec- cally precise. Much of the credit for this goes to Clune Construction tromagnetic release hardware, and refurbishing the original Ellison Company, whose scheduling and coordination of the demolition, repair, stainless-steel doors on the north and south facades. Finally, the $3.6 and reconstruction sequences included a contingency plan for dealing million renovation included upgrading the bathrooms to meet current with and solving unforeseen problems while staying on schedule. 150 Architectural Record 01.06
  • 155. 1 1/2" 1/2" YYePG Proudly Presents, Thx for Support 1/4-inch glass 5/8" 5/8 x 1 1 /2-inch steel stop 1" 3/4" 1 x 2-inch steel bar frame 5/8" 5/8 x 1 1 /2-inch steel stop 1 1/2" 1/2" 5/16-inch flathead screw 1/4-inch sandblasted plate glass Exterior Interior WINDOW DETAIL: ORIGINAL DESIGN 1 3/8" 3/4" 1/8" 1/2-inch glass 5/8-3/4 x 1 3/8-inch steel 5/16" 7/16" stop with sloped profile, 3/4" 5/8" shop primed and painted. (typ) 1" 3/4" New frames and tops are in place, awaiting 5/8" 3/8" installation of the glass 5/16-inch flathead screw, (above). The difference shop primed and painted, set 1 1/2" 1/2" head in sealant bed. (typ) between the original detail (top right) and 1/4-inch glass the new one (right) is very subtle. WINDOW DETAIL: RESTORATION DESIGN The first task was to quickly shroud the entire building in Great expanses of crystal-clear glass poured daylight into the studio andorder to contain dust from the lead-based paint that was to be sand- created the “barely there” effect he sought. However, “great expanses ofblasted off all the steel members. “We divided the building into glass have a tendency to break and fall out in strong winds,” Sextonquadrants,” explained Michael A. Tenuta, senior vice president of Clune adds. (Anecdotal evidence suggests that no one was ever injured, or atConstruction. “Sandblasting the steel was followed by an inspection, least not seriously.)then more sandblasting, then repairs, then another inspection, then the In contrast to the perfectly transparent upper panels, the lowerfirst of three coats of paint. There was no float time, and there was a units were sandblasted, which provided some privacy for the students,constantly roving punch list.” but mostly it served to hide interior activity from view, and thus retained a pristine Modernist face to the public. However, the glass wasThe sound of glass shattering sandblasted on the interior face. Sandblasted glass is porous and absorbs“Mies’s design was experimental,” explains Sexton. “At the time, glass oil from fingerprints and the adhesives students used to mount draw-technology was in its infancy, and there were few regulations. Mies ings on the windows. Due to decades of unintentional damage, therelied on his intuition regarding size.” The facade consists of two types lower units became stained and scratched. In addition, the building wasof windows. The original upper panels were enormous and not tem- subjected to ad hoc alterations and mandatory repairs between 1970pered—9 feet 8 inches by 12 feet 9 inches—and only 1⁄4 inch thick. With and 1977. In 1975, Skidmore, Ownings & Merrill (SOM) replaced all theno codes to dictate size and thickness at the time, Mies was free to push glass, including the thin upper panels, which were replaced with 3⁄8-inchthe known limits of engineering. His experiment had mixed results. lites. Then, employing new technology for the lower panels, SOM 01.06 Architectural Record 151
  • 156. YYePG Proudly Presents, Thx for SupportARCH I TECTURAL TECHNOLOGY The contractor shrouded the entire building (above) to keep the dust from the lead-based paint from escaping into the envi- ronment. Students work at Mies-designed drafting tables in 1956 (left). Mies’s grandson, architect Dirk Lohan, ceremoniously launches the restora- tion by smashing one of the glass panels. installed a laminated glass with a mylar interlayer to imitate the translu- than perfect. “When glass passes through an oven during the tempering cent qualities of the original sandblasted glass. Although the solution phase, it can develop the slightest surface wave from contact with the eliminated the staining problem, the result was more reflective than rollers,” he explains. The waviness can sometimes be noticeable when P H OTO G R A P H Y : © H E D R I C H - B L E S S I N G ( B OT TO M ) Mies’s matte finish, and repairing the repair, as it were, presented a per- viewing reflected images from a distance. This would be unacceptable to even the most forgiving critic. ALTHOUGH THE SOLUTION ELIMINATED THE Now, 1⁄2-inch glass doesn’t have to be tempered, so Sexton was STAINING PROBLEM, THE RESULT WAS MORE confident that he could deliver a perfect surface. But, of course, every solution yields a new problem. In this case, the problem was color. Iron REFLECTIVE THAN MIES’S GLASS FINISH. in glass gives it a green tint, so the thicker the panes, the greener the tint. plexing challenge for Krueck & Sexton. Crown Hall was intended to have glass so clear as to seem barely there, Every solution seemed to create more problems. The first chal- which was possible with 1⁄4-inch panes. The architects eventually found lenge, and the one that generated the most controversy, centered on the a manufacturer that could make low-iron glass in such large sheets, in upper panels. First of all, the glazed area was too large by code (or com- order to achieve maximum transparency, high-fidelity light transmis- mon sense) to have the original 1⁄4-inch-thick polished plate glass sion, and the kind of brilliance usually reserved for jewelry cases and replaced. To comply with the code, the architects could have simply spec- museum displays. ified 3⁄8-inch tempered glass. Keeping in mind that Mies’s details are The 68 original lites of the upper panels were replaced with PPG deceptively simple, Sexton recognized that tempered glass could be less Starphire (low iron) glass, and the cycle of problems and solutions con- 152 Architectural Record 01.06
  • 158. YYePG Re-radiation Proudly Presents, Thx for Support Solar radiation 30% Reflects Absorbs Directly transmits Outside InsideARCH I TECTURAL TECHNOLOGY LAMINATED GLASS ANALYSIS Re-radiation Solar radiation 5% Reflects Absorbs Directly transmits Outside Inside SANDBLAST GLASS ANALYSIS At least five full-size radiation transmission mock-ups (above) show the difference were produced to test between laminated several glazing options glass units (top left) and the blind replace- and single sand- ments. Studies of solar blasted panes (left). tinued. Thicker glass is heavier, of course. The new panels weighed 700 all the interested parties that, first of all, the slope cannot be seen. And pounds, making them way too heavy for the original stops. In other words, secondly, compromising on the custom-design issue was better than spec- the stops had to be enlarged from 5⁄8 inch to 3⁄4 inch in depth. As the wall ifying a heavy, and thus inappropriate, stock stop. sections show, this redesign is subtle enough to be called invisible. Clune enlisted specialty-glazing contractor Harmon to handle However, it has a slope. The architects felt, and the mock-ups confirmed, the field work and endure the closest scrutiny. According to Harmon, the facade consists of more than 800 steel stops held in place by more THE PURISTS REBUTTED THAT IT WOULD BE than 6,250 screws, and each screw was countersunk to protect the ever- BLASPHEMOUS TO INTRODUCE ANY SLOPE IN so-slightly beveled profile. Tenuta marvels at the scrutiny. They had to be submitted for approval, were rejected, remade, and resubmitted. A RIGIDLY RECTILINEAR STRUCTURE. Even the depth of the countersink was debated, until a tolerance of a that a deeper reveal would look heavy. Sexton argued that by sloping the mere 1⁄64 inch was agreed upon. stop from 3⁄4 inch at the glass to 5⁄8 inch at face, it would read the same as the The 120 lower lites were replaced with a clear tempered glass original. The purists rebutted that it would be blasphemous to introduce from Viracon, and the inner face was sandblasted to recreate the exact any amount of slope in a rigidly rectilinear structure. They also argued that same effect as the original. The Miesian scholars were in agreement with Mies used off-the-shelf extrusions, and a sloped stop would have to be cus- this solution. However, Sexton knew that unless the sandblasted side tom fabricated, a clear violation of his principles. Sexton, with the support was treated, the school would face the same staining and scratching of Dean Robertson and Gunny Harboe, prevailed, because they convinced problems it did before. Fortunately, technology eliminated many con- 154 Architectural Record 01.06
  • 160. YYePG Proudly Presents, Thx for Support cerns. Computer-controlled manufacturing S.R. Crown Hall is allows glass to be both tempered and sand- returned to its original blasted, and as proved here, to be protected by glory. Krueck & Sexton the application of three layers of ultra-clear Architects and Clune epoxy, which has no reflectivity, will not change Construction searched character, and will never yellow. until they found a man- Finally, there was the issue of the ufacturer to recreate paint. The sharp “Mies black” had faded to a the “Miesian black” dull gray. The original paint could not be used that delineates the again, because it was lead-based. Product structure’s exoskeleton research led the architects to Tnemec, an in stark contrast to the industrial paint and coatings manufacturer rest of the campus. known for products of extreme durability. TheARCH I TECTURAL TECHNOLOGY three coats that were applied should last about 25 years. Studying Krueck & Sexton’s restoration and renovation of Crown Hall reveals more about Mies’s design methodology than a slide-show lecture in architecture school ever could. Its work also makes a convincing argument for balancing preservation of original intent with current needs. The great Modernist buildings of the 20th century were meant to have long, working lives. Modifications to Crown Hall will be necessary again in another 50 years. As evidenced by SOM’s restoration of Lever House in New York in 2002 and Polshek and Partners’ careful restoration of Louis Kahn’s Yale Art Gallery in New Haven, currently under way, intimate intervention of Modernist icons might be the only authentic way to know them. ■ A I A / ARCH I TECTURAL RECOR D a. they were a matte finish CONT INU ING EDUCAT ION b. they absorbed oil and adhesive c. they provided privacy for the students d. they kept the public from being able to see in INSTRUCTIONS ◆ Read the article “The Perils of Restoring ‘Less Is More’ ” using the 6. Why were the clear upper glass panels not replaced with the 3⁄8-inch learning objectives provided. tempered glass panels? a. that would not meet code requirements ◆ Complete the questions below, then fill in your answers (page 226). b. they would have a green tint ◆ Fill out and submit the AIA/CES education reporting form (page c. they would have a waviness 226) or download the form at d. they would be too heavy for the stops to receive one AIA learning unit. 7. The lower glass panels were replaced with which? QUESTIONS a. mylar-coated glass panels 1. The restoration phase of S.R. Crown Hall that was completed during the b. sandblasted panels like the originals summer of 2005 included all except which? c. tempered glass panels a. adding bathrooms d. tempered, sandblasted, and clear epoxy protected glass panels b. removal of lead-based paint 8. The paint was immediately sandblasted off the steel members for what c. replacing glass panels reason? d. retrofitting blinds a. to give it a textured look 2. Crown Hall was designed by whom? b. to make it look blacker a. Dirk Lohan, the grandson of Mies van der Rohe c. to remove lead-based paint b. Krueck & Sexton, alumni of IIT d. to make a smooth finish for new coats of paint c. Donna Robertson, dean of the architecture school at IIT 9. The argument against using sloped stops was which? d. Ludwig Mies van der Rohe a. the stops needed to match the original ones exactly 3. Both the demolition and construction were able to be completed in only 15 b. a thicker stop, even if it were just a fraction of an inch, would make the weeks because of which? frames look heavier a. new materials were prefabricated c. no amount of slope should be introduced into a design that is consciously b. the scheduling included a contingency plan rectilinear c. there was a constantly roving punch list d. sloped stops could not be fabricated d. all of the factors listed above 10. Mies van der Rohe’s design concept for Crown Hall included all of the 4. Which was the major drawback of the upper glass panels? following except for which? a. they were crystal clear a. an open universal space b. they appeared to be barely there b. upper walls that were barely there c. they were thin and large c. a reflective surface on the inside of the glass d. they poured daylight into the studio d. a pristine Modernist view to the public 5. Which was the major drawback of the lower glass panels? 156 Architectural Record 01.06
