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NEWS 55 CLOSE-UP: ALEXANDERJERMyN'S BUILDING TYPE STUDY 1,OO8

STOREFRONT HEALTH CLtNICS B), Dayid Sokol HEALTH CARE
21 MIT BUILDING BOOM BRINGS NEW PROJECTS TO
CAMPUSBy ]omes Mccown 61 PRODUCTS: HEALTH CAREBy Kelly Beamon
99 INTRODUCTION
24 TOP 30O FIRMS: GENSLER LEADS FOR EtcHTH 64 PRODUCTS: PATNTS & FtN|SHESBy Kelly Beamon
IOO SAMSON PAVILION ATTHECLEVELANDCLINIC,
CONSECUTTVE yEAR By Miriam Sitz
BOOKS OHIO FoSTER + pAnrNens ByJames Gauer
26 AMERICAN MUSEUM OF NATURAL HISTORY 47 THE ABSENT HAND: REIMAGINING OUR AMERTCAN 106 HARALDSPLASS HOSPITAL, NORWAY C.F. MOLLER
BREAKS GROUND ON JEANNE GANG.DESIGNED LANDSCAPE BY SUZANNAH LESSARD
EXPANSTON By Miriam Sitz
By Josephine Minutillo
Reviewedby James S. Russell, FAIA
112 UC GARDNER NEUROSCIENCE INSTITUTE,
28 REVERED CHICAGO ARCHITECT STANLEY 48 WRIGHT AND NEW YORK THE MAKING OF
TIGERMAN DIES AT 88 By CathleenMccuiganand
clNclNNATt pERKtNs+tvtLLByAIex Kimoski
AMERICA'S ARCH'IECT BY ANTHONY ALOFSI N
Suzanne Stephens Redewe d by N orman Weinste in
I18 BLUERIDGEORTHODONTICS,NORTH
CARoLtNA CLARK NEXSEN By Miriam Sitz

DEPARTMENTS HIRPORTS OF THE FUTURE :.5

15O DATES&EVENTS
]8 EDITOR'S LETTER: COME FLY W|TH ME 69 OVERVIEW
155 SNAPSHOT: BUGA WOOD pAVtLtON tN GERMANY
30 TRIBUTE: l.M.PEt By Henry N. Cobb 74 JEWEL CHANGI AIRPORI SINGAPoRE SAFDIE
ByKaraMavros
ARcHrrEcrs By Joann Gonchar, FAIA
35 HOUSEOFTHE MONTH:ASTEVEN HoLL
BEACH HOUSE REIMAGtNEDBy Sarah Amelar 82 BEIJING DAXING INTERNATIONAL AIRPORT, CHINA
ZAHA HADID ARcHttzcts By AlexKimoski
41 LANDSCAPE: A TRIBUTE TO ROBERTO BURLE
MARX AT THE NYBG By Alex K].ifioski 88 ELMIRA CORNING REGIONAL AIRPORT, THIS PAGE: ARAZILIAN MODERN: fHE LIvING ART oF R,BERT,
NEW YORK FENNIcK MccREDIE ARcHITECTURE AURLEMARX AT THE NEW YORK BOTANICAL GARDEN, NEW
45 GUESSTHEARCHITECT YORK, BY RAYMOND JUNGLES. PHOTO BY CURTICE TAYLOR.
By I ames S. Russell, IhIA
52 IN FOCUS: A BOOKSTORE.CAFE IN MEXICO CITY COVER: BEIJING DAXING INTERNATIONAL AIRPORT, CHINA,
By Beth Broome
93 SIX NEW AVIATION PROJECTSBy Kara Mavros BY ZAHA HADID ARCHITECTS. PHOTO @ XINHUA/ALAMY.
95 LOOKING BACKATTHE TWA FLIGHTCENTER
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16 ARCHITECTURAL RECORD JULY 20.19

for the RECORD

Beyond the printed page: highlights from our website, live events, and other happenings.

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during the 2O19 AIA Conference
in early June. Publisher Alex fr l,)
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discussion with some of this year's
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of zGF Architects; Takashi Yanai of
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VISITING VERSAILLES representing Barbara Bestor. a
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Editor in chief Cathleen McGuigan (right) and deputy editor Suzanne o
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at the 2O19 Pritzker Architecture Prize ceremony, which took place J
at the Chateau de versailles in France on May 24.
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During the annual Brooklyn Designs showcase in mid-May, features editor
Josephine Minutillo (pictured) led a discussion at the Brooklyn Navy Yard
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with SHoP associate principal Angelica Baccon and OMA New York partner o
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Jason Long about residential developments along New York's East River.

PASS THE TORCH I

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on May 21, senior editor Joann Gonchar (second from right) moderated a panel at the center for E
Architecture in New York as part of the AIANY'S ToRcH Mentorship Program, speaking with o
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(from left to right) Frank Greene, Frances Halsband, Katherine Chia, and Andrew Bernheimer. F
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18 ARCHITECTURAL RECORD JULY 2019
editor's letter

Come Fly with Me

Architects tackle the daunting challenges of
improving travel in the airport of the future.
FREqUENT FLxTNG is a fact of modern life for most of us. In the last
few weeks, I flew to Paris for a memorable Pritzker Prize ceremony at
Versailles, honoring architect Arata Isozaki. Not long after, I flew to the
national AIA conference, where I could have booked the "Versailles-
style Napoleon suite" at the Paris Las Vegas, complete with a miniature
Eiffel Tower out front. Go figure.
On the way there, I stopped at the new TWA Hotel atJFK airport in
New York. The hotel's sleek, small rooms are housed in a pair of plain
seven-story glass-fronted structures, set like parentheses on each side ,t
I
ofEero Saarinen's TWA Flight Center. That sculpturally evocative, once-
threatened building (it was landmarked in 1994) has been beautifully / l
restored by Beyer Blinder Belle and repurposed as a lobby and lounge
for the hotel. A newJean-Georges Vongerichten restaurant is located on
the mezzanine where a Parisian caf6 once whetted the appetites of
international travelers for the cuisine that awaited them in France.
Saarinen's deliciously curvy space is the sexiest interior in America
-its floors a mosaic of tiny round, whiteJapanese tiles that swoop up ffi
to create seating; the upholstery and accents in classic TWA red. With
every move, the architect wanted to express excitement about the
future of air travel (and, remember, he and his team did all this And in the pages ahead, we take a look at three airports that
without a computer). But aviation was changing so quickly that the exempliS such forces for the future. Jewel Changi, an audacious glass-
terminal was soon obsolete. Between 1955, the year before Saarinen got domed structure at the Singapore airport, designed by Moshe Safdie,
the commission, and 1962, when it opened, passenger traffic at the with landscape by PWP, is an enormous leisure amenity with a forest,
airport, then called Idlewild, had more than tripled. Aircraft technol- garden, waterfall, and retail that is attracting not only passengers in
ogy, ofcourse, rapidly changed too. The design had been presented by transit but locals as well (page74\. South of Beijing, the new Daxing
the time the first commercial jetliner, the Boeing 7o7,was introduced Airport by Zaha Hadid Architects, slated to oPen this fall, is intended to
in 1958. The terminal's relatively small scale was overwhelmed by the take pressure off Beijing's Capital Airport, with four runways instead of
volume of travelers and size of planes, and finally it closed for good in three, and an intramodal transit system to get passengers in and out
2001-and just as well, for it's hard to imagine where they would have more efficiently. Its star-shaped form creates a maximum number of
put the ugly equipment for a TSA checkpoint after 9/11. gates, while shortening the distance its anticipated 72 million annual
The inadaptability of the TWA Flight Center remains a cautionary travelers (by 2025) would have to trek to their flights. At the other end
example to airport architects today, who face challenges far more of the scale, the Elmira Corning Regional Airport in upstate New York,
complex. As terminals grow ever vaster to accommodate more passen- by architects Fennick McCredie, incorporates design elements that are
gers and more flights-and security is paramount-how can designers almost domestic-comff couches and chairs, and a calming view out to
deftly anticipate the future? And how can architecture improve what is a grove oftrees from a curved route that leads passengers to security.
generally a dismal experience for air travelers? In this issue, nrcono (With only four gates, it is part of a trend in smaller airports to accom-
editors, led byJoann Gonchar, FAIA, exPlore the imperatives behind modate larger planes, which mean greater savings per seat for the
the next generation ofglobal airports (page72l. The forces governing airlines.)
these designs go beyond speed and efficiency to include catering to the Was air travel ever the dream adventure that the ad men and some
passenger: better wayfinding; shortening the distance from check-in to visionaries, including Saarinen, once imagined? Probably not. The
gate; employing biophilia and other strategies to create a more calming airport of the future may not bring back the romance, but maybe can o
f
atmosphere; adapting to changing modes of transportation to the restore halfthe fun ofgetting there. z
E
airport in the era oflyft and Uber. (Uber is beginning to offer helicop-
)
ter ride-sharing from Manhattan toJFK, in advance ofits launch in the
next few years of its planned Uber Elevate, a VTOl-vertical takeoff and Cd^fu-h-lnc,avi h= -
landing-aerial taxi system.) Cathleen McGuigan, Editor in Chief =
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 ARCHITECTURAL RECORD JULY 2019
ne\Ms 21

DAILY UPDATES
architectu ra I record.com/news
twitter.com/archrecord
tve
Doing your best to make yourself available, doing your best to not take as much credit
as you maybe should when things go well . . . You set the tone for how people are going to work with you.
- Rvn n Coogle n director ofBlack Panther, sharingleadership strategies at the 2079 AIA ConJerence in Las Vegas.

Building Boom Brings New Crop of MajorArddtects to MIT

BY JAMES MCCOWN

rN TrrE first decade ofthe 2000s, Massachu-

setts Institute of Technology (MIT) went on a
building spree unlike any in its history. Acting
as architectural impresario, the then dean of
the university's School of Architecture +
Planning, the late WilliamJ. Mitchell, brought
in architects like Frank Gehry, Fumihiko
Maki, Charles Correa, and Steven Holl, who
designed lavish signature buildings through-
out the triangular campus in Cambridge, J-tr a
Massachusetts, all with the enthusiastic bless-
ing of MIT's then president Charles M. Vest.
-\ l

The cost of the program was immense. In

"Jg Ji i
addition, there was a lawsuit by MIT against
Gehry's firm for cost overruns, schedule delays, .t rl
and leakage at the Ray and Maria Stata Center-
all of which seemed to make the institute wary
il
of hiring star architects. The MIT News Off,rce
says the suit was settled 'amicably" in 2010.
"After that building boom, there was a fear
on campus of an architect acting as a lone
ranger, not adhering to budgets or engaging the The MIT Museum by Howeler + Yoon occupies the bottom four floors of a mixed-use tower by Weiss/Manfredi (above).
community," says Nader Tehrani, who was head
of MIT's architecture department from 2010 to On the Kendall Square side, a pair oftowers design. Eric Hriweler, cofounder of the practice,
2014. (Tehrani is now dean ofthe Irwin S. Cha- currently under construction on Main Street says that the space will "bring out the quirki-
nin School ofArchitecture at Cooper Union, in will form the new "eastern gateway" to the ness that MIT is about. It will be a teaching
NewYork.) campus. One, by Tehrani's Boston-based firm museum-'hands on,' not'hands off."' With an
Now MIT is in the midst of another building NADAAA, in collaboration with Perkins+Will adjoining bookstore and caft, the project
=
o boom-but this one is different. It is more con-
F as architect of record, is a 28-story,454-unit seems poised to add some much needed vi-
F
o
o textual, more aligned to the institute's goal of graduate-student residence with daring canti- brancy to Kendall Square street life. The
melding with its Cambridge surroundings, levers and views of the Charles River. The NADAAA and Weiss/Manfredi buildings are
o
whether Kendall Square to the east or Central structure will also include retail, offices, a expected to open in fall 2020, the museum in
z Square to the west. childcare center, a 200-seat forum for public May 2O27.
:
o events, and the new MIT admissions office. MIT has two forthcoming projects on the
o
F \ *r'1r tii On the opposite side ofthe Kendall Square western edge ofcampus that look to be stand-
o
e I I l:l T subway station, New York-based Weiss/
Manfredi has designed a 17-story tower for
outs, one residential, one academic.
z
i. p !.'
!.tr academic and commercial office space, with
Just down Vassar Street from Steven Holl's
Simmons Hall and not far from Alvar Aalto's
=
mil r,l r. fritted glass pleats forming subtle cantilevers. Baker House, a new 450-bed undergraduate
E 'Some buildings can be a little quieter," says dormitory by Los Angeles-based Michael
= firm cofounder Michael Manfredi, noting the Maltzan Architecture aims to continue a tradi-
F
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,iq- T',
involvement of MIT's current architecture
dean, Hashim Sarkis, who'laid out a set of
urban conditions rather than encouraging
tion of innovative residential design at MIT.
"Our building is the next step from Aalto and
Holl," says Michael Maltzan, design principal.
o
o singular architectural bravura." The project will feature "cluster neighbor-
t
= The building's four-story orthogonal glass hoods" to foster student camaraderie, and, in a
o
z NADAAA designed graduate-student housing in collabora- base will house the MIT Museum-the interi- nod to the "deep culture ofcreation that exists
E tion with Perkins+Will. ors of which Boston firm Htiweler + Yoon will at MIT," says Maltzan, a transparent maker-

I Visit our online section, architecturalrecord.com/news.

22 ARCHITECTURAL RECORD JULY 2019
perspectivene\Ms

plete with a crenelated roof edge. "We're

interested in taking this building that looks
like a fortress and make it appear to be a
design school of the future," says Ben Gilmar-
tin, a partner with DSR. a
-rrrE---a_triaa Dean Sarkis is excited that the reconceived =
building-which is still in the design phase, ;
I with no set completion date-will "give us
I visibility and send a message that we are the e
E most'in the vanguard'architecture school in
E
o
I FJ the world." c
o
Noting the "increasingly blurred line be- 5
U
tween the campus and the city," associate E
l
F
provost Krystyn Van Vliet hopes the projects
,1w Michael Maltzan Architecture designed a new under- on both sides of MIT will foster "a healthier,
F
I
graduate dormitory (above). Diller Scofidio + Renfro is more dynamic interaction" between the insti- tra
reimagining a historic warehouse (left) for the School of <6
tute and its neighbors. Zl

I
I ili Architecture + Planning's new headquarters.
For his part, Sarkis seems content with a
<F
NO
I lr space at street level. The dorm will be occupied lower-key role than that ofhis predecessor,
FO
JY
,
I I
:E
, by fall 2020. Mitchell. "I'm here to facilitate the conversa- =u

tion," he says. "I make sure that buildings on <:

I The academic space on this west campus IO
h
)l side will be a new home for the School of
I a

r.rtl
\.-
,:.:a- Architecture + Planning. New York-based
MIT's campus have harmony and consistency."
With so many new voices added to the
=L
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u!
Diller Scofidio + Renfro (DSR) is leading the architectural conversation on campus, the
P redesign of the historic Metropolitan
Warehouse, at the corner of Massachusetts
dean's role seems more like that of conductor
than impresario, striking just the right chords
E_u
YE
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;a
Avenue and Vassar Street. "The Met," as it is and finding harmony in architectural diver- 0o
<F
called, is a substantial redbrick building com- sity. Or maybe just a good urban planner. I
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24 ARCHITECTURAL RECORD JULY 2019
pe rspective ne\MS

Top 300 Firms: Gensler Remains First ingvolume," chairman and CEO Bill Hellmuth
tells nrcono. "We're like the pistons of an en-
gine. If it's up over here, it's down over there."
BY MIRIAM SITZ
With 24 offices around the world, the firm is
FoR THE ErcHTrr rEAR running, Gensler has lives and breathes the Gensler culture"-with a seeing significant activity in their health-care,
topped encnrrrcruRAl nrcono's Top 300 Firms local leader who has networks and contextual science, and tech portfolios, including several
list. The annual list, compiled by nrcono's sister knowledge. "This is what helps us tailor the large hospital projects forthcoming in Asia.
publication Engineering News-Record (ENR), ranks team specifically for each client, and to be near NELSON, which has 25 offices worldwide,
companies by their architectural revenue from the client." Cohen says the company is seeing ranked 17 this year, as compared to 45 last
the prior year, as reported to ENR by firms that particular growth in Asia, Europe (an office in year, after experiencing a dramatic jump-196
choose to participate. Munich opened in December 2018), and both percent-in total architectural revenue, from
Gensler, which works in over 100 countries, coasts ofthe U.S. $65 million irt2017 to $192 million in 2018. Jim
saw total architectural revenue grow by more Jacobs ranked third, up by $163 million (38 Harkin, a senior vice president and principal,
than $156 million from 2017 to 2018, an increase percent) in total architectural revenue in tells REcoRD that the company has aggres-
of 13 percent. Domestically, revenue increased 2018-the greatest increase on our list. sively expanded, acquiring 15 firms in the last
by 14 percent, while internationally it grew by HOK remained in their 2018 spot of sixth, five years, and recently launched a brand-
7 percent. One ofthe company's key strategies with total architectural revenue growing by 2 strategy service. "This expertise has allowed
is to "be local while remaining a global firm," percent from 2017. The company saw a 48 per- us to provide a more holistic approach for our G
co-CEO Andy Cohen tells REcoRD. "Every office cent increase in international architectural architecture clients," he says.
has grown organically from strong local roots," revenue (up $36 million), but a slight dip in See the chart below for a ranking ofthe Top
z
o
he says, explaining that when the firm opens a domestic architectural revenue. "Our aim as a 25 firms, plus photographs ofseveral new and
new branch, they pair a veteran-someone "who firm is to keep a constant and slightly increas- notable projects. r U
F
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TOP 25 U.S. ARCHITECTURE FIRMS OF 2019 i
o
E
Companies are ranked by revenue (in millions of dollars) for architectural +
services performed in 2018. These data also appear in ENR's Top 50O Design z
o
Firms list, which, unlike our ranking, also includes firms that do engineering F
exclusively. Find the full Top 300 Firms list on architecturalrecord.com. f
I
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RANK TYPE TOTAL z
OF ARCHI]ECTURAL o
2019 2OI8 FIRM, U.S. HEADOUARTERS FIRlvl REVENUE e
I Gensler San Francisco A sr,353.95 c;
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2 2 Perkins+Will Chicago A J
cincinnati I Perkins+will =
3 4 Jacobs Dallas EAC e
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6 6 H0K St. Louis s4r6.25

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7 5 HKS Dallas s400.18 f
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23 24 Gresham Smith Nashville sr13.07

24 63 Page Austin, Texas s109.00 I

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26 ARCHITECTURAL RECORD JULY 2019
perspectivenews

Jeanne Gang-Designed Expansion Breaks Ground at

the American Museum of Naflrral History
BY MIRIAM SITZ

ALMOST SEVEN YEARS after the American tion of Studio Gang, the museum found the
Museum of Natural History (AMNH) in New ideal collaborator. "In addition to being a
York engaged Chicago-based Studio Gang to brilliant woman and fantastic architect," says
design an expansion, the Richard Gilder Futter, 'Jeanne brings an exceptional sensi- t

Center for Science, Education, and Innovation

broke ground onJune 12, signaling the start of
construction expected to last three years. The
230,000-square-foot, $383 million project by
tivity to both the built world and natural
world."
Gang and her team ruminated on erosion,
tectonics, and other geologic processes while
tr
architectJeanne Gangwill add a library, the- developing a vision for the building, using
ater, and new spaces for exhibitions and high-tech and analog methods to play with
education, and it will better connect different form. For instance, the architect tells nEcono, , \
areas of the existing museum. In addition, a "During one very cold winter in Chicago when Atg
new multistory "Collections Core" will house we were modeling the space, we took a giant
some 4 million specimens in a visible storage block of ice and melted it with hot water." .t
area, allowing visitors to take in the breadth of That helped inspire the cavernous, fluid spaces F
, \
the institution's collection and witness scien- of the interior architecture. U:
tific work taking place in real time. The final design, reflecting such natural ,ll
-
"There's an urgency to the public having a influences, requires an innovative structure.
much deeper understanding ofscience and To achieve those curving interior spaces,
scientific issues that are really driving our seemingly hollowed out by nature and time,
The Museum will seek LEED Gold certification for the
times," says AMNH president Ellen V. Futter, the architects designed shapes for reinforcing cilder Centel which, like other structures on-site, is clad in
speaking to RECoRD by phone. With the selec- bars that will be covered with shotcrete. A Milford pink granite.

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 27

similarly curved facade, clad in Milford pink expansion plans prompted opposition from
granite (a material used elsewhere on the some community groups, and even a lawsuit,
museum's campus), will be punctuated with which was dismissed in late 2018.) Futter
expansive glazing, conveying a sense ofporos- notes that the project, which will extend into
ity and flow. the green space by one-quarter acre, also
With many large openings offering glimps- features an improved landscape design by
es ofthe various exhibition spaces, the new Reed Hilderbrand, including new trees and
building's light-filled and airy central hall will plantings, seating, and gathering areas, and a
emphasize the connectedness of scientific
disciplines while sparking curiosity in visitors.
"You can look up and say, 'I want to go see that
next.' It encourages you to make a discovery"
tI
t
,g
wider entrance from Columbus Avenue.
"We've done all of this in a way that is very
much in keeping with the ethos and sensibili-
ties ofthe park," she says.
says Gang. And the overall plan dramatically
improves circulation; gone are the many dead
L -- [ ,::: * Despite the size ofthe expansion, its scale
on the exterior is relatively modest, while the
r ends of the old exhibition halls. By making'a most striking feature of the design is the
: few very simple edits" to the existing wings,
Gang's design allows visitors to move through
central atrium. "Many people have said it's
F impossible to do an iconic or monumental
o the campus in a loop, rather than having to void," says Gang, "but this project challenges

B
o
o backtrack. "The physical structure will be ft,l' the idea ofan object building."
o I
o thrilling to look at but also emblematic of the I From Futter's perspective, the Gilder Center
z

9
o
journey of discovery-the meandering people
do when they wander through a museum," ri I will be far more than an object it will be a
monument to knowledge. "Right now, in a
l
F
says Futter. world where there are a lot of science deniers,
o Three structures that are part ofthe com- t where there are people having difficulty dis-
6 plex are coming down in order to pull the tinguishing fact and truth from untruth, our
o
z new building farther back into its site, mini-
a The sun-drenched atrium of the Gilder Center, embraced
collection is evidence that we can show the
o mizing encroachment on the adjacent by curving forms, clarifies circulation and unites the public. It is one of the most important records
z
d
Theodore Roosevelt Park. (The museum's disparate wings of the museum. of life on earth." r

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 28 ARCHITECTURAL RECORD JULY 2019
perspectivene\Ms noted
Farewell, Mr. Chicago llT and CUNY Name New
ArcffiectureDeans
BY CATHLEEN MCGUIGAN AND SUZANNE STEPHENS
The Illinois Institute of Technology announced
June 10 that architect and educator Reed Kroloff
srANLEr rrcERMAN, the revered and irreverent
will serve as dean of the College of Architecture.
unofficial chief of Chicago architects, diedJune 3,
Four days earlier, the CityUniversity of NewYork
201), at 88. Stanley (never Stan!) emerged as a
appointed artist, academic, and writer Lesley
fledgling Postmodernist with a group of archi-
Lokko as dean ofits Bernard andAnne Spitzer
tects dubbed the Chicago Seven in tfie 1970s, j
School of Architecture.
reacting against the pervasive Mies-inspired
modernism of their hometown. Though
Tigerman earned his Bdrch. and M3rch. atYale, AIA Members Pass Climate
he returned to Chicago immediately after getting Resolution at Conference
his final degree. Yet he remained so loyal to his At theJune 5 business meeting of the 2019 AIA
alma mater that, in his later years, when his Conference in Las Vegas, delegates voted in
chronic pulmonary condition prevented him overwhelming support ofurgent and sustained
from flying, he would take the train all the way ! climate action. The resolution calls for a
to New Haven to attend final reviews. concentrated effort to reduce carbon emissions
His personality was embedded in his archi- and transform practice to improve resilience.
Stanley Tigerman posed with his model of the Pacific
tecture-much of it playful and much of it Garden Mission in Chicago in 2006.
reflecting his deep humanism. He designed an Cooper Hewitt Announces 2Ol9
animal rescue center with a facade that includ- (soon to swell to 11 members) enlivened the
National Design Award Winners
ed what looked like dog ears, and a house architectural scene by initiating exhibitions
In earlyJune, the Smithsonian Design Museum in
shaped like a hot dog. But he also created the and publications, as well as forums. In addi-
NewYork named the winners of its annual honors
Illinois Holocaust Museum and Education tion, Tigerman and crew brought new life to
program, including Thomas Phifer, Iwamotoscott
Center in Skokie (2009) and a new facility for the ailing Chicago Architectural Club, and in
Architecture, and SCAPE, recognized for architec-
the Pacific Garden Mission, a men's homeless 1980 organized the show devoted to reimagin-
ture, interior design, and landscape architecture,
shelter in Chicago (2007)-both ofwhich he ing the Chicago Tribune Competition of 1923. By
respectively. Awards will be conferred at a cere-
described as exempliffing hope. In 1982, join- then, there was little dispute that Tigerman
mony on October 17.
ing with his wife and partner, Margaret had helped loosen Mies's mantle.
McCurry he changed the firm to Tigerman The architect, who titled one ofhis collec-
McCurry Architects. tions of critical essays Schlepping Through High Line Spur Opens in New York
But as much as his architecture, Tigerman Arnbivalence, applied his razor-sharp wit to such The newest section ofthe elevated pedestrian park
in Manhattan opened onJune 5. Designed by o
the man will be remembered as a provocateur designs as a tea and coffee set for Alessi in 1983, F
F
who gained national stature for his writing, currently on display at the Cit6 de I'architecture James Corner Field Operations with Diller Scofidio 6
lecturing, and participation-with characteristi- et du Patrimoine in Paris. More famous is his + Renfro and Piet Oudolf, the Spur is the final o
o
cally unbridled remarks-in conferences and collageTitanic, which shows Mies's Crown Hall segment of the original rail structure to be trans- o
debates. In the late 1970s, the Chicago Seven sinking into Lake Michigan. formed into public space. I
In 1993, long before a younger

,F generation ofarchitects turned to

working for underserved communi- uo-?
Tt F
l
F
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ties, Tigerman founded Archeworks
with Eva Maddox, to engage students t59 ?se 63 60 =
F
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in design for the public interest. s6T
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And he was always a strong F

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advocate for younger architects,
particularly the rising generation of
Chicagoans today, including Jeanne
Gang andJohn Ronan. As his long-
time friend Robert A.M. Stern says,
"Stanley was central to the renewal
MJJASOND
2018

INOUIRIES I
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architectural discourse, something N

that it had not enjoyed since the era Billings Grow Modesfly in May =
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of Sullivan and Wright. To his dying The Architectural Billings Index showed modest )
day, he saw to it that the debate was growth in May, according to the AIA'S latest data, =
@

an inclusive one, welcoming archi- despite experiencing a slight dip from 50.5 in April ;
I
c
tects of diverse convictions from to 50.2. (Scores over 50 indicate an increase in firm
e
both coasts to the numerous billings.) New work inquiries and new design 0
symposia and lecture series that he F
Stanley Tigerman's collage Titanic depicts Crown Hall by Mies van der contracts also continued to grow, but at a slightly o
I
Rohe tilting and sinking into Lake Michigan. masterminded." r slower clip this month, with values of 56.2 and 50.9. I
 I

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30 ARCHITECTURAL RECORD JULY 2019
perspectivetribute

My Years $rith I.M. Pei

BY HENRY N. COBB

r REJOTCE, even at this moment of sadness, him world-famous. While it is true that Pei
in fellowship that immeasurably
a close himself would have preferred that this episode
enriched my life across seven decades. A few end sooner, a review of built works completed
random thoughts come to mind as I remember during the 1950s shows conclusively that these
my mentor, colleague, and friend. projects laid the essential groundwork-techni-
Complementing and enhancing his excep- cal, managerial, and conceptual-for his
tional gifts as a designer, I.M. Pei displayed an subsequent practice. Indeed, the bold adven-
astonishing capacity to absorb Western cul- tures in cast-in-place concrete that propelled
tures while remaining deeply connected to him to the forefront ofhis profession in the
that of his native land. This capacity, com- decade ofthe '60s-the National Center for
bined with his innate curiosity and unfailing Atmospheric Research in Boulder, Colorado;
charm, transformed even the most mundane the art museums in Des Moines and in
conversation into an often wide-ranging explo- Syracuse, New York-would have been neither l.M. Pei salutes during construction of the Louvre addition

ration not just of architecture but of the arts conceivable nor achievable without the techni- in Paris in 1986 (above); Henry Cobb is shown with l.M. Pei
in October 2018 (bottom, left); the National Center for
broadly interpreted-including even the culi- cal expertise and staffresources that had Atmospheric Research in Boulder, CO, opened in 1967.
nary and the oenological-and ofthe diverse been created during the previous decade in
cultures from which they spring. response to the challenge of designing budget- alone; it is sure to attract neighbors.'Your
It should not be forgotten-for this was constrained middle-income housing. And the friends around the table here can surely un-
indeed a portent of things to come-that Pei's passage of time has confirmed that these early derstand the full meaning of this truth,
1946 thesis project in Walter Gropius's master works were no throwaway projects: Kips Bay because we have all, over the years ofour
class at Harvard was a direct if subtle chal- Plaza in New York and Society Hill Towers in association with you, enjoyed the splendid
lenge to the radically ahistorical pedagogy of Philadelphia, for example, are todaywidely adventure ofbeing neighbors to excellence. Of
the Modern movement as practiced by the recognized as significant landmarks in post- course, it must be said of you now as the su-
founder ofthe Bauhaus. Pei proposed that a war American architecture. perbly accomplished practitioner of a universal
F
museum of Chinese art in Shanghai should As the foregoing suggests, Pei's creativity art, that the world is your neighbor, and that
incorporate references to the very ancient and resourcefulness were evidenced not only we who salute you here are but surrogates for
)
U
j
culture therein to be celebrated, and that in his built works but also in the apparatus a vast throng of friends and admirers whose o
F
F
effective instruments for this were to be found undergirding his practice, wherein he assem- good wishes are always with you. Nonetheless, o
6
not only in built form but also in nature. To bled an exceptionally capable team ofdedi- because we were among your earliest neigh- @
6
each ofthese propositions, a skeptical Gropius cated colleagues whose diverse skills were bors, and more important because we have for o
replied, "Prove it!" and in the end acknowl- integrated and invigorated by his leadership. you that special affection which is the reward ;
edged that Pei had done so. In offering a toast at a luncheon marking Pei's for having worked together toward high goals, E
z
Pei's 12-year stint (1948-60) in the employ of 50th birthday on April 26,1967, I reflected on we claim the privilege now of drinking a toast I
the developerWilliam Zeckendorf Sr. has the source ofthis distinctive esprit de corps: to the continued health and prosperity ofour
sometimes been portrayed as a wasteful if not "There is a proverb, I.M., that has come down mutual friend, Mr. I.M. Pei." F
G
counterproductive episode, delaying his pur- to us from the antiquity of your homeland and f

suit ofthose cultural building projects that that seems to me pertinent to this occasion. A Henry N. Cobb is a partner ofPei Cobb Freed E :
d
most attracted him and that would later make wise man said, 'Excellence does not remain Partners o
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 ARCHITECTURAL RECORD JULY 2019
perspectivehouse of the month 35

HUTKER ARCHITECTS HAS RECONSTITUTED THE ORIGINAL 1987 STEVEN

HOLL DESIGN OF A MARTHA'S VINEYARD HOUSE. BY SARAH AMELAR

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j rN 1982, Steven Holl completed the Berkowitz- significant setbacks from wetlands and limit- ln reconstructing the Steven Holl-designed house, Hutker
o Odgis House, high on the dunes in Martha's Architects pared down the filigree of wood trim and
F
F
ing the house's visibility from the beach.
o Vineyard, overlooking the Atlantic Ocean. The railings of the main floor's west facade and deck railings
o The widely celebrated building received a (top). The original design (above, left) rested on stilts; now
o
z wooden building's slender rectangular form- Progressive Architecture citation and a National a lower level has been added. The living room and deck
d outwardly expressing its balloon-frame AIA Honor Award-yet, by 2013, the 26-year-old still open toward the view (above).
o structure -took inspiration from Herman structure had been demolished. Now in its
F
a Melville's description in,Moby-Dick of the shel- place is a new house, by locally based Hutker bordering protected conservancy land-but
F
o ters regional Native Americans created from
G Architects (HA), that pays homage to Holl's wanted to demolish Holl's modest, 1,600-
c whale bones and animal hides. The house forms and ideas without literally recreating square-foot, three-bedroom house and build
o touched lightly on this fragile landscape, the original. What happened? anew. No landmark protections were in place.
;
I
hovering on stilt-like piers over the undulant, As HA principals Gregory Ehrman and "So we did everything we could to ultimately
sandy terrain. The design-whose linear Philip Regan tell it, they'd long admired the convince them," recalls Regan, "that the archi-
g
o exoskeleton, particularly along the veranda, house, even as it changed hands and slowly tecture was significant-well worth restoring
F
o invited a poetic play of shadow-also respond- deteriorated over time. In 2011, their clients -and they should renovate instead."
I
r ed to stringent building codes requiring fell in love with its site-six acres in Aquinnah, The new owners, however, wanted double
36 ARCHITECTURAL RECORD JULY 2019
perspectivehouse of the month
By inserting a second bedroom level on the ground under
the main floor, Hutker Architects was able to amplify the
spaces significantly (left). By setting back the lower floor
5 feet from the exterior volume, the architects hope to
keep the linearity and delicacy of the original framework.

the square footage, among other modifica-

tions, which HA accommodated, in part, by
inserting an entire new floor between the
house and the sand. "But as we analyzed the
I
existing conditions with an engineer, and
more than one general contractor," says Regan,
"it was like pulling a thread." Holl's wood
structure was soon declared rotten to the core
and beyond repair. HA concluded that the
,I wisest, most economically sound solution
would be to raze it and rebuild from scratch.
Before proceeding, the architects phoned
Holl to alert him to the situation. As Holl said
to REcoRD, "I appreciated the call, but once
i, they told me how much more space, etcetera,
ll il etcetera their client demanded, I said, 'Well,
\' thank you for telling me, but I don't see
ll there's much I can do."'Holl added, "I don't
blame Hutker-it's the society we live in.
People with enough money can get whatever
they want." And often that means bigger.
When asked recently if he would have been
open to consulting or collaborating on the
project, or even taking it over, Holl paused
and replied, "I love this house-it's a very
important early project for me-but the an-
swer is no. I'm just too busy."
6
Demolition proceeded, but partway through
a
[t f] new construction, the clients, a couple, de-
cided to split up and liquidate. They put the
crB-a partially built project up for sale, with HA
marketing the fully permitted scheme bun-
(a2 dled with the real estate. But the property
6
languished in limbo for more than a year.
nrn 1 ENTRYWALK Finally, in late 2014, another couple bought it
It
'trUtr
o.-'--1
2 LIVING AREA as a second home and, in 2016, completed the
C 3
-E.l 3 DINING house HA proposed.
E]
4 H 4 KITCHEN
The new building, cedar clad like its prede-
cessor, fills the original envelope, retaining
r 6
5
6
MASTER BEDROOM
Holl's massing from the main floor up through
BEDROOM
its simple tower. Some of the changes made it
7 FAMILY ROOM comply with current code; others unobtrusive-
FJN 8 DECK ly rendered the house (now LEED certified)
9 LAUNDRY sustainable by today's standards. Insulation
I 9
1O
and cross-ventilation were improved, and the
H STORAGE

11 MECHANICAL
flat, black rubber roof membrane that, accord-
ing to HA, had failed repeatedly was replaced

t
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I
5 with a durable resin and planted surface. F
o
I Amped up to 3,560 square feet, the house d
O
acquired a main-level master suite, three bed- a

I
Il rooms downstairs, updated building systems,
and a reconfigured kitchen and bathrooms ;
I
r
with up-to-date fixtures and finishes. Gone are d
0
LOWER LEVEL
r\
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'ro Fr. Holl's distinctive wood railings, whose diagonal o
F
MAIN LEVEL 3M. patterns cast complex shadows. Now cable rails o
I
Continued onpage 38 o
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Hard Rock Hotel, Daytona Beach, FL o Architect: Foda Design, Decatur, CA o General Contractor: ARCO Murray Construction Company, Tampa, FL
Owner: Summit Hospitality Management Croup, Daytona Beach, FL . Photographer: Brad Hedges
38 ARCHITECTURAL RECORD JULY 2019
perspectivehouse of the month
Hutker Architects left open the space under the It's still linear, wood construction. And from
triangular projection from the main floor (left) to the approach, it's almost like the original-
enhance the vista of the ocean.
though I wouldn't say that's true from any
t^ replace those more intricate ones, which other angle."
lr Nonetheless, he ponders whether the
Regan says were hard to maintain, needed
r some modifications to meet code, and, per- existing structure was deemed unsalvage-
rrs haps most of all, displeased the new owner
At the same time, HA took care to stealth-
able as a pretext "so they could tear it down
and build something bigger." The intention-
ily bury the new freestanding garage in a ally modest Berkowitz-Odgis House cost
hillside. And, instead of completely maxing $275,000 in 1987 (about $618,600 in today's
out the buildable square footage (which dollars), but the stakes have changed.
grandfathered zoning limited to the origi- According to public records, the property
h,# ,.J
I' nal envelope, since the house would not (with the partly built house) sold for $2.1
have been permitted in its current location million to the current owners-who now list
today), the architects set back the lower the finished work as a vacation rental for
level's western face by 5 feet, leaving the $30,000 per week.
exoskeleton relatively unencumbered. "It's a different world," says Holl. But
But a structure with a solid, built-out base rather than bemoan the loss ofthe house, he