  • 161. YYePG Proudly Presents, Thx for Support
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  • 163. YYePG Proudly Presents, Thx for Support Residential Creating rooms with a view is the defining principle of these four uniquely sited residences T he houses shown here share the dis- BRIEFS tinction of being on hillsides that offer Going Dutch The Netherlands first ment project in Lakewood, Colorado; a central spectacular views. The Art Studio and amphibious houses, along the Maas dyke, district plan in Pasadena, California; and the Residence sits on the edge of an open could provide a new prototype for rebuilding town of Redding, Connecticut, for cleanup and and grassy hilltop, overlooking the landscape of projects in New Orleans. The 37 homes have redevelopment of an abandoned wire mill into northern Connecticut, which displays a patch- the ability to float with rising water levels up a mixed-use, transit-oriented neighborhood. work of New England farms. Sited on the side to 16.4 feet above their normal position by (See www.epa. gov/smartgrowth/awards.htm). of a promontory of Orcas Island in the San Juan sliding along steel posts, which prevent them Pods may make poor pads The Islands off the coast of Washington State, the from drifting. A quarter of the country’s land reality of living in a 13.1-by-8.2-foot capsule Long Residence features a distant vista of the lies below sea level, and expectations of may be too confining to bear for residents of Harney Channel, where green and white ferries increasing yearly rain have elicited many pro- Tokyo’s Nagakin Capsule Tower. The building, ply their route day after day. A tiny sleeping totypes and even models and plans for an completed in 1972, faces either a refurbish- cabin overlooks Lake Simcoe in the countryside entire floating town. American journalists and ment or replacement—with residents above Toronto, where the owners observe geese engineers have been frequent visitors to this making a case for the latter. Architect Kisho stopping by in fall on their migration south, and project in the past few months as the debate Kurokawa designed the pods, which feature coyotes walking gingerly on the ice in winter. continues over hurricane housing solutions. built-in beds, bathrooms, and one circular In Pacific Palisades, Hillside House boasts Recognizing residential redevel- window. Kurokawa gives the building about a panaramic views of Rustic and Sullivan opment The winners of the EPA’s 2005 50 percent chance of survival, despite its Canyons in one direction, and Santa Monica National Awards for Smart Growth ability to draw tourists. Bay on the other. Even with such disparate loca- Achievement were recognized recently at Dog Box Though it’s more typical to ask, tions and varied terrain, the importance of view the National Building Museum in Washington, “How much is that doggy in the window?” as as the organizing principle of design binds these D.C. For overall excellence, the Denver Urban opposed to inquiring about the doghouse, a houses together. Jane F. Kolleeny Renewal Authority took the top prize for rede- $525 “Dog Box” is outshining veloping a 27-acre abandoned amusement its residents. Interns at Frank park into a mixed-use neighborhood. The other Harmon Architecture in awards went to a military-base redevelopment Raleigh, North Carolina, used project in Orlando, a shopping-mall redevelop- recycled materials and green-P H OTO G R A P H Y : © E R I C S TAU D E N M A I E R building techniques to create CONTENTS the house, which sold at North 160 Long Residence Carolina’s Triangle Beagle Cutler Anderson Architects Auction. The roof collects 164 Hill House rainwater and provides an Johnston Marklee & Associates attractive surface for planting. 170 Art Studio and Residence For interior creature comfort, a The Office of Peter Rose photovoltaic solar panel pro- 176 Sunset Cabin vides electricity to an exhaust Taylor_Smyth architects fan inside, while a window 183 Residential Products admits daylight. Sarah Cox 01.06 Architectural Record 159
  • 164. YYePG Proudly Presents, Thx for SupportA modern version ofthe log cabin, thehouse perches on theside of a hill overlook-ing the Harney Channelin the San Juan Islandsof Washington State.Tripod log assembliesand beams, prebuiltoff-site, provide bothstructural support andaesthetic interest. Aglazed front wall opensall the spaces of thehouse to the view.
  • 165. YYePG Proudly Presents, Thx for Support The elegant Long Residence embodies Cutler RESI DENTIAL Anderson Architects’ interpretation of a log cabin HOUSES ON H ILLS By Victoria Medgyesi I f architect James Cutler, FAIA, had his way, Orcas Island would be nothing but blue and green—at least as seen from the air. Cruising by helicopter over one of the most serene spots in the Pacific Northwest’s San Juan Island chain, he managed to get his 6 message across despite the ear-splitting noise. “Look,” he shouted, as we 5 passed over a recently completed project. “Isn’t that great? You can barely 4 see the place at all.” 5 Honoring geographic conditions, responding to the integrity of 4 natural materials, and staying true to a romantic vision have long formed 3 the philosophic backbone of Cutler Anderson Architects. The firm’s 2 1 ability to translate that philosophy into sophisticated expressions of indi- 0 20 FT. viduality was what brought one couple to Cutler’s door. SITE PLAN N 6 M. Their site was steep but buildable, lush with second-growth forest, and in possession of a sweeping view that overlooked a wide salt- 1. Kitchen 4. Bath water channel and nearby Shaw Island. Just as fortuitous, says Cutler, was 2. Dining room 5. BedroomP H OTO G R A P H Y : © A R T G R I C E P H OTO G R A P H Y the couple’s playful, experimental streak, which he shares. It was this set 3. Living room 6. Hot tub of particulars and the relatively simple programmatic desires of the client—a serious kitchen, truly private spaces, room for family gather- ings—that shaped the design of the vacation retreat. Writer Victoria Medgyesi lives in Seattle. Project: Long Residence, Orcas Consultants: Doug Rasar Interiors Island, Washington (interior designer); Robert Architect: Cutler Anderson Trachtenberg (landscape architect); Architects—Jim Cutler FAIA, Julie Eastsound (landscape installation) Montgomery, AIA, Chad Harding General contractor: Alford Homes Engineer: Coffman Engineers 01.06 Architectural Record 161
  • 166. YYePG Proudly Presents, Thx for Support A deck, supported by a concrete retaining wall, runs the length of the house on the open, windowed side (oppo- site). The interiors continue the celebra- tion of wood, where western red cedar logs (hoisted onto tripods) reveal their skeletal form, and rafters fit to the top of the log structures (this page). A metal roof tops the entire ensemble (below and opposite).
  • 167. YYePG Proudly Presents, Thx for Support RESI DENTIAL HOUSES ON H ILLS Responding to the steep, wooded site, Cutler supported the tinctive wood tripods through low-to-the-ground windows along thehouse on 18 sets of peeled-wood tripods engineered to provide enough uphill entry side. The structural elements reach their full 15-foot-highlateral stability to dispense with conventional shear elements. The tripods glory along the glass curtain wall facing the view. As was Cutler’s inten-were attached to western red cedar log beams by concealed steel plates tion, the tripods refer to the trees on the other side of the glass—anand bolts. Each was then visually punched through the floor and idea inspired by Scottish sculptor Andy Goldsworthy’s installationsextended down to a steel connection at the footing. A system of rafters involving fallen trees.graduated in size relative to span resists the pull of gravity. Cutler credits his contractor, Lowell Alford, for executing an Cutler wrapped the building’s system of wooden bones in an unorthodox design that combines sophisticated engineering withexterior skin of glass, aluminum, and cedar shingle. He then topped the ancient materials. Alford even harvested the logs from land owned by his father and hired a team of high school students to peel the logs priorLIKE GOLDSWORTHY’S SCULPTURE, to off-site assembly.CUTLER’S WORK MAKES A STRONG Like Goldsworthy’s sculpture, Cutler’s work makes a strong statement about nature and structure. It’s a soft/hard balance echoed inSTATEMENT ABOUT NATURE AND STRUCTURE. the muted beech-wood floors, the whitewashed pine walls, and the cleanshell with a layer of two-by-six spacers that support a large overhanging lines of the custom wood furniture and cabinetry, much of which wasmetal roof and create an insulated cavity below it. Given the clients’ designed by Cutler himself. ■emphasis on privacy, the shed roof serves to visually insulate the structurefrom the road above. Sources Sliding doors: Custom-designed by Each room in the 2,035-square-foot house opens to the expan- Metal roofing: Taylor Metal Products Alford Homessive cedar terrace through a set of 8-by-6-foot, custom sliding doors, Upholstery: National Furniture Cabinets and woodwork: Custom-providing multifaceted views to all the interior spaces. A corridor run- Company designed by Cutler Anderson Architectsning the full length of the uphill side of the house provides access to all Lighting: Tech Lighting; Venzia Lightof the rooms—the main living area, bedroom suite, guest room, and Fixtures For more information on this project,two full baths. Windows and window walls: go to Residential at Visitors to the house get their first peek of the building’s dis- Custom-designed by Jim Cutler 01.06 Architectural Record 163
  • 168. YYePG Proudly Presents, Thx for SupportThe house perches onan uneven downhillslope, affording dra-matic views of theSanta Monica Canyon.Three levels arestacked within the con-crete volume, coloredan iridescent lavender,which changes with thelight. The architect saysthe color was derivedfrom that of the euca-lyptus trees prevalenton the site.