I
1#rr S
no longer perches birdlike over the dunes.
As Holl puts it, "There's a sculpftrral aspect
that gets destroyed ifyou try to do what
they did. It becomes a different house."
Nonetheless, having seen it in photos, he
cites a story about Louis Sullivan. "In the last
decade of his life, when Sullivan learned of
the destruction ofone ofhis buildings, he
responded: 'Ifyou live long enough, you'll
see allyourbuildings destroyed. . . It's only
I
F
o
G
u
E
o
feels it'still relates to the spirit ofthe site, the idea that really counts."'And in that ;
I
h-oY some ghost of that comes through, in a spirit, Holl graciously concludes, "The house c
E
pretty strong way." And for him, "that's by Hutker carries ideas from our original o
o
better than ripping it all down and doing a design-and, in the end, that's what's most F

Cape Cod, or whatever's usually done there. important." r I

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 ARCHITECTURAL RECORD JULY 2019
perspectivelandscape 41

A LUSH DISPLAY GARDEN CELEBRATES THE WORK OF ROBERTO BURLE MARX,

BRINGING BRAZIL TO THE BRONX. BY ALEX KLIMOSKI

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THrs suMMER, a luxuriant Brazilian jungle has made its way .1. '
to, of all places, the concrete jungle. At the New York
Botanical Garden (IrIYBG) in the Bronx, the serendipitously
-D
\,
named landscape architect RaymondJungles has created a
verdant nirvana that celebrates the work ofRoberto Burle
Marx (1909-94), the Brazilian painter, botanist, and master
sculptor of flora. The temporary display garden summons the llt
I
organic, asymmetric forms, twists and turns, and electrify-
ing colors that define Burle Marx's landscape designs, which
range from public parks, such as the 1951 ParqueJaqueria in r.
Recife, to the grounds for government buildings, including
,; .-ail
the seminal 1942 Ministry of Education and Health Building
in Rio deJaneiro, by Lricio Costa, Oscar Niemeyer, and other l

prominent Modernist architects. tu'

There may be no one better suited to design the exhibit T \
e than the Miami-based Jungles, who spent time with Burle t
o
J
Marx in the late 1980s and early'90s at the artist's estate,
F known as the Sitio, in a small village west of Rio deJaneiro.
F
There, over the course offour decades, Burle Marx built his
E
l house, several pavilions and greenhouses, and nurtured his
plant collection of more than 3,500 species. Burle Marx has
{ I

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remained a constant source of inspiration forJungles, whose
G
projects-the grounds around the Grove at Grand Bay, by
c
o Bjarke Ingels Group (nrconp, October 2017), and at Faena
o A winding pathway guides visitors through the garden, which features Brazilian palm specimens and
F
o House Condominiums in Miami, by Foster + Partners, for other tropical flora (top). A replica of a sculptural wall designed by Burle Marx serves as the exhibit's
I
o instance-build upon the biodiversigr and sinuous shapes focal point and water feature (above).
 42 ARCHITECTURAL RECORD JULY 2019
perspective landscape

characteristic of Burle Marx's work. "I wouldn't be me with-

out Roberto," says the landscape architect.
i
fi
r V:! For the garden exhibition, Jungles designed a serpentine

n
black-and-white walkway, reminiscent of Burle Marx's 1970
Copacabana Beachfront in Rio de Janeiro, that guides visitors
$ through intimate shaded alcoves and dynamic open gather-
ing spaces surrounded by tropical flora. "Sculpting space is
more important than creating sculpture," says Jungles.
Throughout, the layering ofplants and the meandering path-
way work together to create moments of surprise and allure.
'Roberto loved drama," he adds.
The garden's diverse plant palette-from the NYBG, as well
as fromJungles's collection in Florida-comprises some of

# Burle Marx's favorites species, such as the towering Copernicia

Baileyana palm native to Cuba, and the Madagascan triangle
palm, whose leaves sprout upwards and out like a water foun-
F
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tain. Smaller plants along the walkway-such as the bright
l r utt t a
pinkspeckled coleus, a hallmark of Burle Marx's earlier gar-
j
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F
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dens from the 1940s and's0s-add texture and visual contrast. o
Burle Marx was a prolific visual artist, creating many works at his estate near Rio de Janeiro (above). A @
The show's crescendo is a sculptural relief wall, a replica of o
sketch (below) by exhibit designer Raymond Jungles (bottom, right) shows an interplay of color, form, t
and texture. The tropical garden features open areas and small nooks (bottom, left). one Burle Marx designed in 1983 for the Safra Bank in Sdo o
Paulo. Water trickles down the curved forms carved out of its c
concrete surface and collects in a small, amoeba-shaped pond.
)
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As Jungles notes, "No Burle Marx garden was complete with- l
F
out water." From many vantage points, plants frame views to F
the water; even ifyou can't see it, the sound ofits ripples I
I makes its presence known. G

Inside the NYBG library, a gallery dedicated to Burle Marx's :

F

paintings and textiles showcases his range as a visual artist.

The abstract, two-dimensional artworks echo the colors, j
coils, and orthogonal lines ofhis landscapes, and help to give I
ts
o
a fuller understanding of Burle Marx as not just a landscape 6

designer but a modern-day Renaissance man (he also was a d

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trained opera singer). On view through September 29, Brazil-
ian Modern: The Living Art of Roberto Burle Marx is , according to F

Jungles, the perfect embodiment of its subject. "I tried to

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ARCHITECTURAL RECORD JULY 2019
perspectivebooks
\ \

The Nuance of Place

TheAbsentHand:ReimaginingOurAmericanLandscape,bysuzannahlessard Counterpoint,
305 pages, $26. t
Raimt ed by J ama S. &rssell, FAIA

rnrs BooK ofthought- trial-scale death to

provoking essays queries combat.
the nature ofplace, As Lessard looks at
asking landscapes to other places where the
reveal their meanings. THE ABSENT HAND design arts are used to
Suzannah Lessard begins beautiff troubled pasts,
in Rensselaerville, a
REIMAGINING OUR she concludes "the need
remote village not far for romance-the useful-
fromAlbany, NewYork, AMERICAN LANDSCAPE ness of romance-is over."
that you reach by de- The Greek Revival ante-
scending a forested ridge SUZANNAH LI,;SSARD bellum mansions of
into an intimate valley. Natchez, Mississippi, were
The first sign of town is paid for in the blood of
an elegant 19th-century slaves. But the frail econo-
church spire poking my of the now biracial city
through the treetops; it's seems to require catering
like entering Brigadoon. to tourists' Gone with the
Her elegant prose unveils L* Wind preconceptions
contradictions behind instead oftelling the
the beauty, where deeper, more tragic sto-
neglect and abandon- ries: a less damning
ment lap at the edges of the carefully tended context-free preservation of old architecture NEW!
historic village.
Lessard, author ofThe Architect ofDeske (on
has become the city's means of financially
sustaining itself. ral
Stanford White's tragic story), tries to set At her other home, in Brooklyn, Lessard is ceiling tiles
aside her own predilections (against suburbia, not fooled for long by the apparent stasis of
for example), which she admits is something the historic neighborhood she moved into in
of a fool's errand, as she develops themes that the 1990s. She appreciates the restoration of
include authenticity and its corporate exploi- brownstones but sees that row houses once
tation and our fascination with the ruined accommodating five or more apartments !
and discarded. have become palatial single-family homes,
She does not revel in the nostalgia for a displacing hundreds on a single block. She
golden past, as essayists ofthe landscape offers no glib solutions; she realizes that she,
often do. She is skeptical and, with a keen who lives on her own nice two floors of a
eye, she goes well beyond the rote analyses brownstone, is an agent ofchange as well as a I

implied by such well-worn tenns as 'context" student of urban dynamism.

and'precedent." There are contradictory forces that divide
One essay begins with her casual decision people like her from her full-time country
to attend a small Memorial Day ceremony in friends, whose destiny is tied to farming
Rensselaerville, where she lives part time. (which is increasingly less viable). Her neigh-
That leads to a consideration ofthe evolving bors could subdivide their land, spoiling her
meaning of the holiday: while it originally contemplative view or assure their future by
commemorated those of the North who died selling to fracking companies, a fate she
in the Civil War, it has conveniently erased adamantly, if guiltily, opposes.
slavery as the reason the war was fought. In In thinking about Gettysburg, she argues,
another essay, she visits Gettysburg, "What we need now is as deep and complex
Pennsylvania, where the National Park a sense of our humanity as possible: to really T-grid ceiling tiles combine to create a stunning
Service interpretation sanitizes the war's know ourselves, because it is going to be out and continuous sculptural surface. Highly sound
history just as Jim Crow laws eradicated the ofthat selfknowledge that an effective absorlcent and light emitting, for any rectangular
gains ofReconstruction for blacks in the response to our latter-day predicaments will cloud confguration.24" Lry 24" lightweight
South. The setting is so delighttul, she finds, come." She eloquently asks us to look harder aluminum housing MPET bafffes and dimmable
that it is next to impossible to conjure the at our surroundings, and ask better ques- LED light. Available in a variety of colors.
horrors ofthe battles that introduced indus- tions about what we see. r modulararts.com 2o6.788.4210
perspectivebooks
Architectural Record
City of Dreams is always a click away.
Wright and New York The Making of America's Architect, by Anthony Alof sin.
Yale rJniversity Press, 343 paqes, $35.

Reviewed by N orman Weirstein

ANTHoNx AlorsIr's new book on Wright's tumul-

tuous relationship to New York City is the third one
centering on a connection that Wright himself
lllllr
might have thought unworthy. 'A great monument
to the power of money and greed" Wright called
the city, but several Wright scholars have ques-
tioned his dismissals. Herbert Muschamp's Mon
About Town: Frank Lloyd wright in New York Aty $983\
treated Wright's energetic antipathy toward
Gotham from 1926 to 1933 as an inspirational force
shaping Wright's theories of urban planning. Jane King Hession and Debra
I
Pickrel's Frank Lloyd Wright in New York: The Plaza Years, 7954-7959 (2007\
offered a detailed chronicle of Wright's life in NewYork and his one-week-a-
month residence at the posh Plaza Hotel during the Guggenheim Museum's
construction. Alofsin s book differs from these earlier studies by asserting
T
that Wright's time in New York between 1925 and 1933 was "the turning
point ofhis career and established the persona that the world would come
to know." This is quite a claim about a city for which the architect had
expressed lifelong contempt. That assertion also lessens attention to other
cities where Wright found inspiration: Chicago, Berlin, Tokyo, and Los
Angeles. So how does Alofsin develop his case?
Since the Guggenheim was Wright's only fully realized Manhattan !
project, Alofsin considers two unbuilt Wright projects for the city as hav-
ing paramount career-defining importance. These were commissioned by
ReverendWilliam Norman Guthrie of St. Mark's Church in-the-Bowery:
one, named for the church, evolved into an 18-story glass skyscraper in
I l
1929 with a pinwheel plan (nrcor.o, January 1930). The other was a modern
cathedral that drew Wright into designing a colossal steel house of wor-
F /
ship reflecting the common ideals of world religions (1926). Both grandiose I
schemes spawned key architectural forms, Alofsin argues, which Wright /
integrated decades later into the Price Tower in Bartlesville, Oklahoma 7'
(1956), and Beth Shalom synagogue in Elkins Park, Pennsylvania (1959). To
deepen an appreciation of Wright's indebtedness to NewYork's notable
personalities, the author offers a touching portrait ofthe iconoclastic
Guthrie, who showedWright "that the cltywas a place for dreams and \
ambition, a platform and battleground for artistic vision." \
If the theme of NewYork as the penultimate dream incubator for
Wright seems engaging, you may find Alofsin s book revelatory. If you
view Wright's architectural designs as a consequence of his interplaying IA
myriad imagined and actual urban and rural environments, then Alofsin's
perspective may seem stultifyingly narrow. No actual city anywhere
{-
thrilled Wright as deeply as his own utopian "Broadacre Ciry" New York
j
particularly triggered Wright's wrath since its high-density skyscraper
profile was so contrary to Broadacre's uncrowded pastoral skyline.
That Wright enjoyed conversing with city power brokers like agency
ffi l

mocher Robert Moses, gloried in meeting entertainment stars (and possible

clients)Arthur Miller and Marilyn Monroe, appreciated contact with long-
time artistic colleague Isamu Noguchi, and luxuriated in swank amenities Have you connect ed?
the city oflered like the 21 Club seems uncontestable. But to transform
Wright's appreciation for the city's material, social, and cultural riches into
a tale of the city's'making" of his true character and mission neglects
Wright's unwavering visionary dedication to a city yet to be forged. I in
NormonWehsteinwrites and coruults on orchitecture and design.
 -

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 52 ARCHITECTURAL RECORD JULY 2019 rN FOCUS

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rN THE early 1990s, following his graduation from Rice University's

Book Fare School ofArchitecture and a stint at Ricardo Bofill's office in Barcelona,
Eduardo Aizenman returned to Mexico City, which still had not recov-
ered from the devastation ofthe 1985 earthquake. Wanting to create
A new literary caf6 in Mexico City fast community, breathe new life into the city, and just have a place to hang
becomes a community gathering spot. out, Aizenman and his friends conceived a bookstore-cafd (or
Cafebreria) in the historic Condesa neighborhood, which had been
BY BETH BROOME particularly hard hit. The move helped fuel a local renaissance and,
PHOTOGRAPHY BY JAIME NAVARRO over the years, the partners brought their Cafebreria El P6ndulo
concept to various precincts, with Aizenman designing unique
bookstore-caf6s for each location.
The partners have recently opened their seventh-and first ground-
up - outlet in the San Angel neighborhood, along the busy Avenida
 53

Revoluci6n 1500, wedged between a theater complex and a gov-

ernment building. Beyond an unassuming, boxy metal and

t
L
pine-plank exterior lies a striking 26-foot-high interior laced with
retail, dining, and lounge seating scattered across its various
levels. 'Ttre challenge," Aizenman says, "w.ls, how do you make
this big, 10,500-square-foot box and give it human scale?" The
\
theater next door provided cues. "There was this idea ofstages, t\ lr
r-I
different levels of platforms where you could see and others could
t
see you," he says. 'We wanted to make a big hangar-like space
where things would happen." Indeed, on a recent rainy evening,
El Pdndulo buzzed with activity as the young clientele browsed
the shelves, chatted over drinks, and worked on their laptops. U&
Besides its range of programming, the building actively en- tr
gages visitors with its variety ofoptions-stairs, bridges, and
I
t
balconies-for moving horizontally and vertically through the
space. The interior is arranged around two axes: one from the big
urban street to the garden at the back and the other from the
theater to a high wall ofbooks. At the center is an 8O-year-old
\i

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t'

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tr
-,t palm wrapped in a louvered chimney-like enclosure that pops

4lfl#,
through the roof, helping pull heat up and out ofthe building,
which, save for the kitchen, does not have mechanical ventilation.
1 Materials help make the large room less imposing. Aizenman
used pine for the ceiling slats and shelves and oak paneling to
T I
I
I bring a warmth to the steel and glass, for example. And pro-
) _frff
I grammed spaces are indicated with different floor coverings:
local black stone for the entry and main retail level, wood for i
the dining area, and resilient flooring for the lounge and bar.
lilr riilr$
ffiru
Lighting also helps define zones, with long LEDs embedded in
the slat ceiling, pendants and floor lamps for the dining and
the lounge areas, and LED wash and spot lighting for the
bookshelves.
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In its newest iteration, El Pdndulo continues its mission of
turning a retail space into an experiential cultural hub-
It +,.F
lik,$
an approach that's now very much in vogue. 'It's a bit like
WeWork," says Aizenman laughing, "but we don't charge." r IJ
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balconies to traverse the
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cavernous room, which is rGt a Hlllf
divided into zones for a
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ARCHITECTURAL RECORD JULY 2OI9 CLOSE-UP 55

Forward
Thinking
Alexander Jermyn designs
storefront clinics for high-
tech healthcare.
BY DAVID SOKOL
PHOTOGRAPHY BY JEREMY BITTERMANN lllfllllt
wHrLE xrw fitness trackers and other health-
related products seem to come to market at
light-speed, progress in how health-care ser- ,,""'ttrtllllll
vices are delivered to patients does not have a 1-4
reputation for similar swifteness. San Fran-
cisco-based company Forward is using high-
tech infrastructure-as well as some daz-
zlingly exclusive gadgetry-to disrupt that,
with a new model of subscription-based
medical practice. The Silicon Valley start-up
recruited Alexander Jermyn Architecture to
develop a suitably expectation-deffing design
aesthetic for the concept, which is now being
deployed at sites around the country.
From entering the glass storefront and
checking in on an iPad embedded in a faceted
white oak counter, you could easily mistake a
Forward waiting room for a high-end technol-
ogy showroom-apart from the proprietary
three-dimensional body scanners, that is. This
vibe is no accident; in 2016, when Alexander
Jermyn initially asked Forward executives how
they envisioned these front-of-house spaces,
"they alluded to having the same sort of qual-
ity and feel as an Apple store-that you're
bathed in all this innovation," says the Berke- L
ley, California, architect. His firm, which
REcoRD honored as a Design Vanguard in 2016,
has executed seven Forward locations distrib-
Gffii€L
MItrRrure
uted on both coasts. O-ri@ti
Jermyn's tech-accentuated design corre- t-trAfmp
sponds to the client's novel business model. In
lieu of conventional fee-for-service care, For-
ward-envisioned as a supplement to
traditional health insurance-charges a
monthly subscription that grants patients
unlimited access to a primary-care physician
for general medical services and preventive 7 Eil
programs. (Vaccinations, cancer screenings, :!.!+-=!l:
and nutrition and sleep counseling are includ-
ed; for acute and specialty care, patients
must visit a traditional hospital or practice.)
Through a smartphone app, Forward members
Forward has two New York branches: one near f/adison
Square Park (right), and another, also in Manhattan, close
to the southeastern corner of Central Park.
56 ARCHITECTURAL RECORD JULY 2019 CLOSE-UP

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is whisked to an exam room in minutes. 'The concept flies

in the face offinding a doctor's office at the end ofa long,
fluorescent-lit corridor and waiting for half an hour," Jermyn
says ofthe arrival sequence, reflecting on the 28-seat waiting
area that he had designed for a rural California health clinic
just prior to winning the Forward gig.
The architect devised a system of faceted oak millwork as
a means of enclosing the lobby's variously scaled user inter-
One of Forward's two can communicate with providers, view their own medical faces and uniting them as one experience. Using dramatic, F

Los Angeles branches

records, check the real-time data coming in from exercise knife-edged shapes, the prismatic geometry further permit- J
is located inside a o
shopping mall (above). trackers, and schedule in-person appointments with as little ted him to wrap that surface around inconveniently placed T
as one day's lead time. TWo or three doctors occupy each columns in Forward's inaugural storefront, in a historic San z
The company opened o
its first storefront in Forward site, and, when patients do meet with doctors in Francisco mid-rise. The insertion can also create coves that =
o
San Francisco (top,
right). ln the lobby of
person, they proceed from iPad check-in to the walk-in scan- conceal lighting or engender a feeling ofprivacy around the ;-
each site, walk-in ner, which takes vitals and immediately conveys them to the body scanner. d

d
"body scanners" take app. The lobby includes minimal seating because, as com- Moving into the members-only spaces of each site, the o
o
patients' vitals (above pany founder and CEO Adrian Aoun explains, Forward's material palette communicates consistency. Jermyn says that F

and bottom, right). I

digital infrastructure is so finely coordinated that a member specifuing white oak for exam rooms' door and cabinetry I
 57

panels conveys the client's attention to detail, The San Francisco location occupies the
adding, 'It was challenging to find materials street-level space of a historic building.
that were appropriate for a medical space but
at the same time impart a certain level of branch, in fooprints ranging from
warmth." As in the lobby, individual treatment 1,800 in Los Angeles to 4,500
rooms contain technological aids; for instance, square feet in Washington, D.C.,
a mega-touchscreen populates each room, so the newest location. Although the
that patient and provider can interpret app design must be adapted to site-
data together. specific conditions as different as
Alongside its high-tech interventions, the an urban skyscraper and a
Forward design also allows for more analog Southern California mall, archi-
innovations. Each office includes a lab, so that tect and client have been refining
basic blood panels can be processed on-site, the overall vision with each roll-
with results beamed to the member's exam- out. They have veered away from
room touchscreen eight minutes later. Each corner locations that force circula- r,","^- I t-I.)
in-house lab is adjacent to a bathroom, as well, tion to the perimeter, for example, ti
1.8
so that members can transfer urine samples and they are turning front doors !-
via discreet passthroughs. Because Forward into portal-like volumes, where
focuses on serving urban areas, all the com- preservation rules allow, that
pany's branches are located within existing extend beyond the building envelope. company is planning additional rollouts to
buildings. As Jermyn explains, 'We do elabo- Aoun, the head of the company (and an follow suit. Jermyn, for one, couldn't be more
rate g'ymnastics to make these spaces work," alum of Sidewalk Labs), says his team is si- excited about continuing the work. "In previ-
taking into consideration a building's column multaneously working on medical upgrades, ous health-care projects, we have run into
grids, sight lines for members, and staffwork- such as development of a new cardiac ultra- constraint after constraint from the medical
flow paths. sound and a scope that tracks skin's changes establishment, ingrained in economics
Since Forward's physical launch in San over time. 'Our premise," Aoun says of the and setup. With Forward, we have had the
Francisco inJanuary 2012 the designers have continual improvement, "is a complete over- opportunity to start fresh and question every-
had an average of15 weeks to prepare each new haul ofthe health-care experience," and the thing." r

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ARCHITECTURAL RECORD JULY 20I9
products health care 61

Patients, Please I

More human-centered and flexible than ever, innovative materials

are taking cues from hospitality and workplace trends. lrr "',.f
By Kelly Beamon

-
t
Celliant by Designtex
An innovative fiber technology, which
when worn or touched is said to reflect
infrared energy back for improved circula-
tion and energy, Celliant is enjoying
widening use. After Designtex was one of
two manufacturers to debut the responsive
textiles at last year's NeoCon, the company
is now making those fabrics available.
Developed by Hologenix, Celliant contains
13 thermo-reactive minerals reported to
deliver therapeutic benefits through prod-
ucts such as sheets, mattresses, and
upholstery.
desig ntex.com

Upholstered Settee 8733

A data port in the armrest and path-lighting LEDs around
t_.1 the base of the seat make this settee ideal for assisted living
and hospital settings. Designers can speciff the seat
(30" high x 52" wide x 26.5" deep) in a range ofcontract-
friendly fabrics.
samuelsonf urn itu re.com

Tedlar Wallcoverings Cadiant Dynamic Skylight

Certifi ed by Underwriters What appears to be a skylight is actually a
Laboratories (UL) to meet strin- luminaire that mimics one. The Cadiant
gent requirements for low Dynamic Skylight provides many benefits of
chemical emissions and healthier daylighting to patient rooms when cost or
indoor air quality, the durable, logistics override installing the real thing. The
digitally printed wallcovering by fixture's color-changing LEDs create a multidi-
DuPont Electronics and Imaging mensional effect that's controlled with a
is also stain- and mold-resistant touchscreen and can be programmed to simu-
and easy to clean. The line is late dawn, dusk, and the gradual east-to-west
certifred Greenguard Gold. movement of sunlight in between-in real
tedla rwa coveri ng s.d upont.com
I I time, when set to a particular location. A deep
8" recess conceals tunable white LEDs and
mimics the movement of actual daylight.
creelighting.com
62 ARCHITECTURAL RECORD JULY 2019
products health care
Microsoft Surface I
Hub 25 and Steelcase
Roam
To allow greater control
over how and where teams
collaborate, Microsoft
developed its new Hub 25
all-in-one computer and
touchscreen to workwith
Steelcase's portable Roam.
The stand incorporates
a tray for the device's
rechargeable battery and
cables.
steel case.com
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Optima Air
Among the latest hand dryers from Sloan, Optima Air features a
slimmer, quieter profile, a 14-second drying time, and a 95% cost
savings compared with paper towels. An optional noise-reduction
nozzle can cut sound levels by 9 decibels. AntiMicrobial Wall
Guards to prevent excess water on the wall are also available.
Finishes include Polished Chrome, Brushed Nickel, Polished White,
Matte White, and Graphite.
sloan.com

t-_l

Living Systems
Shaw's new collection of
li
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nylon carpet tiles features
a biophilic design that
evokes nature. Recom-
mended for use in
assisted-living facilities,
the 9" x 36" Living
Systems tiles combine
patterns, textures, and
colors with the specific
goal of reducing stress,
and have earned a Cradle
to Cradle Silver
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facturer's familiar AdjusTable System
modular format also Hdfele's single-column workstation system,
simplifi es installation AdjudTable, can be installed in limited space to add
and maintenance. nurses stations with worktops anywhere they're
shawf loors.com necessary. It adjusts from a height of 25?fti'to 44?h;',
holds 250 pounds, and is operated by an easy-to-use
single switch. An array of work-surface materials is
available.
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64 ARCHITECTURAL RECORD JULY 2019
products paints & finishes

Spartacote Flex XPL

This resinous floor coating is
engineered to remain mal-
Protect and Preserve
leable for up to about 25 For residential and commercial buildings, these
minutes to facilitate smooth coatings enhance durability.
applications on concrete floors,
whether in residential and By Kelly Beamon
retail interiors or in raw indus-
trial space such as a garage,
where a tough surface is
required. Resistant to chemi- Premium Quick Dry Oil
cals, abrasions and UV rays, BEfir
t,RL\1rir\l Base Wood Finish
Spartacote Flex XPL also sets in Behr's latest formula for water-
less than three hours for foot proofing wood decks is said to
traffic and in 24 hours for use [//rcrDfrr3'. be effective with a single coat
by vehicles.
and has a faster-than-average
Jaticrete.com PltP,slilt & 0lil\ilil'
tu Nllt tAtt xAt dryingtime of one hour, which
I' could significantly reduce
\G labor costs. Designers can
select one offive shades: Clear,
Cedar Naturaltone, Redwood,
Chocolate, and Cordovan
Brown.
behr.com
TPO Fleece Back FR
A new roof membrane
from Mule-Hide Products
provides Class A fire pro-
tection, even ifit isn't
combined with other fire-
resistant underlayments
such as barrier boards and
slip sheets. TPO Fleece
Back FR comes with Supre rne
reinforcing fleece to Hioh Build--'
prevent punctures and (onstiuttion Alta
with the manufacturer's
Weathering Package, r . J"ll!"n Haut:,..
which includes heat-, sun-,
and ozone-resistant agents.
It also contains no chlorine
orVOCs.
mulehide.com Supreme High Build
Among the latest interior
latex paints from Sherwin-
Williams, the company's
Supreme High Build is
formulated to provide better
than average spray-coat

E NeverFade Facade Restoration Coatings

These low-VOC water-based topcoats for metal
facades are enhanced by a special resin, Kynar
applications, enabling con-
tractors to cover large areas
more evenly and in less
time. Said to offer improved
Aquatec, to protect a building's skin from rust, washability and hide mis-
fading, staining, and fungal growth, among takes, the latex is available
other forms of weathering. in eggshell and semigloss
The NeverFade system is finishes, as well as flat,
available in custom colors
T metallic sheens,
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-. ..--*di
as well as flage minor flaws.
and comes with a 1S-year sherwin-williams.com
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 ARCHITECTURAL
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 ARCHITECTURAL RECORD JULY 20.19 69
CEU

FlirporEs oF the Future

What's next for air-travel design? Buildings that ease passenger aggravation
and respond to the local culture and environment.

Terminals Poised for Takeoff

ExcEpr ron people who have their own jets, most would agree that the romance of
air travel faded long ago. But that isn't stopping those who want to be on the move.
Worldwide, aviation numbers are expected to double to 8.2 billion passengers per
year by 2037, say estimates by the International Air Transport Association. Airports
everywhere are racing to ramp up capacity, with $737.3 billion-worth of projects in
planning, design, or construction globally, according to one industry-analysis firm.
More than many countries, the United States is suffering from outmoded avia-
tion infrastructure, with the average terminal building more than 40 years old.
According to TJ. Schulz, president ofthe Airport Construction Council, at least
S70 billion is being spent over five years, beginning ira2o77, modernizing 50
medium and large U.S. airports. The lion's share of this sum is going toward termi-
nals-their revamping, expansion, or constmction.
For architects, the focus is not merely on moving travelers from curbside to gate
as smoothly as possible but trying to improve the ambience of travel. 'It's not all
about speed and efficiency," says Ryan Fetters, a senior associate in Gensler's San
Francisco office. In a joint venture with Kuth Ranieri Architects, Gensler is part ofa
design-build team for the landside of the $2.4 billion Harvey Milk rerminal l under
construction at San Francisco International Airport (sFo). The team describes the

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 70 ARCHITECTURAL RECORD JULY 2019 FIIRPORTS trF THE FUTURE
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facility transparent and daylight-frlled, with
as door green spaces. The scheme, inspired by the the introduction of the first commercial jet, U
was out of date almost as soon as it opened in z
features such as intuitive navigation, site- tech hub's history as a garden city, takes ad-
E
specific art, and generous areas for passengers vantage of its benign climate and will offer a 1962 (see page 96). I
to reorganize their belongings after going "rich, sensory experience," she says. Since TWA, aircraft have of course ,
F
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through security. For architects dealing with a multitude of continued to evolve, though sometimes in u
Many architects are trying to elevate the complex functional requirements and rapidly unexpected ways. The latest example is the
z
passenger experience by injecting airPorts advancing technology, terminals are buildings phaseout ofthe Airbus A380 announced by the ou
,-F
with local flavor. "We try to caPture the spirit that can quickly become outmoded, says manufacturer in February. Sales ofthe super- +;
go
ofthe place, even ifit isn't a top goal ofthe Ettelman's colleague Derek Moore, SOM jumbo jet, designed for long-haul travel and
oc
client," says Laura Ettelman, managing part- aviation-practice leader. He points to Eero carrying up to 850 passengers, have been zo
ner in the NewYork office of SOM. Among her Saarinen's TWA Flight Center at New York's stagnant as airlines opted for smaller planes o-
IF
firm's current projects is the 2.4 million- John F. Kennedy International Airport as the that use less fuel per seat. Many of the budget oi
square-foot Terminal 2 at Kempegowda "poster child" of this obsolescence problem. airlines that serve regional airports, mean- 6>
UF
while, have been flying fewer flights than gZ
International Airport in Bengaluru, India, Enclosed by a dramatic, winglike thin-shell
organized around a series of indoor and out- roof, the building, which was conceived before before, now with larger aircraft, like the =-
 71

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HARVEY MILK TERMINAL 1, SAN FRANCISCO INTERNATIONAL AIRPORT This 25-gate terminal will feature
several multistory spaces that allow daylight to penetrate its lowest levels.

tion facility, with about 9.5 million passengers biometric identification, along with artificial
annually. Officials plan to "right size" by build- intelligence to help target threats, promise to
\- ing a smaller terminal, now in schematic make security checks faster-less onerous yet
design by a joint venture of Gensler and HDR
^ in association with Madrid-based luis vidal +
more thorough. Facial-recognition systems
like the one introduced last December at Delta
architects. 'We currently have ever increasing Airlines at Atlanta's Hartsfield Jackson Inter-
maintenance costs and aging infrastructure national Airport (the world's busiest, in terms
that we can't upgrade," explains Paul Hoback, ofannual passengers), should also reduce the
the airport's chief development officer. amount ofreal estate that screening requires,
The changes in how people get to the airport say proponents.
are affecting planning as well. More people are Other technological trends with operational
arriving by ride-share seryices like Uber and and space implications include a growing
Lyft, and revenue from parking is falling. Yet, reliance on automation and self-service. For
despite this trend, many airports are still instance, pre-security areas are shrinking now
TERMINAL B, LAGUARDIA AIRPORT ln New York, building garages, primarily to house their that passengers routinely check in before arriv-
HOK and WSP have designed a headhouse connected to a
rental-car concessions. One possible future use, ing at the airport or via selfseryice kiosks, and
pair of "island" concourses via pedestrian bridges.
should garages no longer be needed, would be often tag their own bags. So-called individual
as service hubs for automated-vehicle fleets, carrier systems (ICS) for baggage handling,
Boeing 737 and Airbus 4320, for similar rea- suggests Chris Donahue, a principal with the which rely on RFID chips, offler improved track
sons ofeconomy. Abstract Group. The firm is a consultant to ing, speed, and energy efEciency, though they
Disruption in the airline industry can make Michael Baker International, the company do not necessarily save space. At SFO's Harvey
afacility outmoded almost overnight. Pitts- designing the garage and ground-transporta- Milk, which will have one of the fust installa-
burgh International Airport occupies a 1992 tion center at the new Pittsburgh airport. tions of an ICS in the country, accommodating
terminal designed as a US Airways hub to Inside terminal buildings, the most conse- the machinery's height requirements 'was a bit
handle up to 32 million passengers per year, quential development is the ratcheting up of ofajigsaw puzzle," says Richard Spencer, avia-
many of them connecting to other flights. But security. The screening process has become tion-design director forWoods Bagot. His frrm,
after US Airways merged with American in increasingly invasive and stressful as well as alongwith HKS, ED2 International, and KYA, is
2013, traffic hit a low, and the airport now space-hungry, with snaking queues and bulky designing the air side of the terminal as part of
operates primarily as an origin and destina- equipment. But new technologies, such as a design-build team.
 72 ARCHITECTURAL RECORD JULY 2019 FIRPtrRTS OF THE FUTURE

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Mediterranean city, designed by Foster + Partners, will
include a terrace overlooking the tarmac and the view
: , beyond.
-
? Seasoned airport designers caution that,
while these technologies rapidly evolve, "the
l
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story ofthe next 20 years is likely to be auto-

{,,r ,f A,
il mation, biometrics, and AI, but no one really
knows," says Andrew Thomas, a partner at
Grimshaw Architects in London. Thomas, who
led his firm's team in designing the recently
opened 11 million-square-foot terminal at the
d6.r !
H Istanbul New Airport-said to be the world's
largest-recommends against designing tightly
to current tech requirements. Instead, he advo-
rTl cates for "deep floor plates and a loose fit."

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Building in such flexibility undeniably
makes sense, especially for a greenfield facility
well outside the city center, like the Istanbul
airport. But projects at urban airports with
little wiggle room are trickier. Some, like the
t\ new Terminal B now under way at New York's
LaGuardia Airport (LGA), require an almost
surgical approach. In order to keep the maxi-
TERMINAL 2, KEMPEGOWDA INTERNATIONAL AIRPORT For Bengaluru, lndia, SoM has designed a building mum number of gates operational during
organized around a series of indoor and outdoor green spaces. construction, the facility is being built in
 73

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PITTSBURGH INTERNATIONAL AIRPORT The subtly undulant roof of the planned new terminal is intended to recatt the region's landscape.

phases, "alongside, around, and over'the ceiling planes to provide subtle prompts. They array of amenities such as yoga rooms, chil-
: existing 1964 terminal that it is replacing, says also have created a series ofmultistory spaces dren's play areas, or nap pods. Moshe Safdie's
=
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F Peter Ruggiero, design principal in the Chicago that will allow daylight to penetrate the build- Jewel at Changi Airport in Singapore (page 74)
F
o office ofHOK. As part ofthe consortium cho- ing's lower levels and give occupants a sense of even includes a movie theater.
6
d sen to design, build, and operate the terminal their location in relation to the outside world. Arguably, the most surprising amenities
F

o
through 2050, HOK and WSP have developed a Of course, many tech-saw5r people already rely cropping up at airports large and small are
o scheme that has a headhouse connected to a
c on their smartphones for wayfrnding, in addi- biophilic elements, both open-air spaces and
o
pair of gate-concourse buildings via pedestrian tion to using the devices for real-time info those that are climate-controlled. SOM's Kem-
=
o bridges. These span over the plane taxi lanes. about flight status and the length ofsecurity pegowda project is just one example. There is
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E So far, 16 ofthe planned 35 gates are open, lines. "But we hope that light and form will also the lush valley that is the centerpiece of
o r
F with completion slated for 2022. provide the necessary cues," says Spencer from Jewel; a terrace that will overlook the tarmac
,j v
ts
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Transparency is a common theme at new Woods Bagot. and the landscape beyond in Foster + Partners'
z airports, as architects endeavor to make navi- Ruggiero points out that gate areas in planned expansion to Marseille Airport; and
d o
; gation as straightforward as possible and aviation lingo are often referred to as 'hold the garden framed by the revamped Elmira
z reduce passenger stress. At LGAs Terminal B, rooms," which implies incarceration. But he Corning Regional Airport (see page 88), by
e d

z F travelers will always be able to see and and other architects say that the current Fennick McCredie Architecture. All provide an
F
=
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anticipate the next step in the process, says thinking is to make these spaces into hospi- opportunity for passengers to reconnect with
o o Ruggiero. Security will be visible from the
+
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E tality environments, with varied seating the natural world before or after spending
d 6
curbside, and once customers pass through the options, plentiful charging stations, better hours in a hermetically sealed jet.
F F
F
o o screening area, the bridges and concourses lighting, and improved indoor air quality. And, The truism that the only constant is change
o will come into view through an expansive ofcourse, the gate areas are readily accessible seems particularly apt for airports. Let's hope
;; F
window wall. And for orientation at Harvey to retail and food concessions, often highlight- that the trend toward air terminals with im-
t
l Milk, designers are relying on strategies such ing local specialties. Passengers waiting for mersive green, soothing environments turns
o
as changes in finishes and manipulation of flights can take advantage, too, ofa widening out to be one that endures. I
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75