  • 169. YYePG Proudly Presents, Thx for Support Johnston Marklee’s Hill House perches on a RESI DENTIAL precipitous site like a faceted diamond HOUSES ON H ILLS By Michael Webb 1 2 S ome of the best wine is made from vines that have to struggle for a foothold on steep slopes, and the same is true for residen- 4 3 tial architecture in Los Angeles. Starting with Wright, Schindler, and Neutra in the 1920s, architects have developed inventive 1. Bedroom SECTION 5 solutions for precipitous sites in Silver Lake, the Hollywood Hills, and 2. Library 6 7 west to Malibu. Few undeveloped plots remain, and the partnership of 3. Living/dining area Sharon Johnston and Mark Lee was challenged to build a spacious spec 4. Kitchen 0 10 FT. house on a small and irregular plot of land that drops unevenly from a 5. Utility room 3 M. busy street to command a panoramic view over Santa Monica Canyon. 6. Sunroom The local Hillside Ordinance limits height (48 feet from the lowest point) 7. Master bath and bulk in an effort to preserve the rustic character of the canyon. An earlier, failed attempt to build on the site would have required 23 caissons from the slope, much like John Lautner’s celebrated Chemosphere House. to meet the city’s stringent seismic code. Its chamfered elegance also recalls the massing diagrams for New York The architects turned these constraints to advantage by tapering skyscrapers that Hugh Ferris transformed into works of art.P H OTO G R A P H Y : © E R I C S TAU D E N M A I E R their three-level block at the top and bottom. This allowed them to min- The design and permitting process stretched over 18 months, at imize the footprint, reduce the number of costly caissons to nine, and free a time when the two partners were completing the Sale House—a mod- up space for a backyard, while maximizing the volume within the zoning est cluster of gray cubes on a flat site in Venice, California. When the envelope. The form emerged as a response to the site and regulations, and the architects massaged it in physical models and with Form Z software Project: Hill House, Pacific Palisades, Engineers: William Koh & Associates until they had sculpted a 3,600-square-foot interior. In contrast to other California (structural); CC & R (civil); Jim attempts to max out the site, the Hill House seems to grow organically Architect: Johnston Marklee & Sadler (glass) Associates—Mark Lee, principal in Consultants: Lush Life LA (land- Michael Webb is the author of many books on architecture and design, most charge; Sharon Johnston, AIA, Jeff scape); Dan Wienreber (lighting); recently Art/Invention/House and Adventurous Wine Architecture. He lives in Adams, Mark Rea Baker, project Jack Pierson (artist/color) a Richard Neutra hillside apartment near UCLA. architects General contractor: Hinerfeld-Ward 01.06 Architectural Record 165
  • 170. YYePG Proudly Presents, Thx for SupportHOUSES ON H ILLSRESI DENTIAL The dramatic space of side, a central steel the living/dining room staircase provides floor opens to views on access to the home’s one side. On the other three levels. client had second thoughts and put the plot and plans up for sale, the architects persuaded family friends to become investors so they could carry the project to completion. Two years later, the house was done, and 1 5 3 the architects quickly found a buyer in Chan Luu, a Vietnamese- American who designs cutting-edge jewelry and clothes. The shape 6 4 reminded her of a faceted diamond, and she found the interior to be an 2 ideal fit. The two outer walls of the poured-concrete base are tilted per- 7 pendicular to the 47-degree slope, working in compression with the inner N 0 10 FT. FIRST FLOOR SECOND FLOOR 3 M. THIS IS A LITTLE HOUSE THAT THINKS BIG WITHOUT OVERWHELMING ITS NEIGHBORS. 1. Master bedroom 2. Master bath retaining walls, while tie beams within a concrete deck anchor the house 3. Master closet 9 8 at the top of the slope. A faceted steel cage encloses the mezzanine, with 4. Living/dining area the bedroom cantilevered over the garage at street level. This structural 5. Kitchen 11 frame is concealed by a layer of a waterproof and elastic polymer-based 6. Garage mix that was troweled onto a substrate of 3⁄4-inch plywood, creating a 7. Entry 10 seamless skin that unites the angled planes. The textured envelope catches 8. Library the light and conceals minor imperfections, while its pale lavender hue 9. Study THIRD FLOOR echoes the color of the neighboring eucalyptus trees. 10. Bedroom The house abuts a street that cascades down, past a well-hidden 11. Bath 166 Architectural Record 01.06
  • 171. YYePG Proudly Presents, Thx for Support TM The best roof money can buy.Farewell, Mills & GatschArchitects, LLC. Painted TCS II® Terne-Coated Stainless Gently, thoughtfully and with great care – like raising a child – that’s how you give a makeover to 110-year-old building like The Thompson Park Visitor Center, Lincroft, New Jersey. After proper consideration, painted Follansbee TCS II roofing became the architect’s choice – for its appearance, superior corrosion resistance, and because chances are very good that it will still be working like new when the children of the children of the children we mentioned come to visit. Follansbee – for those who demand the very best. Call or visit Follansbee online today to learn more. 800.624.6906 CIRCLE 55 ON READER SERVICE CARD OR GO TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/
  • 172. YYePG Proudly Presents, Thx for SupportHOUSES ON H ILLSRESI DENTIAL The shifting angles and modest size of the tilted planes of the radi- spaces (this page and ant, light-filled interior opposite). A mezzanine convey an expansive- overlooks the living- ness that belies the room area (above). Eames House and to the Pacific Coast Highway. An enigmatically blank facade, broken only by a single recessed slot above the garage, baffles noise from the street and assures privacy. The white, light-filled interior offers a dramatic contrast. Stairs link the master suite on the lowest level in the base to the living-dining area and kitchen, which are tucked below the library off a mezzanine gallery. The ceiling slopes sharply down and the mezzanine is slightly rotated to force the perspective. A folded steel staircase with high parapets and deep-set window openings framing treetops add to the drama. Spaces flow easily into each other and out through pocketing glass sliders that open up two sides of the living area to the wooded canyon. The interior spaces have an expansiveness and energy that belies their modest dimensions. This is a little house that thinks big without overwhelming its neighbors. ■ Sources Duravit; Corian Roofing/exterior cladding: Grailcoat Tile: Dal Tile Windows: Fleetwood (aluminum); R & C Glass (glazing) Skylights: Sun Valley Skylights For more information on this project, Lighting: Lightolier; Liton; Alkco go to Residential at Plumbing: Dornbracht; KWC; 168 Architectural Record 01.06
  • 173. EXTRAORDINARY. YYePG Proudly Presents, Thx for SupportANY W Y YOU SLICE IT. A Natural rock cut thin. Exquisite brick cut thin. Made beautiful by Robinson Brick Company. 800-477-9002 /Record CIRCLE 56 ON READER SERVICE CARD OR GO TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/
  • 174. YYePG Proudly Presents, Thx for Support The planes of the roof include rows of maple includes three lines respond to one trees that reinforce buildings and two another (top). Dan the formal lines of courtyards linking the Kiley’s subtle land- the main residence structures (opposite). scape interventions (below). The complex170 Architectural Record 01.06
  • 175. YYePG Proudly Presents, Thx for Support Nature and the man-made join harmoniously at RESI DENTIAL Peter Rose’s Art Studio and Residence HOUSES ON H ILLS By Jane F. Kolleeny T he pace is slow in Sharon, Connecticut, a picturesque village in signal domesticity. Approaching from behind the buildings into one of Litchfield County, located in the northwest corner of the state. two courtyards, visitors first see the garage/guest suite, then the art stu- Reminders of the area’s colonial past are evident in the covered dio on the right, and the main house on the left. The ensemble rests bridges and mossy stone walls abundant there. Weathercock comfortably on the edge of a grassy field, sitting back from the crest of a Farm, among the many old farms that dot the landscape, consists of a hill, “capturing the views but not getting in their way,” as one of the own- 100-acre tract of land with barns formerly used for livestock. Purchased ers observed. by a couple and their teenage daughter in the late 1990s, the farm itself Along with the unexpected use of concrete block, the architect was easily revived with 100 Angus cattle, but the site lacked proper specified a lead-coated cooper roof, tongue-in-groove stained cedar sid- accommodations for the new homeowners. ing, and two brick chimneys on the main house, all of which help theA N TO N G R A S S I ( T H I S PA G E A N D O P P O S I T E , B OT TO M ) The owners started work on their home by hiring Cambridge, building blend with the muted hues of the landscape. The art studio andP H OTO G R A P H Y : © A N DY B U S H ( O P P O S I T E , TO P ) ; Massachusetts, architect Peter Rose, AIA. While they began the design guest quarters pick up the theme. Visually, the group of buildings are so process with visions of white clapboard on the exterior, a material com- thoroughly rooted in the environment that they seem defined from with- mon in the residential architecture of New England, they ended up with out, rather than from within. concrete block, a choice that both surprised and delighted them. The main house is sliced in half longitudinally with a hallway “Most homeowners think they know what they want and then that reaches from one end to the other, defining a border between the go about the task of pursuing an outcome,” said Rose. “In this case, the public one-story areas that open to views on the west, and the private owner put conventional thinking aside and engaged in a process with me, two-story program behind. The living room, library, and office face west- founded on the belief that ‘not knowing’ is the best place to begin, and erly views, while the kitchen, dining, bath, and laundry room compose white clapboard simply did not evolve as the material of choice.” the back-lying areas of the main floor, with bedroom suites forming the Instead, a three-building compound emerged, consisting of a main house, an artist’s studio, and garage/guest quarters. As visitors turn Project: Art Studio and Residence, of Dan Kiley (landscape) onto the the property’s dirt road, they are greeted by the red barns of the Sharon, Connecticut General contractor: Dick Coon farm and the wary gaze of the cattle. The road meanders up a hill, where Architect: The Office of Peter Rose Construction a sequence of subtle gestures—a woodpile, a stone wall, a gravel drive— Consultants: Arup (engineer); Office 01.06 Architectural Record 171
  • 176. 1 YYePG Proudly Presents, Thx for Support 3 4 2 Adjustable built-in 5 shelves in the library are custom-designed in wood and stainless- steel (opposite, top). 6 3 An end-to-end hallway 7 in the main house delineates public and private spaces (oppo- 1. Entry road site, bottom). The 2. Guest quarters/garage exterior walls of the 3. Courtyard main house are com- 4. Firewood storage posed of concrete 5. Existing stone walls block and tongue-in- 6. Art studio groove cedar siding. 7. Main house The building is topped 0 50 FT.SITE PLAN N 8. Storage by two brick chimneys 15 M. 9. Entry from courtyard (below). 9 6 7 8 0 3 FT.ART STUDIO: EAST-WEST SECTION ART STUDIO: NORTH-SOUTH SECTION 1 M.