Jewel Changi Airport I Singapore I Safdie Architects

Ereen Matrhine
Designers reinvent the airport experience with deft engineering,
unusual geometry, and a vast indoor garden.
BY JOANN GONCHAR, FAIA
PHOTOGRAPHY BY TIM HURSLEY

ay the word "airport" and even the most Capitaland. It is part ofa set oflong-range projects
t-
intrepid road wamiors are likely to think of that aim to increase the airport's capacity from 65
trrJ
-f the headaches associated with air travel, million to 135 million passengers by 2030, including
such as lost luggage, delayed flights, intrusive secu- a third runway and a terminal designed by Heather-
rity screenings, and long lines at international entry wick Studio, KPF, and Architects 61. The aspiration
points. Travelers are probably not envisioning a ver- forJewel was not only to entice more people to travel
dant landscape with cascading water features or through Changi, but also build upon its curious
meandering walking trails. But that is what people popularity among Singaporeans as a destination in its
encounter insideJewel at Singapore's Changi Airport. own right-a place readily accessible to the rest ofthe
The $1.2 billion structure, designed by Cambridge, island via mass transit, where the nontraveling public
Massachusetts-based Safdie Architects, weaves retail can shop, eat, and spend leisure time. Toward those
space, food outlets, and passenger conveniences goals, the 2014 request for proposals called for a
together with a flourishing green space ofpalm and shopping mall, airport services that included early
t bamboo trees, canyons, and a 13o-foot-tall waterfall- check-in facilities and baggage storage, plus an un-
t,
all within an immense, climate-controlled toroidal specified "attraction."
glass enclosure. To fulfill this open-ended part ofthe brief, Moshe
The 1.7 million-square-footJewel, which sits on the Safdie, the architecture firm's founder, proposed a
site of a former surface parking lot and connects to "mythical garden" as the focal point around which
three of the airport's four terminals, is the outcome Jewel's other programmatic elements could be orga-
of a competition that Safclie entered with developer nized and as a fitting gateway to the famously lush

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\:! CRYSTAL PALACE The centerpiece of Jewel's toroidal glass-and-steel dome is a funnel-shaped oculus from which a "rain vortex', flows
at up to IO,OOO gallons per minute (opposite). Tubutar pedestrian bridges (above) connect the building to two of Changi's terminals.
76 ARCHITECTURAL RECORD JULY 2019 FIIRPORTS OF THE FUTURE
@
9

TERMINAL 3

a TER

12
TERMINAL 2
6 -d
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SITE PLAN
o 350 FT. LEVEL-THREE PLAN
100 M.

T GREETER HALL 10 TERMINAL 2 LINK

2 RETAIL 1I TERMINAL 3 LINK

4
3
4
LOUNGE

EARLYCHECK.IN
12
13
PEOPLE MOVER TRACKS
CANOPY PARK o/ tlu
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5 FOREST VALLEY 14 MOVIE THEATER @
o o 2
6 RAIN VORTEX 15 FOODHALL

7 CANYON 16 IMMERSION GARDEN

8 TERMINAL I 17 PARKING
*
9 GATEWAY GARDEN 1A BUS STATION
LEVEL.ONE PLAN 0 roo Ft
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city-state. Dubbed the "forest valley," the re- potential of buildings with round footprints, ding, with mostly aluminum panels below it
sulting green space takes the form ofan the architects have also arranged the cuts to and glass above. The roofsystem spans to the
80-foot-tall stepped elliptical void that is provide views to the outside, including one funnel-shaped oculus, from which the veil of
topped with a "canopy park" with follies such aligned with the air traffic control tower. water called the "rain vortex" falls.
as a topiary walk, a mirrored maze, and a The valley and the spaces around it have a The vortex, designed by the water feature
glass-bottomed bridge. Encircling the valley on mostly conventional concrete-and-steel struc- specialists WET, drops up to 10,000 gallons per
four levels above grade and two below (with ture. But the toroid, a glass-and-steel grid shell minute down seven stories and is Jewel's most
2,500 subterranean parking spaces below 675 feet across at its widest point, is highly popular selfie spot. However, it is not at the
that), are a shopping mall, a movie theater, a sophisticated, and largely selGsupporting, physical center. The waterfall has been posi-
hotel, and other traveler conveniences. These except for 14 treelike columns. The shell con- tioned slightly to the south to avoid dousing a
amenities are kept separate from the green sists of hollow-section steel beams, 4 inches pre-existing tram that transports passengers
space, but the designers sliced slot-like "can- wide and of varying depths, connected by between terminals and now traverses Jewel's
yons" through the valley bowl, providing precision steel nodes. The grid shell launches valley every few minutes. That placement
visual connections between the two distinct from a ring beam that encircles Jewel at its ofthe vortex resulted in a subtly irregular
environments. Conscious of the disorienting fifth level and marks a transition in the clad- doughnut shape for the toroid and meant that
 77

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VIEW SHED Slot-like slices through Jewel's '
"valley" allow views to neighboring spaces and

becoming disoriented by the circular form.

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7A ARCHITECTURAL RECORD JULY 2019 FIRPtrRTS trF THE FUTURE
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A shopping mall (right) -*-,,\-J
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encircles the valley on four
levels above grade and two
below. As visitors approach
Jewel from Changi's '(
Terminal l, to which it is
directly connected, the
vendors and the central \' N
qreen space beyond come
into view (above).
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 79

SOLID STEEL
c red its
NODE _ I ARCH rTECr: Safdie Architects - Moshe Safdie, lead
C
ALUMINUM ACCESS
HOLE COVER
\ L
/ designer; Jaron Lubin, Charu Kokate, Greg Reaves,

\ HOLLOW SECTION
principals; David Foxe, Seunghyun Kim, Benjy Lee, Dan
Lee, Peter Morgan, Reihaneh Ramezany, Laura Rushfeldt,
STEEL BEAM
lsaac Safdie, Damon Sidel, Temple Simpson, Lee Hua Tan,

I t
- t
Andrew Tulen, project team

-) ARCHITECT OF RECORD:

/, XRSP Architects Planners & Engineers

CoNSULTANTS: BuroHappold Engineering (roof

structure and facades); Mott MacDonald Singapore
(m/e/p); lgnesis Consultants (fire); Arup Singapore
(acoustics); Atelier Ien (environmental); WET Design
(water feature); PWP Landscape Architecture, ICN

lnternational Singapore (landscape); Benoy (retail);

Lighting Planners Associates (lighting)
aa - GENERAL CONTRACToR: Woh Hup

oWNER: Changi Airport Group

srzE:1.7 million square feet
cosT: Sl.2 billion

coMPLETIoN DArE: April20i9 (Phase l)

BEAM-AND.NODE DETAIL SOURCES

FAcADE: Mero Asia Pacific, Choon Hin Stainless Steel,
no two of the shell's more than 9,000 double- is too large at the perimeter or too small near Yongnam Holdings, Alucobond, Vitro Architectural Glass,
glazed, triangular panels are alike. This added the center, he explains. CSG Holding, Colt Louvres
complexity, of course, but digital design and To maintain comfortable conditions for DOORS AND HARDWARE: Tacam Stee|, F|ame|ite,
fabrication methods helped manage the varia- both people and plants under the enormous Dormakaba, Won-Door, CLF Shutters, Briton, Elmes
tion, says Craig Schwitter, a partner in the glass bubble, and ensure the building would CONVEYANCE: Schindler Group
New York office ofBuroHappold Engineering, not be an energy hog, the team enlisted the
Jewel's structural and facade consultant. Jaron help of Atelier Ten. The environmental con-
Lubin, a Safdie Architects principal, points to sultant developed the central green space's cooling effect rather than big wind gusts. "We
the parametric model that provides a "recipe" climate-control strategy, studying such aspects wanted some air movement, but not too
for determining the number, shape, and size as heat gain on the envelope, which could be much," explains Meredith Davey, an Atelier
ofglazing units. It helped designers and the mitigated by coatings and the density of frit Ten director in London. "Jewel is all about
glazing subcontractor "prune" or manipulate patterns on the glazing; and the impact ofthe balance," he says. Thus, the mechanical system
the radial geometry, so that none ofthe panels rain vortex, so that it would create a pleasant relies on displacement ventilation, supplying
HOOP AT OCULUS

LARGEST.PANEL HEIGHTS DETERMINED AS

5U8DIV!SION OF URGEST RAOTAL: l'..
LENGTH OE LONGEST RADIAL L 6dIi
MAX PANEL HEIGHT H"-
NO. OF VERTICAL DlVlSlONS N,= L.*,/H.., 21,300 MM

LARCEST.PANEL WIDTHS DEIERMINED AS

SUBDIVISION OE LONGEST HOOP:
CIRCUMFERENCE Or HOOP C.*,,
MAX PAilEL WIDTH W.,
NO.OEHORIZONIAL DlVlS|ONS N"=C.oe-/W* RING EEAT

zND STORY

1.347 MM
NODE SET-OUT - OVERVIEW NODE SET.OUT - DETAIL

BAKING INSTRUCTIONS The doughnut-shaped grid shell consists of hollow-section steel beams connected by precision steel nodes (top). Designers compare the parametric
model of the domed enclosure (above) to a "recipe" for determining the size, shape, and number of its triangular glazing units.
 80 ARCHITECTURAL RECORD JULY 2019 HIFIPOFITEi OF THE FUTUFIE
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fresh air at a low velocity from floor-level
vents (many cleverly concealed in architectural
.;i ' elements, including seating), so that only the
7 occupied portions ofthe vast volume are con-
ditioned. The system is one of many features
that helpedJewel earn Gold Plus, the second-
highest certification level under Singapore's
I
tt
rl
GreenMark building-rating program.
Since the client deemed that 75 degrees
Fahrenheit and 60 percent humidity were the
"t
optimum conditions for people - considerably
a

I cooler and dryer than Singapore's climate-

Berkeley, California-based PWP Landscape
Architecture selected Jewel's trees, shrubs, and
\
.J other flora from subtropical zones throughout
t the world. Many of the plants were tested
within a "coolhouse" that matched design
C
f conditions as closely as possible and, once
procured, acclimated in nurseries in Singapore
for up to two years before being placed within
Jewel's irrigated trenches, according to Adam
Greenspan, a PWP design partner.
The landscape approach has proved so
successful, says Lubin, that there are spots
withinJewel where you are completely
shrouded in greenery. Visitors won't think
fur they are in an actual forest, he admits. But
SELFIE MAGNET ln addition to the lnstagrammable rain vortex (opposite), Jewel contains several other folly-like they can forget that they are at the airport-
attractions, including a set of fo99y bowls (top) and a series of sculptural, mirrored slides (above). at least momentarily. r
 7 81

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CEU

Beijing Daxing lnternational Airport I China I Zaha Hadid Architects

Once completed, an otherworldly new terminal will alleviate

pressure on the capital city's existing airport.
ffi I h

BY ALEX KLIIIOSKI

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 83

litile over a decade after Beijing Capital Airport constructed a

it
SSg&rujltat byFoster + Partners to accommodate an addi-
F tional 50 million !!cf;G$5 a Yea[ the caPital city is
unveiling a new airport just 30 miles to the south. The 7.5 million-
square-foot Beijing Daxing International Airport, designed by Zaha
Hadid four runways (compared to three
at the Capital) and when it opens
that capacity is

aluminum
and cluster of bulbous skylights, as an alien spacecraft-
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Beijing, the terminal has a compact form that minimizes

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84 ARCHITECTURAL RECORD JULY 2019 FIIRPtrRTS OF THE FUTURE
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DROP-OFF 5 HIGH.FREQUENCY DOMESTIC DROP-OFF 9 DOMESTIC RETAIL (LEVEL 2) o
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2 CHECK.IN ISLANDS 6 AUTOMATED BAGGAGE.DROP POINTS IO RAILWAY PLAZA 0
3 INTERNATIONALSECURITY 7 DOMESTIC SECURITY
=
 85

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THE CENTER HOLDS Steel megacolumns surround a central courtyard, where domestic flight, I know I can make it, because the airport supports me in that way.,,
retail and amenities are located. A mezzanine guides international travelers to passport
Critical to the terminal's design was to foster smart technology for
control. A rendering (opposite) shows how the multilayered core enables visual
connections to other levels. ubiquitous function. Catering to China's highly tech-sawy population,
Daxing will feature a completely automated departures mezzanine
The new airport is a driving force of an economic-development plan to dedicated to high-frequency domestic travelers, with self-checkin and
integrate Beijing with the surrounding regions of Hebei and Tianjin, self-tagging baggage systems that will move passengers expeditiously
creating a megalopolis that will alleviate congestion and pollution in the to security using only their smartphones. 'A lot of airports have sepa-
capital. Daxing is seen as a crucial multimodal transportation hub, even- rate VIP fast tracks, but those amount to small areas within the
tually connecting a netv/ork of high-speed rail and improved intercity departure level. This is different," says Ceccato. "The Chinese have a
railways and hundreds ofupgraded expressways throughout the three completely new level ofconfidence in this technological revolution and
regions, which already have 130 million people. have literally poured it into concrete as a separate floor.,'At the air-
The steel structure has a highly efficient six-pier radial form that port's north pier, departing passengers can enter the express
minimizes distances between check-ins and gates. By vertically stack- mezzanine, or go through the full-service check-in at the level above,
ing the international and domestic levels around a central multilevel where international travelers pass along a bridge across the core that
retail atrium, the layout facilitates direct routes for passengers, espe- also leads to immigration; domestic travelers are led down to the retail
cially for those with connecting flights (all 1S0 aircraft bays are no floor to get to the air side. Throughout the interior, fluid, sweeping
farther than a third of a mile from the central area). 'With the star- forms are meant to evoke rolling landscapes or lines of calligraphy.
shaped form, and moving walkways along each spoke, we can achieve The terminal's highly flexible design is made possible by eight grace-
minimum connection times,'says Cristiano Ceccato, who leads ZHA's ful parabolic megacolumns that curve down from the vaulted-dome
aviation projects. 'If I only have 30 minutes to get on my connecting ceiling to the ground, supporting the central atrium and the long-
 86 ARCHITECTURAL RECORD JULY 2019 HIRPORTS OF THE FUTURE
@
SUPPORT GROUP A cluster of curved steel columns
I
underpins the long-spanned aluminum-clad roof. Skylights
I atop each pillar flood the interior with natural light.

spanned roof, and allowing for a vast, open

floor plate. These curved structural masts, each
topped by a convex 3S0-foot-diameter skylight,
funnel natural light into dif[erent areas of the
terminal, where retail pods throughout the
international and domestic shopping levels can
be easily reconfigured. "Over time, shopping
requirements and behaviors will change, and,
when they do, you will never actually need to
rip out the guts," says Ceccato. "The columns
,l will be unaflected by this."
\
(
I Daxing is an exemplar of how airports are
evolving into more complex nodes of intercon-
\ nectivity- of people, machines, information,
/ |\
transportation, and cities. The project has
already catalyzed nearby urban development;
as Ceccato suggests, people could take the
: tr.-
--
soon-to-be-completed high-speed rail to
"'-../rc.llr -r
:n:.r_;s Daxing and then the bus to work nearby with-
-fl""er D.
,i, out ever setting foot in the terminal.
ld -_.. l-
The airport is expected to open in late
September, and work on the next phase-
an annex to include an additional runway (not
designed by ZHA)-has already begun. By
*-:-\ ../ 2040, Daxing is expected to serve more than
100 miltion passengers a year, approaching the
Y.a,
'x traffic volumes of Hartsfield-Jackson Atlanta
International Airport, which was ranked the
busiest in the world for the 21st year in a row.
With the Beijing Capital airport at number
two behind Atlanta, the opening of Daxing
will make China the busiest aviation market
\ in the world by 2022. "The sheer number of
people that the airport will support is stagger-
.:
ing," says Ceccato. "This will not just be a
gateway for Beijing-it really will become a
*'L=: gateway to the country." r
'-\ i
credits
'sl ARcHTTECT: Zaha Hadid Architects - Zaha Hadid, Patrik
Schumacher, lead designers; Cristiano Ceccato, Charles
Itrlalker, project directors; Shao-wei Huang, Lydia Kim,
project architects; Paulo Flores, project designer

ASSocTATE ARCHITECTS: A6roports de Paris

lng6nierie (ADPi)
ENGTNEERS: BuroHappold (superstructure, m/e/p); Mott
Macdonald (substructure)
+ Watson (aviation planners);
r/f coNSULTANTS: Pascall
Arcadis (commercial planners); LogPlan (aviation
systems)
, taaD
{r ',V/ r.. cENERAL coNTRACToR: Beijing Urban Construction

IT Group

cLTENT: Beijing New Airport Command Headquarters/

, F Beijing Capital lnternational Airport
srZE: 7.5 million square feet
coMPLETIoN DArE: September 2019
 I 87

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 89

Elmira Corning Regional Airport I Horseheads, New York

Fennick McCredie Architecture

E TeSS TeSE
A small terminal's garden helps counter travel anxiety
BY JAMES S. RUSSELL, FAIA
PHOTOGRAPHY BY WILLIAM HORNE

hough lofty, daylight-splashed ticket- framed landside ticketing and baggage

T
I ing halls are common in airport pavilion-which they gut-renovated-from the
I architecture, Deborah Fennick and larger, new replacement air-side concourse.
her partnerJonathan McCredie took a differ- The 18,700-square-foot garden, designed by
ent approach in the redesign ofthe four-gate landscape architects Hargreaves Associates,
Elmira Corning Regional Airport in upstate should quickly grow into a tiny forest.
New York. They focused instead on the most A wall ofglass beyond the ticketing area
anxiety-provoking aspect of flying: the draws the eye to this outdoor space, and a
security-screening checkpoint, often buried in rounded corner signals the presence ofa gen-
the terminal if not an afterthought altogether. tly sloped, glass-walled ramp that curves its
The $61.5 million expansion was driven way through the garden, accommodating
primarily to accommodate larger aircraft- queueing for security as well as the checkpoint
and the traffic they generate-used by itself.
ultra{ow-fare carriers that are growing in This "walk through the woods," as McCredie
non-metropolitan markets. central to the put it on a recent visit, is a vast improvement
stress-relieving approach taken by Boston- over the usual grim march back and forth
based Fennick McCredie Architecture is an through a maze of switchbacking tensile barri-
outdoor green space that separates the steel- ers-a screening prelude that seems designed

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TOP FLIGHT To bring tranquility to the airport experience, the team imagined a lush garden (left) that separates the
landside ticketing and baggage pavilion (above) from the new air-side concourse behind it.
90 ARCHITECTURAL RECORD JULY 20.19 FIIRPORTS OF THE FUTUFIE
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UP AND AWAY Travelers use a glass-walled ramp that
't curves through the garden (above) and proceeds to the
security checkpoint (left).