  • 177. YYePG Proudly Presents, Thx for Support RESI DENTIAL HOUSES ON H ILLS second story, all tucked into the slope of the land. Landscape architect Dan Kiley, with whom Rose frequently collaborated before Kiley’s deathP H OTO G R A P H Y : © A N TO N G R A S S I ( O P P O S I T E ) ; A N DY B U S H ( T H I S PA G E ) in 2004, extended and reinforced this formal line of demarcation into the landscape with several rows of maple trees running parallel to it. Inside, architecture, furniture, and art mix modern and coun- try metaphors in a sensitively arranged composition of color and form. The concrete-block walls of the house are rough-hewn, a quality both architect and owner appreciated. Red cedar wood paneling camouflages a multitude of built-ins, nooks and crannies, and ample storage cabinets for the typical clutter of daily living. Due to the absence of overhead cabinets, light in the kitchen remains unobstructed, with storage below the granite counters. All the windows are framed in mahogany, custom-made by master craftsman William Parry. Three fireplaces with Kasota stone man- tles warm up the interiors, and custom hemp rugs of neutral color add an elegant, understated touch. The wife, a painter, has strategically mounted large Modernist paintings in the house, skillfully playing them off the Minimalist design of the architecture. The art studio features an open work area, offices, and utility spaces. Daylight floods the work space, tumbling from skylights, high window cavities, and floor-to-ceiling windows on the north, which slide into wall openings to create an outdoor gathering area with views of far-
  • 178. YYePG Proudly Presents, Thx for Support Abundant light from tall windows, skylights, and high window cavities illuminates the work space in the art studio (left). Windows on the north side of the studio open to an outdoor gathering area (bot- tom). In the main house, a screened porch is reached off a dining/ sitting room (opposite). 1. Hallway 2. Office 3. Living room 6 4. Library 8 7 10 7 10 11 9 5. Dining/sitting room 7 12 13 6. Kitchen 5 1 11 10 7. Storage 1 8. Laundry 9. Mudroom 2 3 4 10. Bath 11. Bedroom 12. Reading area 0 10 FT. NMAIN HOUSE: MAIN FLOOR 3 M. MAIN HOUSE: UPPER FLOOR 13. Study
  • 179. YYePG Proudly Presents, Thx for Support RESI DENTIAL HOUSES ON H ILLS off mountains. After working on a painting, the wife can step out onto the “The north and south fields would suddenly be measurable and finite if aP H OTO G R A P H Y : C O U R T E SY O F F I C E O F P E T E R R O S E ( O P P O S I T E , porch, where a single fruit tree deftly planted by Kiley provides perspec- big lumbering house were sited there,” Rose explains. By breaking up the tive to the distant views. In the last building of the complex, one finds house into pieces, the field remains unified both within itself and with theTO P ) ; A N DY B U S H ( T H I S PA G E A N D O P P O S I T E , B OT TO M ) modest-size guest quarters and a generous three-car garage with roll-up parts of the complex. industrial steel doors. Rose refers to his work as a conversation between the volumes Not immediately evident to the onlooker, order and irregularity of the house and the landscape. The parts of the whole play a melody: combine in interesting ways throughout the buildings. For example, the The planes of the rooflines, for example, respond to each other. At the front of the main house is not symmetrical with the back, which is rotated same time, the contrast between concrete and wood will slowly erode away, bending to open to views and gain space where needed. In addition, from the weather, trees will mature and cover the walls, and walls will the threshold on the guest house entrance is not parallel to the door, and the become stained. Over time, nature and the man-made will continue the walls of some of the structures are not perpendicular to one another. evolution of melding with each other in ways that white clapboard Asymmetry both creates interest and accomplishes certain tasks, such as could never have accommodated. ■ enlarging a room and opening it up to light. Says Rose,“During my career, I have become interested in misalignment, without it being an error, trusting Sources Kitchen floors: Caswell Flooring my instincts to allow things to adjust asymmetrically for some experiential Windows: William Parry Window Cement board: CemBonit purpose. This introduces a kind of irritant or odd note to a fairly disciplined Company thing, sliding and rotating volumes with precision and grace.” Cabinetmaker: Menuiserie Mont For more information on this project, The total square footage of the ensemble is 10,000, yet the build- Royal go to Residential at ings, broken into discrete parts as they are, convey modest dimensions. 01.06 Architectural Record 175
  • 180. YYePG Proudly Presents, Thx for Support
  • 181. YYePG Proudly Presents, Thx for Support Taylor_Smyth architects’ Sunset Cabin ages RESI DENTIAL gracefully in its hillside context HOUSES ON H ILLS 0 30 FT. N 9 M. By Kelly Rude T hough three generations of Toronto’s well-heeled have had cot- tages at Lake Simcoe, one hour’s drive north of the city, outsiders would never guess the modest cabins were here, never mind occupied. But the rustic and romantic true grit of Toronto’s last century of style is still very much alive, at least in this neck of the woods. “My clients hike and camp when they’re here,” Toronto architect Michael Taylor explains on the drive up to Sunset Cabin, on an autumn day with maples at their prime, bathed in a light at once crisp and clear, soft and mellow. “It is about the light and the views,” says Taylor, as we approach his clients’ main cottage with a west view to the lake. The cottage owners, a couple, commissioned Taylor_Smyth architects to design a private cabin separate but related to the rest of an eclectic mix of sleeping shelters (one is simply a canvas tent stretched on a wood frame) that dot the 1-acre property. The couple, their four adult children, and a steady flow of visitors ensure that the main house and three sleeping cabins on the property are occupied. While two of the cab- ins are near the main house, this one is about 150 feet away, perched on a rock on a hillside that gently slopes toward the lake. “We needed to get away from everyone and have a space of our own,” explains the wife. “Because at any one time there could be 10 to 15 people sleeping over.” Previously, she and her husband would take refuge in one of the five bedrooms in the main house, which buzzed with energy whenever a crowd showed up for the evening meal. “And the location of the new cabin was our favorite place to sit at sunset.” Overlooking Lake screen of 1-by-3-inch Given that the site had such a clear focus, the architects chose to Simcoe, the cabin horizontal cedar slats frame the experience of it as unobtrusively as possible, with a simple, flat- boasts excellent views. covers portions ofP H OTO G R A P H Y : © B E N R A H N / A - F R A M E roofed glass box, sheathed on three sides with a varied, rhythmic pattern of The floor of the build- the floor-to-ceiling 1-by-3-inch horizontal cedar slats. Fabricated in a parking lot in Toronto ing extends outside glass windows, con- next to a commercial building owned by the client, the structure was then toward the lake to trasting openness with become a deck. A protection. Canadian design journalist Kelly Rude contributes to a variety of magazines and journals, including Interior Design, Surface, Azure, and Canadian Interiors. Project: Sunset Cabin, Lake Simcoe, Michael LaFreniere, project team near Toronto, Canada Consultant: GROW (landscape) Architect: Taylor_Smyth architects— General contractor: The Brothers Michael Taylor, partner in charge; Dressler, with Jaan Poldaas 01.06 Architectural Record 177
  • 182. YYePG Proudly Presents, Thx for SupportHOUSES ON H ILLSRESI DENTIAL 1. Porch One enters from the sequence provides a 2. Cabin south via an enclosed thoughtful transition 3. Deck porch running the width between arriving and 1 2 3 4. Outdoor shower of the cabin. This entry settling inside. 5. Bath 5 4 FLOOR PLAN 0 3 FT. N 1 M. disassembled, moved on a flat-bed truck, and reconstructed on-site, supported by two steel beams on two concrete caissons.“The level of crafts- manship and detail is second to none,” says the husband, referring to the work of his builders, Jaan Poldaas and the Dressler Brothers, who are mill- workers by trade. Made with cedar windows, doors, and cladding, with birch- plywood panels for the interior floors, back wall, ceiling, and built-ins, the cabin was sited to orient the bed toward the summer sunset. You enter from the south via an enclosed porch running the width of the 15- by-18-foot, one-room shed. A nod to the mudrooms typical of the country houses of a bygone era, the porch is a thoughtful transition between arriving from the outside and stretching out on the bed to bask in the vista. “Lie down and check out the view,” offers the wife. The left side of the window displays peek-a-boo glimpses, due to the narrow horizon- tal slats. On the right, a large span of open glass provides the full frontal view to the lake and beyond. Regular sights include migrating geese skid- ding on water in the fall and coyotes striding on ice in winter. Functioning year-round, the cabin is heated by a wood-burning stove and a small back- up electric heater. An outside shower deck positioned with just enough privacy yet 178 Architectural Record 01.06
  • 183. YYePG Proudly Presents, Thx for SupportT H I N K O F A R O O F A S A 5,000 - S Q U A R E - F O O T C A N V A S. Create your own work of art using Lamarite® Slate Composite Shingles—available in four colors and 5-, 7-, and 12-inch widths. The shingles are listed for U.L. Class A fire resistance and U.L. Standard 2218, Class 4 impact resistance, and offered with a 50-year limited warranty* Offer the natural . beauty and premium performance of Lamarite Slate Composite Shingles. For more information, call TAMKO today at 1-800-641-4691 or visit 1-800-641-4691 Roof color on house is Dusk Grey with Mulberry accent. Color shown in shingle inset is Dusk Grey. * For information regarding, or to receive a copy of, TAMKO’s limited warranty, contact your local TAMKO representative, visit us online at, or call us at 800-641-4691. Representation of colors is as accurate as our printing will permit. PATENT PENDING ©2005 TAMKO Roofing Products, Inc. CIRCLE 57 ON READER SERVICE CARD OR GO TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/