to amplify stress over whether the agent will

insist on a body search, the baby will start to
1 scream, or the plane will be missed. Travelers
can also access the outdoor area-to hang out
at caf6 tables or take a stroll. One side ofthe
garden is reserved for people who have not
been screened; separated by the glass-walled
ramp, the other side is open only to those who
.t
,
-a have passed through security.
a
v- Along the air-side gate concourse, curved
-_ glass walls round the corners of biomorphic
EZt

I_
I lounges that project into the garden. In con-
trast to the usual rigid rows ofdeparture
seating, casually arranged couches and mov-

1 MAIN ENTRANCE
2 TICKETING LOBBY
3 TICKETING LOUNGE 2
tHfl 'It

4 CAFE ..m
5 RESTAURANT
9
6 SECURITYSCREENING t-
1t
7 CONCOURSE 9
t \
8
t _7 -ttrL s
GATE LOUNGE

9
10
COURTYARD
BAGGAGECLAIM
PREEXISTING BUILDING
NEW
:[JEJ
1 l
11 BACK OF
12 0FFtCES
HOUSE
MAIN-FLOOR PLAN a o 50
15 M.
FT.
 91

provides places to
rre visible from the
ino olanes (bottom

able chairs invite passengers to relax. Gates

are visible from these lounges, further allay-
ing anxiety about missing planes. There are
gate-side seats as well, but the view across the
airfield is impeded by jetways and other
.:
servicing paraphernalia because, as is typical I
of small airports, the building is a single level I
I
and sits low to the ground.
Even with staged construction, to keep the
airport open, the project was completed just
26 months from the time Fennick McCredie lll ilt
was awarded the design in September 2016.
rl
[-;
Both McCredie and the New York State
Department of Transportation (DOT) credit
GovernorAndrew Cuomo, who has made
speeding major capital projects to completion
a priority (including the multibillion-dollar
reconstruction of New York's LaGuardia
Airport, which also is moving quickly). "The
governor's office strove to expedite every
aspect of the project," says Walid Albert,
DOT's chief engineer. 'We completed reviews
quickly. We didn't let anything sit in an in-
,: 2 I
L 7
4,
basket if someone was not around." Adds
McCredie, "The governor's ofFrce was very
-1r
hands-on, down to the paint colors. They did i ilt-
-/
not second-guess or go back to first principles,
which was really helpful for the execution.
No one slept much."
121 l1

'a- L-

I ff
- -I
E l : E
ca". u :( @

t
It I I
t
\ L
l
l
IE
t t

rll
-/ \
--F'
'-4
-
I I
-
 92 ARCHITECTURAL RECORD JULY 2019 FIIRPORTS OF THE FUTUFIE

a
a

c ti

I a- .I
L_

-.
t jc sqms
,<

-
.t:,

r*
RIGHT AT HOME In place of the usual fixed seating, upholstered furnishings lend lounges a calming, domestic feel.
cred its
ARcHtTEcT: Fennick McCredie Architecture - Jonathan
Anyone can appreciate Fennick McCredie's fuel-efficient planes like the Boeing 737 and
McCredie, Deborah Fennick, principals; Aleks Bergel Matt
close attention to the experience of moving Airbus 4320, the airport had to grow from
Bermon, Scott Brodsky, Kimberly Cullen, Blake Coren,
from curb to plane, given the prevailing view 55,000 square feet to 88,000 in part to accom-
Meaghan Earner, Nancy Felts, Agnes Jacob, Tim Nolan,
that cargo is often treated better than passen- modate them. Traffic boomed to 278,000
Eric Pereira, Sharon Reynolds, Penn Ruderman, team
gers in today's swarming airports and on passengers in 2018, an 11 percent increase in
cramped planes. McCredie, whose S0-person one year. Modest additional growth is expect- coNSULTANTS: McFarland Johnson (civil, structural,

office specializes in aviation projects, says ed, but the greater impact on the facility nl elpltp): Hargreaves Jones Landscape Architecture

security enhancements since 9/11 have taken design was allowing for the big-plane peaks, cLTENT: Elmira Corning Regional Airport
airport architecture from being "a celebra- which drove the addition ofjet bridges and owNER: Chemung County, NY
tion of flight to focusing entirely on the the enlargement ofthe departure lounges and srzE: 89,150 gross square feet
efficient processing ofpassengers." It is the screening area.
PRoJECT cosT: 561.5 million
firm's goal to reverse this trend through a Airports the size of Elmira Corning never
coMPLETIoN DATE: october 2018
focus on alleviating the stresses endemic to used to see planes with more than 60 seats.
air travel today. Responding to the new economics of aviation
It's especially important to bring a measure as well as security requirements is key to SOURCES
of calm and dignity to smaller markets, he successful design. "These are among the big- :EN: Knight Wall Systems
says, because many customers-especially gest changes in airline travel," says McCredie. ArALL: KaWneer
families and seniors-who don't fly much, are "Small airports have to catch up." r RApERy: Cascade Architectural Fabricoil
intimidated by airports. These travelers also
TRANCES: C.R. LAUTCNCC
tend to be price sensitive, which has brought James S. Russell, I7IIA, wos alongtime editor at
Guardian, Viracon, Wasco
ultra-low-fare airlines to places like Elmira ARcHrrEcruRAL REcoRD. He wrote The Agile -
FLoORTNG: Armstrong
Corning. Because these companies can afford City: BuildingWell-Being and Wealth in an Era
NGS: Herman Miller,0FS, Geiger, Keilhauer
to serve these locations only ifthey use bigger, of Climate Change.
 ARCHITECTURAL RECORD JULY 2019 FIRPtrRTsi OF THE FUTUFIE 93

trn Ehe Horizon

Six up-and-coming aviation projects, in various stages of planning
and construction, will soon be ready for takeoff.
BY KARA MAVROS

7
I
{ Kuwait lnternational
I Flirport
The new Kuwait International
Airport by Foster + Partnem,
scheduled to open in 2023, is
trefoil-shaped in plan, with all the
facilities united under a single
a---! concrete-shell roof. The interior
receives daylight through large
tl
glazed openings in the vaulted
structure, as shown in the
4 baggage-claim area (left), which is
surrounded by cascading fountains,
similar in design to Foster's'water
wall" in the Hearst Tower lobby in
New York. Tapering concrete
6 L columns support the roof
, structure, which also carries
t' !
. lt h-
!
photovoltaic panels and will help
the airport earn LEED Gold
certification. About 13 million

ryJ frd 7 passengers a year are expected to

use the 1.5 million-square-foot

I
-i 7
I
complex.

) Gtobat Terminat and

Eoncourse at tr'Hare
lnternationaI Flirport
A newY-shaped terminal and
F
F
concourse at Chicago's O'Hare is
@ being designed by Studio ORD-a
o partnership among Studio Gang;
E
o Solomon Cordwell Buenz; Corgan;
9 Milhouse Engineering and Con-
o
l struction; and STL Architects. The
F

:
d
2.2 million-square-foot facility
o
F
will be the largest expansion in
the airport's history. The three
branches of the terminal meet at a
z
ts central hub, dramatized by a
E
I
six-pointed glass skylight (right).
+ Wood ribs and cladding in the
c
F
ceiling will add a natural warmth
to the new building, which is
expected to break ground in 2023.
F
E
f
o

i;
0

=
94 ARCHITECTURAL RECORD JULY 2019 FIRPBRTSi gF THE FUTI'TE
CEU
--1r'-

--E
F-
\

-4
::#
a
a
+ ffiES

tt
\l
DH
I t
I
a Flbu trhabi lnternationaI Flirport Midfietd Terminat
After 13 years, Abu Dhabi's new government-funded terminal, by KPF, is
slated to open in 2020. Considering that 80 percent ofthe airport's
visitors will be transfer passengers-it's a midway point for many long-
haul international flights-the terminal was designed to cater to travelers
with lengthy layovers while promoting the city's culture and its growing
luxury sector. The 7.9 million-square-foot interior will include numerous
amenities-the majority of which will be beyond security checkpoints-
including a sculpture garden and a museum. The roofline, defined by
rolling metal arches supported on steel beams, is meant to mirror the
curves ofdesert sand dunes.

ffi
{ Heathrow
lnternationaI Flirport
Expansion
For the addition ofa
third runway to Heathrow,
Grimshaw has designed a
sweeping and swerving
terminal to help accommo-
date the airport's expected
total of 130 million passengers
a year. The undulating glass
roof allows ample daylight for
+ interior green spaces with a
sustainable design for the
London aviation complex. It is
slated for completion in 2025.
i: i$
 95

{ SatE Lake tritg

lnternationaI Flirport
Utah's largest air hub will undergo an extensive
-= expansion in the next five years. Salt Lake City
International Airport's terminal redevelopment
program, led by HOK, will replace existing
terminals with a three-story structure and 78
rew gates, all ofwhich are anticipated to be
open by 2024. At the center ofthe terminal,
large-scale interior sculptural walls, composed
ofrippling fins, enclose the shopping and din-
r= ing areas. This architectonic element, called lhe
l--L Canyon, created by artist Gordon Huether,

ii
4 evokes Utah's natural rock formations. HOK
) anticipates that its sustainable design, which
} 1 includes high-performance glazing and energy-
efFrcient mechanical and lighting systems, will
t: achieve LEED Gold certification for the new SLC
terminal.

) SeatEl.e-Tatroma lnternationaI Firport

lnternationaI Flrrivats Facil.itg
For the upcoming Seattle{acoma facility, scheduled to
open in 2020, SOM created eight new gates, increasing
the total to 20. A bridge will allow international travel-
ers to move on foot over taxiing aircrafil. The new
450,000-square-foot building attempts to convey a
strong sense of arrival, with windows on either side of
the elevated passageway facing Mount Rainier on one
side and the Olympic Mountains on the other. The roof,
t
made of glass and aluminum panels, subtly follows the
twists and turns ofplanes gliding through the air. l*.+ii
t .ip-
t--
Continulng Education

*"
-
($l,Cr,
''"-
To earn one AIA learning unit (LU), including
one hour of health, safety, and welfare
='rrrS (HSW) credit, read the "Airports of the
Future" section on pages 69 throuqh 96 and
complete the quiz at continuingeducation.bnpmedia
.com or by using the Architectural Record CE Center
app available in the iTunes Store. Upon passing the
test, you will receive a certificate of completion, and
I your credit will be automatically reported to the AlA.
Additional information regarding credit-reporting and
continuing-education requirements can be found at
continuingeducation.bnpmedia.com.
4
i\ Learning ObJectlves
I 1 Describe ways of accommodating rapidly evolving
I J i technology in terminal design and avoiding obsolescence.
2 Describe how changing security needs and traveler
preferences are shaping the form and configuration of
airport terminals.
r Ortando lnternationat FlirporE South Terminat tromptex 3 Describe the climate-control strategy at Jewel
Orlando's forthcoming South Terminal Complex by Fentress is expected to add 19 Changi and explain how the needs of people and plant
gates capable ofserving 24 planes by 2021. The firm designed a 2.7 million-square- life were met.
foot international-terminal buildingwith ticketing, security, customs, passport 4 Explain how ubiquitous computing can be used inside
control, and baggage-claim areas arranged along a central 1,000-foot-long 'boule- terminals to enhance passenger flow.
vard" (above) linking the curbside ofthe terminal to the air side. Central civic spaces
will punctuate the complex, with palm trees planted throughout the interior, illumi- AIA/CES Coursc $Kt9O7A
nated by skylights.
96 ARCHITECTURAL RECORD JULY 2019 HIRPORTS OF THE FUTURE

I ,7

Up, Up, and

Flwag
wHEN THE TwA TERMTNAT by Eero Saarinen
opened at Idlewild airport (nowJFK) in New York
in1962, it embodied the allure of air travel. Its
open "wingspan" welcomed travelers into the
glamorous interior, with its sweeping concrete
curves. Despite the beauty ofits structural expres-
-L. sionism, it proved not to be functional for the long
term. As jets got larger and more travelers took to
the air, the terminal became obsolete, finally
7 closing in 2001. Fortunately, it now has been impec-
cably restored by Beyer Blinder Belle and suitably
repurposed, as the centerpiece ofthe new TWA
Hotel, by Lubrano Ciavarra. TWo seven-story glass,
-/ crescent-shaped wings, accommodating 512 hotel
rooms, embrace the indelible landmark. It's a per-
-/ fect place for a layover-or to lounge inside the
sybaritic original space, sipping a martini and
listening to Frank Sinatra.
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ARcHITECTURAL -.i{, o-t,orir,ib,, PROJECT LE

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.to

ta i
Kuala Lumpur's modern skYline. Le
48

'1\l'
\:r
,\
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.'t
'fl main business district, Kuala
(KICC). To create the vertical gardens, French land-
:

scape architect and botanist Patrick Blanc applied

i.t, a grid of stainless-steel cables across the btil$jngs'
I
\tr I
I
glass facades and threaded them with high- and
i) lorittlimbing varieties of liana vines. BecauSe rle
rdn-ie offactors affec4ng plant life-including
insects, surilight, and-intense winds-vary from
Jvel to fiel, Blanc hadto use 243 species of the
I
l$t"r,,of..ornmodate the disparities. In addition
to the veil the vines foim, a lily pond next to the
i,
l- swltnming pool on the seventh floor, which joins
ri the two towers, is an -Oasis of serenity within the
\ 'busgling metroprlis. Kora Mavros

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d ates & eve nts

In Frederic Church's Ombra: Architecture Pavilion by Portuguese artist Marco Gondin- Competitions
in Conversation with Nature ho examines the relationships that mankind
Hudson, NewYork has with the sea. See luxembourgpavilion.lu' Vectorworks Design ScholarshiP
Through November 3, 2019 Deadkne: August 29, 2079
Showcasing multimedia design concepts and Nature - CooPer Hewitt Design Triennial Undergraduates and graduate students are
installations, this exhibition at the SharP NewYork eligible to submit their best design work for
Family Gallery by guest curator Barry Bergdoll ThroughJanuary 20,2020 the chance to win up to $10,000 from the
combines hand-drawn sketches' Painted ren- Over 60 projects will be featured in this exhi- Vectorworks Design Scholarship or the
derings, three-dimensional models, and bition demonstrating how designers are Richard Diehl Design Award. For more infor-
animations examining the relationship of collaborating on inventive solutions to mation, visit vectorworks.net.
architecture and landscape at Olana. See more the environmental and social challenges
at olana.org. confronting humanity. For more information Architectural Review Emerging Architects
see cooperhewitt.org. Awards
Second Home Serpentine Pavilion Deodline: Augttst 30, 2079
Los Angeles For the 20th year, the AREA Awards will
Lectures, Conferences, reward excellence in an emerging architect's
Thr ough N ol emb er 2 4, 2 079
Second Home and the Natural History and Symposia overall body ofwork rather than a single
Museums of Los Angeles County are bringing completed building. To be eligible for submis-
SelgasCano's 2015 installation to Los Angeles. Seattle Design Festival sion, all practice founders must be under the
The pavilion will be at the La Brea Tar Pits, Seattle age of 45 as of December 5, 2019. More at
with public programs and events focusing on August 16-25,2019 emergingarchitecture. architectural-review.com.
the intersection ofart, design, science, and The Design in Public program gathers over
nature. See pavilion.secondhome.io' 30,000 designers, community members, and Robert Wood Johnson Foundation
civic leaders to explore how we design for this Challenge
Written byWater year's theme, which is Balance' The event De adline: August 31, 2019

Luxembourg celebrates all the ways that design makes life The theme is Building Health into Everyday
Thr ough N o'v emb er 2 4, 2 079 better for Seattle. For more information, see Life. In the near future, technology might be
This immersive exhibition at the Luxembourg designinpublic.org. used to enhance health as part ofour daily

York
Architecturc
and Design Month
Gelebrate design
, n and the built
environment this fall!
October 1-31
archtober.olg
 ARCHITECTURAL RECORD AUGUST 2019
dates & events 119

New and Upcoming Exhibitions Architects' Fumiture, 1960-2020

Paris
Big ldeas, Small Lots Througfi September 30, 2079
NewYork This exhibition at the Citd de L'architecture & du patrimoine explores
August 7-November 2, 2079 how architects have contributed to art through furniture and lighting
Showcasing the five winning proposals of the Big ldeas for Small Lots design. The almost 300-piece collection showcases furnishings designed
NYC competition-organized by NyC Department of Housing, during the last 60 years by David Adjaye, Ron Arad, Shigeru Ban, David
Preservation, and Development (HpD) and AIA New york_this exhibi_ Chipperfield, and more. Learn more at citedelarchitecture.fr.
tion at the center for Architecture includes finalists' innovative ideas
on developing affordable housing. More information at aiany.org. Vienna Biennale for Change: Brave NewVirtues
Vienna
Through October 6, 2079
Ongoing Exhibitions This third Vienna biennale will explore what an economically just,
socially fair, and ecologically sustainable future could be. Artists,
Serious Play: Design in MidcenturyAmerica
designers, and architects from all continents will focus on visions for
Denver
achieving this. Learn more at viennabiennale.org.
Through August 25,2019
The exhibition at the Denver Art Museum features the ways architects
Our Happy Life: Architecture and Well-Being in the Age of
and designers used the concept ofplayfulness in postwar American
Emotional Capitalism
design as a catalyst for creativity in the American home, children's
Montreal
toys, and corporate identities. Co-organized by the Milwaukee
T'hrough O ctober 8, 2019
Art Museum, the collection includes over 200 works in various media.
Focused on the decade following the 200g economic crash, OurHappy
See more at denverartmuseum.org.
rife investigates today's "cult of happiness'and its many contradictions,
questioning how the happiness agenda influences the design ofour
Viagem Sem Programa
built environment. See more at cca.qc.ca.
Siena, Italy
Through September 8, 2019
This traveling exhibition-dedicated to Alvaro Siza-is now on display
at Santa Maria della Scala Museum. It features drawings by the archi_
tect, along with several video installations, which show sides of his
personal and professional life. The collection is curated by Greta
Ruffiano and Raul Betti. See viagemsemprograma.com.

Rome and the Teacher, Astra Zarina

Rhinebeck, NewYork
Through September 8, 2079
A new exhibition honoring Astra Zarina, professor ofarchitecture, is
on view at 'T' Space's Architectural Library. The collection examines
the Italian balance of private and public spaces that informed Zarina,s
design theories through models, drawings, and video. For more, see
1
tspacerhinebeck.org.