  • 184. YYePG Proudly Presents, Thx for SupportHOUSES ON H ILLSRESI DENTIAL totally open to the elements reflects the family’s attitude toward design Slats break up the light within the environment. Other examples of this ethos include a chemical into random patterns on composting toilet housed in a small outhouse that blends seamlessly with the interior (above left). the cabin’s exterior elements, and an organic flat roof planted with herbs The cabin is no more and sedums, a hardy plant common on green roofs. Hugging the sloping than a cozy bedroom hill, the roof camouflages the cabin, concealing it from the neighbors. with views (above right), “The appeal of the cottage is in its one-room sense of enclosure, which are tempered by not unlike Laugier’s primitive hut,” Taylor proposes. “All wood, in the the filtered light, so as woods … open to it all,” he continues. “And at the same time, it references not to overwhelm the the Modern tradition of pavilions in the landscape à la Philip Johnson occupant (below). and Mies van der Rohe. So it’s a combination of private hut and an approach to Modern detailing.” Exposure to the elements has turned the cedar-clad cabin a soft silver gray. This sign of graceful aging is becoming increasingly rare, as original modest cottage buildings elsewhere on Lake Simcoe make way for either A-frame villa monsters or High Modernist monoliths. “How does a building grow from its site?” Taylor asks. The new cabin succeeds in a manner of quiet utility, as a fitting tribute to a country cottage context of small, discrete buildings, where people still get away to put their feet up and let their hair down. ■ Sources Green roof: Roofscapes Woodburning fireplace: Morso Rocking chair: Scott Laughton Locksets: Upper Canada Hardware Composting toilet: Sun-Mar Hinges: LCN Windows and doors: The Brothers For more information on this project, Dressler, with Jaan Poldaas go to Residential at Exterior cladding: T&G Siding 180 Architectural Record 01.06
  • 186. YYePG Proudly Presents, Thx for Support ARCHITECTURAL HARDWARE • ‘All-Glass’ Entrance and Storefront Systems • Panic Handle Systems • Structural Glass Fittings • Commercial Patch Hardware • Display HardwareGet your free CRL CD-Rom Catalogwith the full color AH03 ArchitecturalHardware catalog, or view it onlineat ISO 9001:2000 Certified ® C.R. LAURENCE COMPANY Architectural Products Phone: (800) 421-6144 Manufacturing Division Fax: (800) 587-7501 CIRCLE 59 ON READER SERVICE CARD OR GO VH176-12/05 TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/
  • 187. Residential Products CEDIA Review Thx for Support YYePG Proudly Presents, RESI DENTIALTrimmed-down electronics and iPod compatibility were the main themes at the Custom Electronics Design &Installation Association trade show in Indianapolis last September. An abundance of flat-screen TVs and slimspeaker solutions responded to an increasing appetite for low-profile electronics, while audio companiesscrambled to build iPod functionality into multiroom music products. Here are a few highlights. Rebecca Day RESOURCESĬ MP3 wall docking station ǡĬ Thin is inWith iPort’s IW-4 iPod dock, now the iPod can become an additional music source The boxy loudspeaker has gone the wayto a distributed audio system. The iPort dock mounts in the wall, where it wires into of the bulky tube TV. Infinity’s Cascadea whole-house audio system and electrical power. An infrared sensor at the bottom series of thin and shallow loudspeakersof the port accepts commands from an iPod remote control across the room or from represents the new generation ofa radio-frequency-controlled, touch-screen remote located elsewhere in the house. loudspeakers that are engineered toAlternatively, users can control the iPod from the port, which doubles as a battery complement flat-panel TVs. To achievecharger. iPort, San Clemente, Calif. CIRCLE 200 the thinner design, Infinity created a new, flat-panel midrange driver to replace the large cone driver used in traditional floor-standing speakers. The five models in the Cascade line are available in cherry veneer, high-gloss silver, or high-gloss black finish. Infinity Systems, Woodbury, N.Y. CIRCLE 201Ĭ One touchy keypadColorado vNet replaces keypad buttons with a programmable touch-sensitive plas-tic surface that responds to various types of button taps. The configurable keypadsreplace the need for multiple keypad SKUs, and installers can modify the behaviorof the touch pad to respond to the duration of touch. A single tap could mimic flip-ping a light switch orsetting a lighting scene,while a longer touch couldincrease the intensity oflighting. A backlight reactsto ambient lighting to cre-ate an appropriate settingfor the light level in aroom. LEDs and audibletones provide feedback į Home theater experience for smaller footprintsthat commands have been Da-Lite’s Acoustical Imager provides a speaker solution for homeowners who can’timplemented. Colorado accommodate floor-standing or in-wall loudspeakers but still want the home theatervNet, Loveland, Colo. experience delivered by a projection TV screen. The Imager’s frame incorporates left, center, and right front speakers, and a subwoofer with an additional pair of table- orCIRCLE 202 floor-mounted speakers for surround sound complete the package. The screen is avail- able in 4:3 or 16:9 aspect ratios and its Pro-Trim fabric covering is said to absorb light in the viewing area. Da-Lite Screen Company, Warsaw, Ind. CIRCLE 203For more information, circle item numbers on Reader Service Card or go to, under Products, then Reader Service. 01.06 Architectural Record 183
  • 188. Residential Products CEDIAYYePG Proudly Presents,Programmable in-ceiling speakers speakers over in-wall types, and Thx for Support ĬRESOURCES Review Consumers are showing a preference for in-ceiling manufacturers are looking for ways to differentiate products. SpeakerCraft’s novel approach in the new Time line of speakers uses motorization to position the speak- Ǡ The latest in ers for music or home theater and then raise them flush to the ceiling when not in television-mirror use. When activated, the speakers drop from the ceiling at angles of 15, 30, and 45RESI DENTIAL technology degrees and then rotate toward the preprogrammed listening position. Presets The mirror TV is a enable installers to address multiple seating locations and different music and natural for any living movie preferences. SpeakerCraft, Riverside, Calif. CIRCLE 205 space where clients want to watch televi- sion without the display dominating the room. When the TV is off, Philip’s MiraVision becomes a standard mirror on the wall and hides all wires running behind the display. Available in 32 and Ĭ Largest LCD TV yet 42 sizes, MiraVision Sharp has pushed the envelope of the LCD TV with the largest screen size to provides a big-screen, date, a 65 model that delivers high-end 1080p resolution. With a built-in HDTV space-saving solution tuner and CableCard slot, the LC-65D9OU can show a high-definition cable for small rooms. MiraVision switches from mirror to TV mode at the touch of a broadcast without add-on components for users who want to minimize the button, and its frame can be replaced to match the décor. Philips Consumer amount of electronics in a room. A built-in TV Guide On Screen provides users Electronics, Atlanta. CIRCLE 204 with an electronic program guide if they choose not to have a cable box. Both the stand and the speakers are detachable. Sharp Electronics, Mahwah, N.J. CIRCLE 206 į Command center Vantage Controls’ TouchPoint HD is the first touch-screen controller to offer HDTV resolution for video content. The on-wall controller operates a full array of household subsystems, including lighting, security, HVAC, and appliances, as well as audio and video. The video input can display programming from cable or satellite TV as well as networked security cameras throughout the house. Vantage Systems, Orem, Utah. CIRCLE 207 ǡ Space-saving bar-style speaker Polk’s Surround Bar is designed for homeowners who want to improve on the sound quality of plasma TV speakers but don’t want to sacrifice floor or ceiling space to get it. The single, bar-style speaker mounts above or beneath a plasma TV and accepts five rear-panel inputs to deliver five channels of surround sound from a single enclosure. Using signal processing and acoustical geometry, the speaker can work in any room and even outdoors in a protected location. Polk Audio, Baltimore. CIRCLE 208 184 Architectural Record 01.06 For more information, circle item numbers on Reader Service Card or go to, under Products, then Reader Service.
  • 189. YYePG Proudly Presents, Thx for SupportMonierLifetile is more than just a roof tile manufacturer. We’re committed to providing total solutions forbeautifying and protecting homes. That’s why we offer a broad range of styles, colors and profiles plusinnovative component products, installation techniques and design tools—everything you need to create thekind of curb appeal that sells homes faster and at a higher premium. It’s also why our tile is backed by ourexclusive, Fully Transferable, Limited Lifetime Warranty—to help ensure beauty that lasts a lifetime. To learnmore, contact MonierLifetile at (800) 571-TILE (8453), ext. 379 or visit us at IBS in Orlando at Booth #W57611-800-571-TILE (8453) ext. CIRCLE 60 ON READER SERVICE CARD OR GO TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/
  • 190. It’s true! Slenderwall will make a YYePG Proudly Presents, Thx for Support permanent change in the way you design. Panelizing precast The only authentic stone and brick to precast brick for slash costs class “A” projects Etreme hurricane, Cantilivers - using tornado and 30lb per sq ft. earthquake Slenderwall tested Fewer foundation pilings Perfect for save up to 50% of Jefferson at Logan Circle, Washington, D.C. re-cladding and new cladding costs construction CIRCLE 61 ON READER SERVICE CARD OR GO TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/ Call today for literature, design manual and licensing opportunities. SLENDERWALL® is available from the finest architectural precasters through Easi-Set Industries, licensor of precast concrete products worldwide. EASI-SET ® INDUSTRIES Midland, VA 22722 • 1-800-547-4045 • ®Architectural Precast Concrete/Steel Stud Building Panels Easi-Set Industries is a wholly owned subsidiary ofS1 Smith-Midland Corporation, a publicly traded company.
  • 191. YYePG Proudly Presents, Thx for Support Products Preservation Our theme this month focuses on the latest preservation products on the market, including offerings for renovation, restoration, and adaptive-reuse projects. From the rooftop to the underlayment, these products help transform, preserve, and protect a range of building types. Rita Catinella OrrellNew cast stone reproduction sourceKay Berry, a manufacturer and dis- ments are available in a range oftributor of cast stone products styles—from classic Old World tobased in western Pennsylvania, has contemporary—in quantities fromrecently introduced the company’s one to 1,000.Custom Architectural Elements & Two sample products fromReproduction division. Employing the new division include a repro-Kay Berry’s existing cutting-edge duction of a meticulously detailedtechnology, the new division produces decorative medallion (far right)made-to-order decorative stone created by the latest rubber moldaccents in a broad range of colors technology, and a Roman-stylefor residential and commercial ball finial and pier cap (near right)builders and architects. Established that make a striking ornamentalin 1993, the company product line accent to a brick column. The divi-includes stone sculptures, benches, sion’s work is not limited to outsidebirdbaths, and a wide variety of gar- projects: The facade on the mainden and home accent rock designs. entrance of the Kay Berry produc- Products from Kay Kay Berry’s team of artists tion facility (right) demonstrates Berry’s Customwork with building professionals to examples of split rock, sill, and Architectural Elementsproduce original stone artwork headers designed and created & Reproductionsthat reflects the vision of a particu- inside the plant. Kay Berry, division include pierlar project, or to recreate existing Saxonburg, Pa. caps (above), medal-designs, accurately matching color CIRCLE 209 lions (above right),and texture. The architectural ele- and facades (right). The Revere House (left), built around 1680, stands today clad in cedar siding. of a few weeks last fall. According struction to the Revere House. to Nina Zannieri, executive director The house uses high-grade of the Paul Revere Memorial western red cedar siding with a Association that owns and oper- molded ege, in a range of lengths ates the home, cedar siding is used from 24 to 44. Using the material for the home for a variety of rea- originally intended for the home sons. “Information provided by was a top priority for the restoration architect Joseph Chandler, who did project team. “Even if lower-main- the original restoration in 1907 to tenance or longer-lasting materials 1908, indicates he found clap- are available today, our goal of his- boards on the house below one of torical accuracy must dictate our the surviving 17th-century case- choice of restoration materials,” ment windows,” says Zannieri. In says Zannieri. “In the case of theCedar siding continues to protect a landmark addition, a possibly original clap- Paul Revere House, we’re lucky board was found when the building that we’re able to use a materialThe Paul Revere House, built 90 percent of its original structure. was painted in 1996. There is also as beautiful and durable as cedar,around 1680, is downtown Boston’s In addition to undergoing nor- documentary evidence from the while still providing a historicallyoldest building and the twelfth- mal maintenance, a recent siding late-17th and early-18th centuries accurate restoration.” Western Redmost-visited historic home in the restoration using western red cedar indicating that cedar was available Cedar Lumber Association,nation. Restored to its original con- clapboards was completed on the in Massachusetts and was used on Vancouver. CIRCLE 210dition in 1907, the home still retains historic landmark over the course buildings of a similar age and con-For more information, circle item numbers on Reader Service Card or go to, under Products, then Reader Service. 01.06 Architectural Record 187
  • 192. YYePG Proudly Presents, Thx for Support Ĭ Historic charm without the historic hassle Products Preservation Custom made for each project, Kolbe & Kolbe’s Old World Classic windows fea- ture a brass pulley system, complete with brass chains and alloyed weights, that lower the unit to operateĬ Roof shingles built to last with ease due to the propor-Centennial Slate roof shingle simulates the natural color variations of true blended tionate balance between theslate at a fraction of the cost. Centennial Slate utilizes CertainTeed’s Super Shangle sash and weights. Ideal forconstruction with two full-size, 18 x 36 base shingles, resulting in four layers of shin- historic applications, the win-gle protection and 8 exposure when applied. The shingle is available in six colors, is dows are available in variousalgae-resistant, features Class A fire rating, and meets ASTM D3462, a tough shingle wood species and are tradi-performance standard required by many of today’s building codes. CertainTeed, Valley tionally designed triple-hungs,Forge, Pa. CIRCLE 211 double-hungs, and single- hung units. Kolbe Windows & Doors, Wausau, Wis. CIRCLE 212 Ǡ Welcome adaptive reuse The adaptive reuse of a carriage house and barn (top right) at Rockwood Park, Wilmington, Delaware, into the new visitors center (below right) was designed to match existing features of theǠ Affordable replacement Park’s historic 19th-cen-Builders Clad-Wood windows are tury Mansion Museum.crafted using solid pine AuraLast Follansbee’s TCS II roof waswood and offer homeowners a more specified to match theaffordable choice for wood window original terne roof that wasreplacement. Backed by a 20-year installed on the mansion inwarranty against wood decay, water the late 1970s. The visitor’sabsorption, and termite infestation, the center roof was completedwindows come standard with high-per- with 11,000 square feet offormance, argon-filled, low-E glass with Follansbee’s TCS II in 1coatings that block 84 percent of UV double-lock, standing-seam profile. To maintain consistency with the mansion’s colorrays and deliver 96 percent improve- scheme, the roof was painted with Follansbee’s Rapidri paint in a customized yellowishment in thermal performance during gray color. Follansbee, Follansbee, W.V. CIRCLE 214the winter. Jeld-Wen, Klamath Falls,Ore. CIRCLE 213 Ĭ All on the same level USG’s Tile and Flooring Division has introduced a new family of poured, self-level- ǡ Local restoration mortar ing cement underlayments called Ultraflow. All four of the new products offer high Cathedral Stone Products, the exclusive compressive strengths, performance, and versatility, utilizing a uniquely engi- U.S. manufacturer of Jahn historic neered cement chemistry. restoration mortar products, has installed The self-leveling underlay- new manufacturing and testing laborato- ments come presanded in ries at company headquarters in Hanover, a bag, mix easily at the job Maryland. With the new plant, orders site, and can be applied in can be shipped within 24 to 48 hours. a wide range of commercial, Previously, the products were formulated institutional, and residential and shipped from Germany. Cathedral flooring applications. USG, Stone Products, Hanover, Md. Chicago. CIRCLE 215 CIRCLE 216188 Architectural Record 01.06 For more information, circle item numbers on Reader Service Card or go to, under Products, then Reader Service.
  • 193. YYePG Proudly Presents, Thx for SupportNot Just AnotherBrick In The Wall.With Belden Brick you get more than just anotherbrick in your wall. You get unrivaled quality anddurability. Belden Brick products are available in avariety of colors, textures, sizes and shapes. All in all …Belden Brick - more than just another brick in the wall. Canton, Ohio / (330) 456-0031 An ISO 9001:2000 Registered Quality Management System CIRCLE 62 ON READER SERVICE CARD OR GO TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/
  • 194. YYePG Proudly Presents, Thx for Support For more information on the 2006 I-Codes, be sure to visit the ICC booth at the following industry show: CSI Show & Convention, Las Vegas, Booth # 947 CIRCLE 63 ON READER SERVICE CARD OR GOREF 44-05-050 TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/
  • 195. YYePG Proudly Presents, Thx for Support Product BriefsǠ Expressive tilesImagine Tile’s Expressionsceramic tile designs arecreated by a combination ofstate-of-the-art digital imagingand cutting-edge ceramic pro-duction techniques. The CanyonDesign (right), inspired by apiece of metal discovered in a200-year-old barn, has a natu- Product of the Month Venicia Cabinetsral textured look and comes in KraftMaid Cabinetry, known for traditional designs, has changed pace withfour colors, in both 16-square Venicia, a new line of European-styled residential and light-commercial cabi-and 8-square configurations nets. Outside of the kitchen, the cabinets can be used in baths, laundry rooms,for residential and commercial home offices, and other spaces.projects. The Florence design, inspired by Renaissance frescoes, simulates in great Venicia is an open-frame, semicus-detail the distressed and crackled effects of age on a crafted wall surface. Imagine tom cabinetry line that offers the look ofTile, Bloomfield, N.J. CIRCLE 217 imported cabinets at a lower price point. The open-frame design increases usable storage space, and the absence of horizon- tal rails and vertical stiles improves interior access. Venicia offers 29 door styles rang- ing from modern to transitional designs, 31 color and finish choices, two stainless- steel wall-hood designs, and more than 40 exclusive decorative hardware pieces. KraftMaid Cabinetry, Middlefield, Ohio. CIRCLE 218 Ĭ Operable screen system Nana Wall Systems has introduced a European-designed operable screen system to the U.S. market. The NanaScreen system is licensed by Nana Wall Systems and has been customized to complement the large, movable NanaWall opening glass wall sys- tem. NanaScreen is a series of collapsible, pleated-screen panels that connect the full width of the NanaWall, keeping out the bugs but letting in the breezes. The screen fea-įǠ Modular tures 4-wide, vertical cassettes to support the reinforced-polypropylene screen mesh.refrigeration When open, the NanaScreen collapses to the side and virtually vanishes into its verti-Thermador’s Freedom cal stiles with a simple glide of the panels. Nana Wall Systems, Mill Valley, Calif.Collection features the first CIRCLE 220modular fresh-food andfreezer columns that allowbuilt-in refrigeration to fitanywhere in the kitchen.Set to debut on July 4, thecollection will feature 24and 30 fresh-food columns; 18, 24, and 30 freezer columns; 18 and 24 dis-penser freezers; and a 36 bottom freezer with two or three doors. The collectionwill be available in stainless steel or matched to existing kitchen cabinetry for a fullyintegrated look. The collection will also offer a range of handy features, including ahinge that allows all the columns to be fully flush-mounted to the cabinetry; a motor-ized Liberty Shelf that moves a fully loaded shelf of up to 20 pounds with the touchof a button (above right); and a pull-down flip tray on the external water dispenserthat accommodates pitcher-size containers. Thermador, Huntington Beach, CIRCLE 219For more information, circle item numbers on Reader Service Card or go to, under Products, then Reader Service. 01.06 Architectural Record 191
  • 196. Good Design YYePG Proudly Presents, Thx for Supportis Good Business. The editors of BusinessWeek and Architectural Record invite you to enter 2006 BusinessWeek/Architectural Record Awards Good design is good for business.That’s why this distinguished award recognizes and rewards exceptionally designed work that makes a significantcontribution to the business aspirations of a given company or institution – backed by measurable business results. 2006 Award recipients will be featured in theNovember 2006 issues of BusinessWeek and Architectural Record magazines, read by over 5 million business and design professionals. For more information and an entry form, go to Entries must be postmarked no later than May 15, 2006.