DesignWith Nature Now

Philadelphia
Tbough September 15, 2019
r-r=r
The legacy ofenvironmental planner and landscape architect Ian L. IOOO/" RELIABLE
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 EDUCATIONAL.ADVERTISEMENT 117

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build a wooden skyscraper in the coming 2
years. Wooden skyscrapers could be the
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As a moisture-sensitive material, wood is
slow to dry if wetted due to its hygric mass.
Furthermore, wetting for prolonged periods can
result in dimensional changes, moisture damage, I I

and microbial growth. As a result, keeping CLT

products dry during construction and through-
L-
out the buildingt service life is critical. The speed
at which CLT panels may be erected also creates L.
unique field challenges where CLT panels are
exposed to the elements for periods of time while
awaiting cover.
Filling this unique niche of providing water-
resistive-barrier (WRB) and air-barrier (AB)
membranes and roof underlayment, very few
technologies are ideally suited for the challenges
At the Hawker Architects-designed First Tech Credit Union in Palo Alto, California, a cross-
specific to mass timber construction. laminated timber (cLT) floor is supported by a glue-laminated timber structure.
One such technology is vapor-permeable
sheet membranes that simultaneously manage
bulk-water infiltration while allowing for ac- lightweight wood-framed construction that While the primary focus of this course is
celerated drying of the underlying materials. has long dominated the low-rise residential CLT building enclosure design, much of the in-
As a self-adhered WRB that bonds directly construction market in North America. formation applies to other types of mass timber
to wood substrates, no primers are required, Among the mass timber materials known for products as well.
so the membrane installation can proceed their sustainable, renewable properties, CLT is This course covers best practices for the
simultaneously with the CLT panel erection the most popular. These panels offer strength, design and construction of high-performance
process. This technology also lends itself to rigidity, and dimensional stability, making CLT wall and roof assemblies using suitable
WRB/AB pre-application, taking advantage them ideal for floor, wall, and roofapplications. vapor-permeable WRB and AB membranes,
ofthe prefabrication process inherent to CLT CLTt panelization potential also lends itselfto roof underlayments, and flashing accessories
panel construction, and the quality control streamlining the construction process and dra- in moderate to cold North American climates,
and weather protection that shop fabrication matically shortening the construction schedule including International Energy Conserva-
can provide. while employing less labor tion Code (IECC) Climate Zones 4 through 8.
A number of other mass timber products While CLT assemblies in warmer climates are
MASS TIMBER widely used across North America offer similar not covered, these building enclosure products
Before delving into the specifics ofhow to prop- benefits to CLT. They include nail-laminared may still provide solutions for a successful
erly detail a CLT enclosure, some background on timber (NLT), dowel-laminated timber (DLT), enclosure design in these regions. Ofcourse,
this newer building material is helpful. interlocking cross-laminated timber (ICLT), these products can also be used with many
Modern mass timber buildings are con- glueJaminated timber (GLT), vertically other forms of mass timber, wood-framed, and
structed of engineered wood products, often laminated veneer lumber (LVL), and laminated conventional construction methods following
manufactured from multiple layers of sawn strand lumber (LSL). Multiple mass timber similar installation techniques and detailing.
lumber, attached to form a solid panel, beam, products can be used in the same building. For
or column. By forming solid wood sections, instance, Figure l-2 shows an example of a CLT
mass timber differs from the conventional, floor supported by a GLT structure. O Continues at ce.architecturalrecord.com

VaproShield designs and m_anufactures high-performance, mechanically attached, and self-adhered vapor-permeable

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to protect the building assembly frori damaging moisture intrusion. www.vaproshield.com
1.16 EDUCATIONAL-ADVERTISEMENT

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underlayments, and flashing accessories can deliver high-performance enclosures
(, for cross-laminated timber buildings
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9.1 percent over the next five years, reaching $980 declares Andrew Waugh, RIBA, founder
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traction. In fact, the worldwide market for cross- based market research firm Market Study in its London, in a Dezeen article on this noted
laminated timber (CLT) is expected to grow at a "Cross-Laminated Timber Market Share" report. trend. "Building in wood is super fast, super
accurate, and also makes the most amazingly
beautiful spaces."
Waugh claims that a CLT structure can be
constructed 50 percent faster than a concrete
building, requires fewer deliveries to the site,
and provides a more pleasant environment for
construction workers.
Architect Alex de Rijke, whose London-based
firm dRMM has designed a few dozen CLT
buildings, agrees, saying, "CLT is the future of
construction. Timber is the new concrete."
T ln an Economlsr video report titled "Wood-
en skyscrapers could be the future for cities,"
Michael Ramage, Ph.D., director, Cambridge
University's Center for Natural Material In-
novation, even goes so far as to say, "I think
it's very realistic to think that someone will

CONTINUING EDUCATION
AIA
Contlnulno
Education- 1 AIA LU/ELECTIVE
Prcvid{

Learning Objectives
After reading this article, you should be able to:
1. Explain the benefits and growing popularity
of cross-laminated timber (CLT) buildings.
2. Recognize CLT's unique sensitivity to
moisture and how specially designed
building enclosures are required to support
; building longevity and high performance.
3. Review options for attaching various
cladding components to the CLT panels.
4. Describe best practices for designing and
installing water-resistive barriers (WRBs),

l vapor retarders, and air barriers (ABs) in

CLT wall and roof cladding systems.
5. Review best practices for detailing CLT roof
assemblies of varying slopes.

To receive AIA credit, you are required to

v read the entire article and pass the test. Go to
ce.architecturalrecord.com for com plete text
and to take the test for freeAra
I rl
couRsE #K.reo8D

All images, figures, and details courtesy of VaproShield

 EDUCATIONAL.ADVERTISEN4ENT 1 15

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With every catastrophic disaster, building codes and practices tend This house has a continuous perimeter vent system for crawl-space
to change. After the Kobe Earthquake in 1995 destroyed more than ventilation. The absence of vent holes in the foundation is a preferred
400.000 buildings, the use of perimeter venting systems increased. aesthetic by some architects.

and are more susceptible to damage. The second "While designing our house, I realized that for the raised foundation. While the tempera-
reason is that with the perimeter venting system our stem wall was going to be too short to use ture at the surface ofthe ground varies widely
the sill plate is separated from the founda- the standard plastic crawl-space vents," he says, depending on season and climate, the tempera-
tion and so it won't decompose, which aided adding that he "wasn't looking forward to using ture becomes less changeable and more moderate
in supporting a long-term structurally sound them any,way because, in my opinion, the vent below the surface. This relatively warm below-
foundation." boxes detract from the clean exterior look ofthe surface ground temperature produces moisture,
In the two decades following the Kobe house and don't do a very good job." and this is the reason for the building practice
Earthquake, adoption ofthe perimeter venting So the questions arise: Is the conventional ofa raised foundation built up on a crawl space.
system has skyrocketed. One company alone box venting method the only way to go? Is it While the soil below alternately gets wet, dries
has provided perimeter venting systems to more the best way? Is there a better way? This course out, freezes, or unfreezes, the foundation raised
than 4.5 million new Japanese homes. examines this innovative manner of passively above it remains unaffected. And with air flow-
venting a crawl space evenly and unobtrusively ing freely underneath the house, natural breezes
A SLEEK AESTHETIC around the entire perimeter, and compares it carry away ground moisture. The raised design
A final consideration is the sleek elegance of with the traditional method of box vent open- also allows easy access to plumbing, electrical,
this venting system, allowing complete passive ings to which most have become accustomed. and mechanicals under the floor.
crawl-space ventilation with just a thin and Let the designer or builder be the judge. As building practices changed, the pilings on
nearly unnoticeable presence, and without the We begin with why crawl space ventilation is which the foundation sat became a reinforced
common-and some would say unsightly- so critically important. and poured concrete foundation wall on which
large openings currently cut into foundations or the foundation sat. To create the necessary
rim joists every 8 feet or so to allow for airflow. HOW AND WHY MOIsTURE BUILDS UP airflow to keep moisture from accumulating,
For architects, engineers, and builders in IN CRAWL SPACES the code required holes in the foundation wall to
North America, however, while those holes cut Providing ventilation under a raised foundation allow air to freely move in and out of the crawl
into the foundation or rim joist ventilation may house is as old as the North American building space. Screens or louvers were also required to
be ugly and even detrimental to the integrity of trade itself. While some homes are built over prevent rodent intrusions.
the foundation, the practice continues because basements, or more recently on grade-level con-
"itt the way things have always been done." crete slabs, there are plenty of locations and soils O Continues at ce.architecturalrecord.com
Erik de Buhr, an owner and builder in and climates where separating the foundation of
Eugene, Oregon, and founder and co-executive the home from the ground is the best design. Kathy Price-Robinson writes about building and
director ofa nonprofit that helps solve home- Consider raised homes built for centuries in architecture with a focus on adapting to climate
lessness, sought out the new venting system as a the Northwest or Southeast of North America. change. www.kathyprice. com
solution to a design problem. Pilings set deep in the ground provide anchors

Joto-Vent System USA, lnc. was established in Redmond, Washinton, in 2017 and is the U.S. subsidiary of Joto Techno Co., Ltd., a leader of
/$,rm-rrnsrrm' residential building materials in Japan. Joto-Vent System USA, lnc. is introducing the Joto-Vent System, a continuous perimeter foundation
vent, which has been used in Japan for 40 years and is the standard method of crawlspace ventilation there. wwwjoto-vent.com
114 EDUCATIONAL.ADVERTISEMENT

All images courtesy of Joto-Vent System USA, lnc.

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The latest innovation in crawl-space ventilation provides continuous airflow with no dead air pockets in the crawl space, eliminating the need for
unsightly and troublesome openings in the foundation wall or rim joist.

Continuous Perimeter Foundation Vents

The next innovation in crawl-space ventilation
Sponsored by Ioto-Vent System USA, Inc. lBy Kathy Price-Robinson

I very so often, a new way ofbuilding down from wicking moisture from the concrete
L no.na, emerges tnat ls so srmple, so foundation. Additionally, as a treated sill plate is CONTINUING EDUCATION
L.r.g"n,, ano yer so revolu.onary rnar rne not needed, neither is galvanized hardware.
mind can hardly grasp it. The system has been used for more than AIA
Cotlmlno
Take the case ofa continuous perimeter four decades in |apan and is the most common EaE6o- 1 AIA LU/HSW
Providcr
foundation vent system. This low-profile, crawl-space ventilation system used there.
honeycomb crawl-space venting system is placed Learning Objectives
After reading this article, you should be able to:
between the concrete foundation wall and the INNOVATIVE DESIGN AND THE
1. Discuss moisture buildup in crawl spaces,
wooden sill plate to provide passive airflow KOBE EARTHOUAKE OF 1995
the consequences of excess moisture, and
around and through the entire perimeter ofthe Prior to the Kobe Earthquake in 1995-which how crawl-space ventilation protects the
homet crawl space. This eliminates the need for measured 6.9 on the Richter scale, killed more building and occupant health.
conventional vent boxes either in the concrete than 6,000 people, and destroyed more than 2. Compare conventional foundation vent
foundation or cut into the rim joist. 400,000 buildings-many crawl spaces were systems, their effectiveness, long-term
"l'll never go back to cutting vent holes vented in the conventional method using open- performance, and health impact.
into rim joists and foundations," says Takeshi ings in the foundation wall, while others used 3. ldentify a new option/alternative for venting
Kaneo of TK Home Design and Build in Bel- the perimeter venting system. After the earth- a foundation built over a crawl space.
levue, Washington, who has used the perimeter quake, some observers noted a difference in how 4. Define continuous foundation ventilation
venting system in two ofhis projects. "I wish I each type ofbuilding fared. systems and their sustainable benefits.
had known it was available in the United States "After inspecting the devastation, we found 5. Describe several case studies of projects
sooner." that homes using perimeter venting systems where continuous perimeter foundation
Not only does this venting system provide survived for two main reasons," says Takashige vents were specified.
continuous and foolproofventing into and Maebayashi, a |apanese-licensed architect and
To receive AIA credit, you are required to
out ofthe crawl space, but the thin 7a-inch director ofengineering and development for
read the entire article and pass the test. Go
(20-millimeter) composite venting strips Ioto USA. "The first reason is that the use of to ce.architecturalrecord.com for complete
provide a capillary break between the concrete the continuous venting system doesn't require text and to take the test for free.
foundation wall and the wooden sill plate, elimi- cutting the foundation for crawl-space ventila-
nating the need for a pressure-treated wooden tion. Houses that used the conventional style AIA COURSE #K.l908J
sill plate and preventing sill rot and sill break- methods naturally have weakened foundations
 EDUCATIONAL.ADVERTISEMENT 1,I3

comfortable range may require only a rough

estimate of costs from the design professional o
-o
and instead rely on his or her own resources
to analyze costs and negotiate prices sepa- z
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rately. Or the client may be limited in the zC
amount of financing available and have a
high need to understand and control costs, l .L:J-r o$o z
thus relying heavily on the project team to o
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direct and assist that effort. By contrast, a Current Subcontractor Vendor g
public client often has a stated maximum C
records quotes quotes o
budget that is the result oflegislation or
public bonds being issued, hence he or she
can be very sensitive to the need to avoid cost
I
o
overruns since it is a big deal to attempt to go z
back and obtain additional funding. As such,
most public clients ask for cost estimates to
h
be prepared and updated at each project-
phase submission (i.e., schematic, design
development, construction documents, etc. )
if the project is managed that way. In any of old
these or other situations, being sensitive to
Experience Published
the client needs for cost estimating means estimates cost data
the project team may need to tailor the way
information is analyzed and presented to suit
individual buildings.
There are multiple factors and variables that go into accurate construction cost estimating.
Recognizing and working with them can help produce the best results.
Human Factors
The question of "who" is going to do the cost
estimating for a project needs to be answered include a variety ofchoices such as histori- based on the most current conditions, the
fairly early in the process. In some cases, a cal project data, information from suppliers, online sources will make the most sense.
large professional practice may have in-house direct information from subcontractors, or Further, independent data typically addresses
personnel and well-established office stan- other direct personal contacts. However, data regional and local cost differences, allowing
dards for preparing cost estimates for all ofits from those sources may be rather subjective it to be customized or tailored to a particular
projects. In other cases, it may be just one or and probably need to be scrutinized to ensure project location, accounting for differences in
two people in a firm who do the cost estimat- they are directly applicable and timely for the the labor markets, material availability, and
ing as part of a much broader job description. project at hand. Further, the information avail- other factors. Perhaps the biggest advantage of
Alternatively, someone other than the design able needs to match the level of cost estimating these published data sources is that they are
professional may do the cost estimating. That detail needed for different phases of a project. prepared by organizations that have full-time
could be a construction management company For example, early on, square-footage costs staffto focus on researching and identifying
that is retained early in the design process, or it for general budgeting or schematic purposes objective data for all construction trades and
could be an independent firm who focuses only may be all that is reasonable or required. As scopes of work. As such, they bring an element
on cost-estimating services. In some cases, the a project progresses and specific roofassem- ofindependent credibility and experience to a
client may require such an independent cost blies, wall assemblies, or similar construction project for accurate and up-to-date informa-
estimate as a "double check" on the estimate systems are identified, the cost data needs to be tion. The fact that a project cost estimator can
prepared by the project team. Either way, the updated to match the specified designs. Finally, then rely on this data to apply it as appropri
people responsible for the cost estimating need when all (or nearly all) project information is ate to a customized cost estimate at different
to be identified early in the design process, identified, a fully detailed cost estimate can be levels of development means the data can be
with everyone feeling comfortable about their created that is based on individual unit costs useful throughout the entire design and con-
qualifications and experience. for material, labor, and equipment for each struction process.
part ofthe construction work.
Data Factors In light of the variety of data needs above, O Continues at ce.architecturalrecord.com
With an understanding of "what" is needed in many estimators rely on independent, third-
a cost estimate and "who" is providing it, the party, published cost data that is available in Peter J. Arsenault, FAIA, NCARB, LEED AP,
remaining decision is "where" the cost data print or online. The advantage ofthe online is a nationally known architect and the author
will come from. The obvious need is for a reli- sources is that they are regularly updated, of more than 200 continuing education courses
able and up-to-date source ofdata on which a while printed books may only come out once for design p rofe ssionals. x,ww.pjaarch.cofi,
cost estimate can be based. Such sources can a year or so. For estimates that need to be www.linke din. com / in /pj a arch

Gordian is the world's leading provider of construction cost data, software, and services for all phases of the construction life cycle.
E@EItrIAN" From planning to design, procurement, construction, and operations, Gordian delivers groundbreaking solutions to contractors,
architects, engineers, educational-institution stakeholders, facility owners, and managers in nearly every industry. www.gordian.com
112 EDUCATIONAL-ADVERTISEMENT

All images courtesy of RSMeans data from Gordian

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Design Driven by Accurate Cost Data

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Using independent, up-to-date sources helps assure
CONTINUING EDUCATION
project success
AIA
continuino
Education- 1 AIA LU/ELECTIVE
Sponsored by RSMeans data from Gordian
By Peter J. Arsenaub, FAIA, NCARB, LEED AP Learning Objectives
After reading this article, you should be able to:
1. ldentify the common factors that influence
ll construction projects cost money the standpoint of using reliable cost data to how construction cost estimates are prepared.

to execute. The question the owner inform design decision-making. In the pro- 2. lnvestigate the potential for using reliable
cost data to drive decision-making
wants answered with some degree of cess, it can support meeting all ofthe stated
focused on building designs that meet
predictability is, "How much? " Providing a project design goals.
established budgets.
credible response is dependent on the abil-
3. Assess the positive capabilities of value
ity to accurately estimate costs and use that engineering as a collaborative means to
information to influence design decisions, evaluate options and alternatives during the
which in turn impact the cost. Given the Different projects can present very different design process.
large number of variables and potential for design requirements and construction condi- 4. Recognize the need to incorporate future
changes throughout the design and construc- tions. When it comes to estimating the costs of pricing into cost estimates, particularly for
tion process, many see this as a daunting task. those different projects, there are at least three multiyear projects or outside conditions not
However, by acknowledging a few fundamen- common areas that can affect the process. controlled by designers.
tal principles and recognizing the value of
comparative pricing analysis, cost estimating Client Factors To receive AIA credit, you are required to
read the entire article and pass the test. Go to
can be viewed as a valuable design tool to Different clients may have very different
ce.architecturalrecord.com for complete text
create quality buildings that work within the expectations related to "what" they want and to take the test for free.
owners' cost parameters. As such, this course for cost-estimating services. A private client AIA COURSE #K19O8F
will look at construction cost estimating from with the ability to finance a project within a
 ADVERTISEMENT 111

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www.endicott.com
 ,I1O LANDSCAPE ARCHITECTURE: GREAT OUTDOOR SPACES BY DESIGN ED U CATI O N A L.A DV ERTI S EM E NT