  • 197. Product Briefs YYePG Proudly Presents, Thx for Support Let ADS do the left brain work for you. ǡ Shaping a spa environment Lasco Bathware’s new luxury brand, Contours, includes the new Radius Series bath and shower Left modules. Lasco partnered with Blue Design, a Los Angeles design firm, to develop the five contempo- rary baths and three luxury showers. Inspired by Schedules design elements of the BMW Z4 sports car, the baths Specs feature soft concave surfaces, pearlescent finishes, Documents and surface tension details. The baths include an air- Coordinates and-water hydrotherapy system, an inline heater, and one-touch functionality. The Euro-styled showers, Late Nights in 48 and 60 widths, have optional steam and body shower sprays, chromatherapy lighting, and a teak floor insert. Lasco Bathware, Anaheim, Calif. CIRCLE 221Ǡ If it can stand the heat …Norway’s Solarnor AS has developed the Do more of what youfirst high-temperature polymer collectorusing GE Plastics’ Noryl EN150SP resin. love. Work the right.The company wanted to find a replace-ment for the expensive and cumbersomechoices of copper and aluminum forthe reservoir in their solar panels. The RightSolarnor AS solar-panel system (right)collects the sun’s energy to heat water Designsthat can, in turn, heat rooms and providehot water. Noryl resin’s ability to with- Imaginesstand high water temperatures, plus its excellent hydrolytic Sketchesstability under constant exposure to water, made the mate- Createsrial a good candidate for the Solarnor design. Also on thesolar-energy front, CSI Solar Technologies selected GE’s VacationLexan EXL 9330 resin as a durable cover material for itssolar-module-battery connection box. GE Plastics, Pittsfield,Mass. CIRCLE 222 ǡ Superb solar control combination One of RECORD’S 2005 Product Reports Editors Picks, Architects, Plug ADS into Your Solarban 70XL glass is a new solar-control low-E glass CAD Workflow & Automate from PPG that offers an unprecedented combination of solar control and visible light transmittance (VLT) with a Documentation as You Design transparent, color-neutral appearance. In a standard 1 Try ADS-CAD for FREE TODAY. insulating glass unit, Solarban 70XL has a Solar Heat Gain In a matter of minutes you can start your first Coefficient of .27 with a VLT of 63 percent. That equates to project with ADS and see for yourself how easy and efficient it is. a Light to Solar Gain ratio of 2.3, which surpasses the per- formance of any other solar-control low-E glass on the Sign up for ADS-CAD at: market. Independent testing has shown that specification Or call for a free demo: 877 723 2371 of Solarban 70XL glass could defray initial capital costs Mention promotion AR15 and receive a 1-month FREE trial for cooling equipment by as much as 26 percent. PPG Industries, Pittsburgh. CIRCLE 223For more information, circle item numbers on Reader Service Card or go to Designed by, under Products, then Reader Service. CIRCLE 64 ON READER SERVICE CARD OR GO TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/
  • 198. Product BriefsThxPromosedia Review YYePG Proudly Presents, for SupportPromosedia is an annual trade fair dedicated entirely to residential andcontract seating made in the Friuli region of Italy. The following are a few ofthe winners in the Invited and Top Ten Competitions. Charles Linn, FAIAį Invited competition winnersThe Rodrock (left) and Soft (right) chairs were two of Promosedia’s six International Design Competition winners.Rodrock was designed by Munich-based Weisshaar/Kram. Its solid beech skids, bottom, and back are fastenedtogether using dozens of 1⁄5-wide wooden dowels. For accuracy’s sake, holes for the dowels are drilled with the aidof a computer-controlled drilling machine. Soft, designed by the Swedish firm Front, is a comfortable, form-fittingchair made of a wooden form wrapped with hundreds of small balls of wood that have been threaded over elasticcables. Promosedia, Udine, Italy. CIRCLE 224Ǡ Fits like its namesakePromosedia’s Top Ten Chairs are selected by a jury made up ofdesigners, journalists, and manufacturers. One of their selectionsincluded this sensuously contoured armchair called Glove. Its one-piece, ergonomically fitted seat and back are covered with oak veneer.Glove was designed by Daniel Rode for Vemap. It is supported by a steel framethat is finished in a satin chrome. A padded seat covered in leather is alsoavailable. Promosedia, Udine, Italy. CIRCLE 225 ǡ Colorful recliner The Lazy Mary is a simple, one-piece chaise longue made of injection-molded composite resins that are reinforced with fiberglass. It is ideal for poolside use at spas, resorts, and at home. The weather-resistant recliner comes in a number of colors and can be stacked for storage. Monica Graffeo designed the chair for Disguincio. Disguincio, Pordenone, Italy. CIRCLE 226 For more information, circle item numbers on Reader Service Card or go to, under Products, then Reader Service.
  • 199. YYePG Proudly Presents, Thx for SupportǠ Springy but firm seatingDesigners and members of the press at the show madeBoogie their choice for Promosedia’s Residential Chair ofthe Year. Daniel Rode’s dining-room chair for P.S.M. usesflat laminated-wood tubes for the seat and back, which arecovered with either light- or dark-stained oak veneer. Thesecomponents are attached to a steel frame finished in pol-ished chrome, which has a slight give when in use. P.S.M.,Udine, Italy. CIRCLE 227 ǡ Smooth, contoured comfort The Arod stool is fitted with an anatomically inspired, molded-plastic seat, which is available in a variety of solid and transparent colors, as well as chrome. A chrome- finished, tubular-steel superstructure is pictured (left); however, a second version, supported by a stainless-steel base and an adjustable-height column is also available. Claudio Dondoli and Marco Pocci of Studio Archirivolto designed Arod for Pedrali. Pedrali, Brescia, Italy. CIRCLE 228Ǡ A seat for swingersDesigner Giovanni Cigana’s Dafne, a stool for use in bars andrestaurants, was selected by design professionals and press attend-ing Promosedia as their choice for Contract Chair of the Year. Thelaminated-wood seat is covered with beech veneer, which can be finishedin bleached-oak, ebony, and zebra-striped finishes. The base is made oftextile-patterned stainless steel, and the height of the chromed supportingcolumn can be adjusted using a gas pump. The stool is manufactured byRover Plus. Rover Plus, Udine, Italy. CIRCLE 229 Innovators of Fine Solid Bronze Architectural Hardware 866.788.3631 toll free www.svbronze.comFor more information, circle item numbers on Reader Service Card or go, under Products, then Reader Service. CIRCLE 65 ON READER SERVICE CARD OR GO TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/
  • 200. YYePG Proudly Presents, Thx for Support Inspired by Light The Oval Series Lumec Head Office 640 Curé-Boivin blvd Boisbriand (Québec) J7G 2A7 Canada T.: 450.430.7040 F.: 450.430.1453 A Genlyte Company CIRCLE 66 ON READER SERVICE CARD OR GOTO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/
  • 201. ARCHITECTURAL TERRACOTTA Product Resource: Literature Proudly Presents, Thx for Support YYePG Corian showcase magazine To celebrate the finest works created with Corian—from Ron Arad’s Lo-Res-Tabula- Rasa table to KOL/MAC’s Resi-Rise skyscraper of the future—DuPont has published the first edition of Possibilities, a free, 52-page magazine that includes 115 images and descriptions of inspiring ways that Corian has been used as a design material. DuPont, Wilmington, Del. CIRCLE 230Lighting specifier referenceBeta Lighting has developed its SpecifierReference, a 432-page, full-color guide toBeta’s complete line of luminaires, includingarchitectural, security, high and low bay,canopy and parking, directional accent,sign, and indirect fixtures. Each luminaire isincluded, complete with product and appli-cation photo, and photometric, dimension,and lamp info. Beta Lighting, Sturtevant,Wis. CIRCLE 231Planning for a colorful futurePantone’s Summer 2007 edition of the Pantone View Colour Planner, its cross- discipline color forecasting tool, is titled The Evolution of Colour. The planner offers nine palettes for Summer 2007 for use in fashion, industry, cosmetics, interiors, and graphics. The planner sells for $750 from Pantone distributors nation- wide. Pantone, Carlstadt, N.J. CIRCLE 232 ® TERRART Façade design with large-format ceramic elements for a unique architectural style.Hardcover spec guideFocal Point’s 2006 Specifications Guideis completely redesigned and expanded Progress through a 400-page hardcover book.Highlights include a set of indexes tohelp find luminaires by either applicationtype or family name, over 100 applica-tion photographs, and a sturdy slipcaseto store the book and new brochuressent throughout the year. Focal Point, www.nbkusa.comChicago. www.focalpointlights.comCIRCLE 233 NBK North America Inc.For more information, circle item numbers on Reader Service Card or go to 74 Atlantic Avenue, Marbelhead, MA, under Products, then Reader Service. phone (781) 639 - 2662 · fax (781) 639 - 8055 email: CIRCLE 67 ON READER SERVICE CARD OR GO TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/
  • 202. YYePG Proudly Presents, Thx for Support Product Resource: On the Web Brooklyn-based 3 Square Design presents its best-selling storage, shelving, table, seating, and screen designs, along with a pre- view of its new Thin-Line series of furnishings for 2006. New options are planned for Spring 2006, including dining tables and chairs, beds, and additional upholstered pieces. The site also includes information on the firm’s custom design capabilities and some recent mentions in the press. Drawing roughly 7,000–10,000 visitors a month, Design*Sponge editor Grace Bonney turns a curator’s eye toward the products featured on her daily blog. Launched in August 2004, Design*Sponge averages five- to-six posts a day, including store and product reviews, sale and contest announcements, new designer profiles, trend forecasts, and store and studio tours. Last month, the site offered a holiday gift guide for design devotees, organized by different price points. Glasscor is a Portuguese brand of handmade accessory and lighting designs in colored glass and ceramic. Available in both Portuguese and English, the new Web site includes an easy-to-access product catalog that includes some technical data, draw- ings of the pieces, and color options. A link page guides readers to sites offering more information about Glasscor’s local region in Portugal as well other design sites of interest. Technical Glass Products has launched a new Web site designed to provide the trade with informa- tion, specifications, and ideas for the application of the company’s new architectural products, includ- ing structural glass, surfacing materials, decorative glass, fram- ing, and more. CIRCLE 68 ON READER SERVICE CARD OR GOTO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/
  • 203. YYePG Proudly Presents, Thx for Support WinGuard® Impact-Resistant Windows and Doors spell the end of plywood. The end of unsightly shutters and brackets, too.WinGuard maintains the look of your design, and even enhances it with a wide variety of custom shapes and sizes. But as beautiful as these windows and doors are, theyre also tough. WinGuard protects against strong winds and flying debris, meeting the strictest hurricane code requirements in the nation. In fact, even after the extraordinary 2004 hurricane season, with over one million units installed, WinGuard had zero reported impact failures. To learn more, visit Architect View at or call 1-877-WINGUARD CIRCLE 69 ON READER SERVICE CARD OR GO TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/
  • 204. YYePG Proudly Presents, Thx for SupportAIA Career Center: Extensive knowledge at for building Visit our booths at the AIA 2006 National Conventionarchitectural businesses and careers. and Design Exposition, June 8–10 at theAIArchitect: Breaking news, updates, and monthly in-depth reporting on the Los Angeles Convention Center.architecture profession. Membership Services: Booth #3369Contract Documents: The industry standard for managing risk and increasingyour competitive advantage. AIA Contract Documents: Booth #3663AIA Store: A great collection of architecture books, gifts, and products. AIA Store: Booth #1379eClassroom: Easy online access to fulfill your professional credit requirements.AIA Archiwire: The central online source for firm news.Compensation Report: The 2005 AIA Compensation Survey is one of theindustry’s most detailed reports.Visit to learn how AIA can make a difference for you! 800-242-3837
  • 205. Advertising Section CONTINUING EDUCATIONCONTINUING EDUCATION YYePG Proudly Presents, Thx for Support CONTINUING EDUCATION Barbara A. Nadel FAIA, Photo courtesy of Centria 202-206 Thermal and Moisture Control in Exterior Metal Walls By Peter J. Arsenault, AIA, NCARB, LEED-AP Provided by Centria LEARNING OBJECTIVES: • Describe thermal and moisture control performance for exterior metal walls • Define the components of an exterior wall system assembly • Analyze how different climates affect design of exterior wall systems • Review the advantages of using rainscreens in building design • Evaluate design criteria for superior performance exterior wall systems 207-211 Air Barriers: Increasing Building Performance, Decreasing Energy Costs By Charlotte Forbe Provided by Dupont Tyvek LEARNING OBJECTIVES: • Explain recent trends in air barriers for buildings • Understand the physics of air and moisture movement through the building enclosure • Discuss air barrier functions, benefits and performance requirements • Select the appropriate air barrier for building projects 213-217 Concrete Waterproofing with Crystalline Technology By Stanley Stark, FAIA Provided by Xypex LEARNING OBJECTIVES: • Understand how crystalline technology works with concrete to provide high performance waterproofing qualities • Explain the difference between porosity, permeability and the mechanics by which water is absorbed through concrete structures • Discuss how crystalline waterproofing technology improves the durability of concrete structures and reduces maintenance • Identify appropriate crystalline technology product applications for various types of concrete construction • Analyze how crystalline technology admixtures can impact building life cycle and project construction costs 218-222 The Pros and Cons of Restoring and Replacing Wood Windows By Karin Tetlow Provided by Artistic Doors & Windows, Inc. LEARNING OBJECTIVES: • Analyze the choices between restoring and replacing old wood windows • Describe the components and functions of old and replacement wood windows • Examine design issues, options, alternatives, and recommendations for renovation of old wood windows 201
  • 206. A I A / A RC H I T E C T U R A L R E C O R D Advertising SectionCONTINUING EDUCATION CONTINUING EDUCATION Series YYePG Proudly Presents, Thx for Support Thermal and Moisture Control in Exterior Metal Walls Achieving durable, economical, and sustainable metal wall systems Provided by Centria By Peter J. Arsenault, AIA, NCARB, LEED-AP ater in liquid and vapor states, and temperature changes have long been recognized W as the most destructive weathering elements affecting the entire building envelope, especially exterior walls. Accordingly, moisture management and thermal efficiency are critical keys to a successful exterior wall system. This success is best achieved when buildings are designed to respond to environmental and climatic conditions. However, since the predominant design of exterior walls currently employs multiple material components that are used in different climates, care must be taken to understand the interaction and proper selection of those different components. The combination 1. Moisture Problems and Causes of these energy The rapid rise of energy costs in the early 1970s led to a new efficiency changes standard of design for building envelopes that was more and this energy efficient and airtight than before. This is reflected in the growing number of energy code changes that require • Corrosion of metal structural elements in the wall cavity. comparatively • Reduction of thermal values of some insulation. higher moisture higher R-values and lower air infiltration rates for exterior walls, and other parts of the building envelope. Meanwhile, • Deterioration of internal components, such as tapes and wraps. level has caused • The potential for the growth of mold within the wall system. a new concern occupied spaces of buildings achieve relative humidity (RH) regarding moisture levels that are frequently around 40 percent. The combination of these energy efficiency changes and this While the first three of these concerns are common and long standing, mold has emerged retention in exterior as a major concern, particularly in multi-component walls. The three elements required for comparatively higher moisture level has caused a new wall systems that mold to grow are water (in vapor or liquid form), moderate temperature, and an organic food concern regarding moisture retention in exterior wall can create design systems that can create design challenges for architects. source that applies to many wood-based or paper-covered building materials. Moderate challenges for The problems caused by the presence of moisture in a wall temperature inside a wall cavity is common, which means that controlling mold requires architects. system cavity include: eliminating either the food source or moisture, or both. 2. Performance Requirements for Outer Wall Materials CONTINUING EDUCATION The weathering element of a multi-component wall system is the outer wall material. In Use the learning objectives below to focus your study as you addition to being the aesthetic wrap for the building, it is very important in determining the read Thermal and Moisture Control in Exterior Metal Walls. rest of the wall system design. Moisture management begins with the selection of this To earn one AIA/CES Learning Unit, including one hour of health, safety, outer material. welfare credit, answer the questions on page 206, then follow the report- ing instructions on page 224 or go to the Continuing Education section on and follow the reporting instructions. Porous Materials Materials like masonry, precast concrete, Exterior Insulation Finish Systems (EIFS), LEARNING OBJECTIVES and Glass Fiber Reinforced Concrete (GFRC) are porous materials that will absorb and After reading this article, you should be able to: retain moisture. Wind-driven rain in particular can be an issue for these porous • Describe thermal and moisture control performance for exterior metal walls. building materials that challenge designers to address the conditions that arise after • Define the components of an exterior wall system assembly. a storm. When the sun heats up the outer wall, the absorbed moisture is changed to • Analyze how different climates affect design of exterior wall systems. water vapor. The vapors move from the warm, high-RH area to the colder, often • Review the advantages of using rainscreens in building design. air-conditioned interior. A problem can occur in cold or moderate climates • Evaluate design criteria for superior performance exterior wall systems. where the vapors can pass through the wall system components, enter the wall cavity, and condense. 202
  • 207. A I A / A RC H I T E C T U R A L R E C O R D Advertising Section CONTINUING EDUCATION CONTINUING EDUCATION Series YYePG Proudly Presents, Thx for Support Non-Porous Materials • Air and water barriers: An Other materials, like metal, ineffective air barrier causing air glass, and polymer-based walls leakage is considerably worse, are non-porous and do not retain because 80 pints of water could moisture. They eliminate a large condense in the same one-week portion of the moisture or water time frame. The comparison vapor problem through their depicts how critical the air barrier characteristic of not absorbing is for moisture control. water. Metal cladding systems are such materials and they can Using the previous temperatures, further be designed to act as consider the temperatures of the rainscreens, to minimize water metal studs (Figure 5). These entry and to ventilate wall range from 17.5 degrees cavities where moisture can Fahrenheit on the exterior side to Wet porous materials are prone to moisture collect. Section detail of a typical multi-component 37 degrees Fahrenheit on the in wall cavities when heated by the sun wall assembly for cold climate construction. interior. This is significant, indicating a problem with either the air or vapor barriers entering the cavity. Any surface that is below the dew point of 453. Climatic Zone Considerations degrees Fahrenheit and in contact with the moisture laden air will cause condensation.Each of the four U.S. climatic zones raise varying degrees of moisture concerns. In the Condensation in the cavity will cause corrosion of the stud and reduction in the thermalsoutheast, during the summer months, the hot and humid ambient conditions can lead to value of fiberglass insulation (Figure 5).entrapment problems in the wall system. For the northern states, moisture control is moremoderate during the summer, while controlling moisture from interior conditions during thewinter is critical. Arid areas are considered low risk and do not have moisture problems. Plan detail of insulated metal stud wall and dew point issues that cause moisture condensation. Moisture Control Designs for Hot and Humid Climates In hot, humid southern climates, where moisture is a concern during the summer, the vapor barrier is installed at the U.S. climatic zones map exterior of the wall system (Figure 6). This layer is frequently a multipurpose material providingMoisture Control Designs for Cold to Very Cold Climates an air, water, and vapor barrier.Key elements for controlling moisture in a typical multi-component wall assembly for cold Any breaks in this barrier willclimates (Figure 4) are: allow air and vapors to enter the cavity. The temperature of the • The vapor barrier–retarder: Airflow and vapor move from warm high metal studs can be below the dew pressure to cold lower pressures. In northern regions, winter is the point when adjacent to interior critical time, when outside temperatures will average 8 degrees gypsum, and condensation will Fahrenheit, with a 20 percent RH and the interior ambient is 70 degrees form, causing corrosion, along with Fahrenheit, with a 40 percent RH. Given these conditions, the dew point