Photo of Endicott

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process is very detailed and computer controlled
to ensure the exact same result is achieved every .*- Il
o single time the wood is processed through the

iE() testing chamber

Only select northern hardwoods from --.-
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uJ nowned for their well-documented sustainable
lo
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ly modified woods. This fact normally satisfies
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sary. However, FSC certification is available on
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(, a special-order basis, depending on the product
needed, the size ofthe order and whether the a
FSC material is available. FSC certification re-
quires a 25 percent price premium and an extra
12-14 week Iead time to source the raw material
especially for the order.
Some softwoods used in the thermal modi-
fication process are certified by the Program for
the Endorsement of Forest Certification (PEFC),
a European-based certification system that is
not widely known in the U.S. market. These
softwoods are sourced from Scandinavian for- Multiple colors and patterns can help to humanize the pavement scale, as shown at this plaza in
San Clemente, California.
ests, which are closely managed and extremely
sustainable but not FSC certified.
CLAY PAVERS: AN ENVIRONMENTALLY The small size also allows for the nuances of
Using Wood for lts Design Flexibility FRIENDLY MATERIAL TO MEET different colors, textures and patterns to be
and Aesthetics SUSTAINABILITY CRITERIA clearly seen when standing from one vantage
Thermally modified wood provides a material Clay pavers provide the landscape architect with point within a pavement field.
with extensive flexibility for designers. White both quality material performance and design Clay pavers are available in a wider range of
ash thermally modified wood was used by flexibility. Clay is an environmentally friendly colors. Due to the natural color of clay, the most
designer Thomas Tampold of Yorkville Design raw material that has been used to fabricate common colors are the reds and browns of earth
Centre to create outdoor decking and raised bricks and clay pavers for hundreds ofyears. tones, but clay pavers are also available in bufl
planters at this residence in Toronto. Clay pavers are fired at temperatures exceed- black, and gray. The color is typically consistent
Scots pine decking was used by IIW Land- ing 2,000 degrees Fahrenheit. This process of through the body ofthe paver, as it is fired in
scape Architects and Keinicke & Overgaared firing provides designers with pavers that are through the entire paver. Clay pavers are also
Architects in the design of this geometrically non-fading and resilient to wear and staining. highly resistant to weathering and fading due
configured outdoor deck and planters for a Because ofthis high-heat firing process, the pav- to their vitrified composition. As clay pavers
project in Copenhagen, Denmark. ers never need sealing to retain their color. And are made from natural materials, there may be
In each ofthese cases, the wood is installed because there are no dyes used in the fabrication inherent color variations in pavers due to dif-
quickly and easily using a custom-developed process, the cost of clay pavers is less than pavers ferent production runs. For designers, the color
clip strip that the installer presses down on and comprised of other materials, such as concrete. variations from the different production runs
the boards click into place. The wood boards are can be mitigated in the field pattern. Using dif-
pre-grooved with tracks for the clips so align- Design Flexibility: Variety in Color, ferent colors helps to break down the scale ofthe
ment is automatic. There is no need for drill bits Texture, Style, and Pattern very large pavement areas. Borders can be laid
or screws, thus creating a clean look with no Clay pavers come in a variety of sizes and in a different color from the field, thus adding
hazards to bare feet. types, including permeable pavers, relieved interest to the design. Patterns that flow, repeat,
The residential deck in Toronto and the plaza edge lugged pavers, pool coping pavers, Dan- and intertwine can also be added.
in Copenhagen illustrate applications and uses ish hand-molded pavers, bullnose threads
of thermally modified wood in ground-level set- for stairs, and ADA handicapped detectible O Continues at ce.architecturalrecord.com
tings. The durability characteristics and instal- warning pavers. Clay pavers are used in both
lation procedures for groundJevel settings are pedestrian and vehicular applications, includ- Elena M. Pascarella, RLA, ASLA is a practicing
the same as for rooftop locations. As thermally ing patios, pool decks and pool copings, large landscape architect, continuing education presenter,
modified wood is responsibly harvested, it is a outdoor plazas, walkways, and driveways. and consultant engaged in a private practice based
product that meets LEED and SITES criteria for The relatively small size of clay pavers cre- in Rhode Island. The firm's portfolio can be viewed
sustainable practices in materials. ates a pavement surface with a human scale. at www.lands cap e ele me nt sll c. c om.

NN'INSO

l!muroil N *n*v:*;
 THROUGH THICK AND THIN.
Trust Endicottto help you create uninterrupted design.
The same beautiful colors, bold textures and assorted
sizes-available in both face and thin brick-so you
can build spaces that move.
L E

Endicott's keyback thin brick is manufactured to meet the requirements Endicott Clay Products Company I EndicottThin Brick &Tile, LLC
ofASTM C1088, Exterior Grade,TypeTBX, and the more stringent size
tolerances of +0" -1l16 required for precast applications. 402-7 29 -33'l 5 | e nd icott.co m
 108 LANDSCAPE ARCHITECTURE: GREAT OUTDOOR SPACES BY DESIGN EDUCATIO NAL.ADVERTI S EM ENT

Photo
II wood. Aluminum planters offer the durability of or roof patios, as thermally modified wood can
z metal with a lighter weight, making them easy withstand foot traffic and harsh weather condi-
o to move and place onto rooftop decks. tions and still retain its beautiful character and
F Planter cubes that are constructed of smooth finish.
U lightweight, recycled aluminum are durable,
l low maintenance, and designed to withstand SUSTAINABLE WOODS FOR DURABILITY
o
u.l extreme temperatures. This makes them ideal AND AESTHETICS
(9 for rooftop locations that are subject to extreme Thermally modified white ash, scots pine,
z winds, sun, and weather. These aluminum and spruce woods are sustainable alternatives
f planter cubes can be painted using an industri- to tropical woods or composites. The wood
z al-strength powder-coating technology devel- is harvested responsibly in Northern Europe
F
z oped with modern aesthetics in mind. Powder (ash, pine and spruce) and North America
o coating is a dry finishing Process that is applied (ash) from naturally renewable forests, making
U it a longJasting alternative to tropical woods
electrostatically and cured under heat, creating
a more resilient finish than conventional paint. without sacrificing durability and with superior
The process does not emit any volatile organic Shown is thermally modified white ash dimensional stability. The wood is responsibly
compounds (VOCs) into the air and allows the decking board. harvested by sourcing from a number ofdif-
aluminum planter cubes to be coated with any ferent Iocations around the world, thus leaving
RAL paint code color. (RAL is a color-matching each forest healthy and thriving. The wood is
system used in Europe to define paint, coat- DESIGN APPLICATIONS FOR ENHANCING also shipped via ocean container, which is more
ings, and plastics. RAL is an abbreviation for ROOF GARDENS WITH WOOD fuel-efficient than rail transPortation and nearly
the Dutch institute that administers the color Thermally modified white ash, spruce, and l0 times as efficient as l8-wheeler trucks.
standard.) The aluminum planter cubes typi- Scots pine decking, cladding, and porch floor- White ash, scots pine, and spruce are chosen
cally contain 20 percent recycled content, are ing offer great versatility and durability as well as most suitable species for the thermal modifi-

100 percent recyclable, include drain holes and as an environmentally sourced product for the cation process for the following reasons:
irrigation sleeves, and are made in the United design ofrooftop decking. Each fiber ofthe 1. These are sustainable wood species that can be
States. They come in a variety ofsize and color wood board is modified, using the thermal harvested responsibly without contributing to
choices, providing a number ofdesign options modification process ofheat and steam to deforestation or damaging the environment.
for landscape architects. achieve rot resistance to the core ofthe board. 2. These wood species yield the best results via
Wood planters provide another material This provides decking with a Class I durability the thermal modification Process, achieving
option for introducing plants onto a rooftoP rating. Class I Durability is a European rating a Class I durability rating.
garden or a ground-level exterior space. Ip€ system that classifies exterior wood products The thermal modification process uses only
wood planter cubes and ip€ wood Planter cube based on their resistance to rot and decay. Class heat and steam, creating cellular alterations that
tops offer a selection of modular design options I is the highest possible rating and it means occur on both a chemical and cellular level in
to incorporate seating, storage, and Planters that, without any additional maintenance and the wood. The sugar content and water-absorp-
into a ground-level or rooftop space. With the with proper installation, the wood will remain tion capacity ofthe wood are altered in the ther-
long-lasting durability of dense hardwoods, resistant to rot for a minimum of 25 years. mal modification process, thus modifying both
these wood planters and tops can withstand White ash and spruce are classified as Class I cellulose and hemicellulose cells.t Cellulose is
harsh environments. The warm wood tones durability. Class 2 durability ratings indicate made up of smaller units of glucose, and hemi-
and varied grain provide a natural comple- that the wood is resistant to rot for 20 years or cellulose is made up ofshorter carbohydrate
ment to wood decking. The wood planter cubes more. The Scots pine is classified as Class 2. structure, monosaccharides.2 Hemicellulose has
may have a polyurethane lining and drainage As a comparison with other wood species, ip€ the higher oxygen content so the cells ofthis
holes, making plant care and maintenance easy. from Brazil and old-growth Burmese teak have cellular group can be altered by slightly burning
Custom sizes and species are available as well. Class I ratings, while most other troPical rainfor- these specific cells within the wood before burn-
Modular planter cubes may be used as planters est species attain Class 2 ratings or less. Domestic ing the other cellular groups. This sequential
or with an ipd top for seating and/or storage, old-growth cedar can be classified as Class 2, burning process causes a reaction that creates
providing flexibility of design options. Most although currently harvested cedar is mostly ter- additional heat within the wood. The thermal
planters have drain holes and irrigation sleeves tiary growth so it meets a Class 3 standard, which modification process uses the steam to control
that make caring for plants or vegetables con- indicates resistance to rot for 10 years or more. the burning process. This produces wood boards
venient. As a storage unit, they can be used for In addition to durability, thermally modi- that are rot resistant for 25-plus years. This pro-
seasonal items like cushions or throw pillows. fied wood provides a product that has a rich, cess also produces wood with greater structural

Lightweight aluminum trays expand the design natural color that is not the result of a stain. integrity of the fibers and dimensional stability.
options for rooftop environments. Used as a con- Left untreated with UV-protectant oil, the Aesthetically, it provides a simple, beautiful,
tainment system for architectural rocks or other boards will slowly age to a stunning platinum timeless wood product that gets better with age.
deck elements, the low-clearance aluminum trays grey. In addition, each board goes through a Thermally modified wood goes through an
integrate seamlessly with the modular planters milling process that Produces an extremely extensive testing process for rot resistance, di
and wood tiles, providing designers with a palette smooth finish, thus eliminating roughness mensional stability, termite resistance, strength,
of materials for designing rooftop environments. and splinters. formaldehyde content, and flame spread. This
Many aluminum trays are corrosion resistant, Because of its high durability and low main- testing ensures wood boards that are durable and
made in the United States, and available in a vari- tenance requirements, thermally modified wood resistant to rot and moisture. The testing process
ety ofstandard and custom size options that offer offers great versatility for the design ofexterior takes anywhere from a week to several months
modular integration with a pedestal deck system. surfaces, whether for porches, outdoor decks' depending on the test. The thermal modification
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Beauty And Stability ln Every Fiber.

Thermory's Benchmark Series offers a high level of dimensional
stability enhanced by our responsible sourcing and clean
thermal modification process. We raise the bar for sustainable
wood products.

R EQ-U EST SAM PLES AT WWW.TH ERMO RYU SA.COM

 106 LANDSCAPE ARCHITECTURE: GREAT OUTDOOR SPACES BY DESIGN ED UCATI O NAL.ADVE RTI S EM ENT

Photo of Bison lnnovative Products

II DESIGN FLEXIBILITY FROM GROUND
B_. street-level spaces. These exterior sPaces
z TO ROOF provide areas that support social connections,
a Modular deck and pavement systems Provide {# mental restoration, and physical activities,
F which are criteria under Site Design - Human
Iandscape architects with the design flexibility
U
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U to create both rooftop environments and out-
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door groundJevel amenity spaces. Rooftop and
groundJevel spaces can be designed using wood,
stone, structural porcelain, artificial turf, grat-
L\ nity, Movement, and Mind for WELL.
Fastening kits and splines facilitate quick
and secure pedestal deck system installations.
z ing, or concrete to create unique custom looks. The fasteners attach kerf-cut wood tiles, con-
f All of these materials can be applied either over crete, and stone Pavers or Paver tray-backed
z a prepared subgrade or rooftop when utiliz- 2-centimeter porcelain pavers to the pedestals
F Shown here is an installation of a pedestal
z ing a deck support system. Deck supports, also deck system supporting ip6 wood tiles on a without penetrating or damaging the roof sur-
o
U known as pedestals, create level surfaces over rooftop deck. face material. While the fasteners are hidden,
sloped areas. Pedestal deck systems can help they can be accessed to allow for the removal
reduce the heating and cooling loads ofa build- 100 percent recyclable. The recycled material of individual wood tiles or pavers if roof
ing because they are "air permeable." Air perme- content of the pedestals provides points toward maintenance, drain access, or replacement is
ability is defined as the rate ofairflow passing both LEED and SITES certification. Pedestals required. Some pedestal deck systems are de-
through a given area of a material. Pedestal deck are screw adjustable and easily leveled with signed to resist wind uplift; consult individual
systems allow for greater airflow on a roof. This tapered base levelling discs and/or shims, al- manufactures for more information about
reduction ofheating on building roofs helps to lowing the creation of level rooftop decks over their systems.
meet LEED and SITES criteria for reduction of a variety of surfaces, including sloped surfaces.
the heat island effect. Pedestal deck systems also Pedestals can elevate and support wood tiles, Modular Wood Tiles for Ground or
help to increase walkable pedestrian surfaces on concrete pavers, and a variety of other surfaces Rooftop Applications
roofs and uneven ground spaces, thus meeting when sophisticated, commercial-grade deck- Typically made from dense hardwoods, wood
the criteria for SITES 6.5 - Support Physical ing is required. They are also sturdy enough tiles are commercial grade and available in
Activity and LEED Sustainable Sites 5.2 - Site to support site furnishings such as planters, responsibly harvested standard and FSC-
Development - Maximize Open Space. tables, and benches. certified species. Wood species include fused
bamboo, cumaru, gatapa, ip€, mahogany, and
Versatile Pedestal Deck Systems Design Options using Pedestal massaranduba. Hardwood tiles contain a rich
Pedestal deck systems can be utilized over Deck Systems variety ofgraining and coloration, are exceP-
any structural surface: on structural con- Pedestals come in residential, commercial, tionally dense, and resist insects. Wood tiles
crete rigid insulation or roof membranes for and industrial grades, with each grade hav- can be crafted from premium-grade remnants
rooftop decks, plazas/terraces, compacted ing different characteristics. Deciding which and are harvested in an environmentally
grade, pavements, pool surrounds, or within systems to specify is dependent on the suPPort responsible way designed to preserve the eco-
water features. These pedestal deck systems and elevation requirements of the installation. nomic viability of rainforest hardwoods.
are comprised of two major comPonents: Ped- Pedestal deck systems create valuable, usable Thanks to their density, hardwood species
estals and tiles/pavers. Pedestals are designed outdoor space for both owners and their clients, require minimal maintenance. If maintaining the
to elevate and support a variety of surfaces, customers, and visitors. Rooftop decks are a way wood color is desired, wood tiles can be periodi-
including structural porcelain, stone, granite, for residential, hospitality, or public spaces to cally cleaned and sealed. Left to weather natu-
or concrete pavers, wood tiles, composite differentiate themselves from the competition. rally, the wood tiles will develop a silvery-gray
materials, fiberglass grating, or conventional Incorporating a pedestal deck system can pro- patina. Because they weigh one-third as much as
joist and plank systems. vide pedestrian access to green roofs and expand concrete pavers, wood tiles are a good alterna-
Pedestal deck systems offer tremendous design usable space to include gardens and walkways. tive when surface material weight is a factor. The
flexibility coupled with ease of installation. The ad- A pedestal deck system is an ideal solu- tiles can be laid in a parquet or linear pattern, or
justable pedestal deck systems provide a unique and tion for water-feature applications. The system mixed with pavers, river rock, stone, plank deck-
viable alternative to traditional deck building mate- conceals the water supply beneath the pedestals ing, or other options to create unique aesthetics.
rials and methods for the following key reasons: and surface materials and allows water to drain Because they are modular, the wood tiles
l. They are available in a range ofheights and to the surface below for recycling. Additionally, meet SITES 5.3 - Design for Adaptability and
weight bearing capacities to suit a variety of the supports are impervious to water, mold, and Disassembly. The wood tiles also meet SITES
applications. most chemicals. 5.8 as they support safer chemistry.
2. They are one of the most labor- and cost- Designs can include recessed lighting in the
efficient methods ofcreating a flat, level deck pedestal deck system. The lighting will enhance Site Furnishings for Enhancing
over a sloped surface. the ambiance of the environment and improve Landscape Spaces
3. They use a gravity system that Protects the visibility and safety during nighttime and/or Site furnishings such as benches, tables, and
roofing and waterproofing materials without dark conditions. planters provide enhancements to any outdoor
damaging or harming the surface below. Ground- and street-level sidewalks and space, creating more inviting spaces for leisure
4. They can support decks over occupied space, storefronts can be expanded through the activities and social interaction. Modular plant-
allowing space for electrical systems, duct design of small deck areas known as parklets, ers offer flexible options for the addition of
work, or irrigation. or pop-up parks, all of which enhance urban plantings to roofgardens, small urban spaces,
Pedestals are made with high-density areas. These parklets and pop-up parks can be pop-up parks, and/or building plazas. Planters
polypropylene plastic (comprised of 20 Percent designed using pedestal systems and modular are available in a variety of materials, including
post-industrial recycled content) that are wood tiles placed over existing ground- and metal, cast stone, concrete, resin, fiberglass, and
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Landscape Architecture: Great Outdoor

Spaces by Design
Materials and strategies for enriching outdoor experiences CONTINUING EDUCATION

Sponsored by Bison Innovative Products, Endicott Clay Products Company, AIA

continuino
Education- 1 AIA LU/ELECTIVE
and Thermory USA I ny flena M. Pascarella, RLA, ASLA
Learning Oblectives
After reading this article, you should be able to:
The course will also reference some of 1. ldentify sustainability criteria (LEED and
I andscape architecture shapes the built
SITES) that apply to exterior surfaces used
I in ways beyond plant materi- the relevant criteria toward achieving points
".ruirorment in landscape architectural design.
L The Whole nuiiding oesign approach through LEED, SITES, and WELL certifica-
"k. 2. Describe some of the various product
optimally includes landscape architecture as a key tions. It will illustrate ways that designers can
systems that are available for designing
component. The overall goal of Whole Building achieve LEED, SITES, or WELL points by mini-
exterior plazas and roof terraces, and
Design is to create a successful building project mizing impacts to existing site ecology, using understand each system's compliance with
by utilizing an integrated design approach that products that help to conserve ecosystems, sustainability criteria.
incorporates all design disciplines during the utilizing products that come from renewable 3. List design options for exterior pavement
planning and programming phases of a proj- resources, avoiding waste through the use of surfaces with respect to stormwater
ect. Some of the key design objectives of Whole recycled materials, and managing the effects management.
Building Design are sustainability, accessibility, ofclimate, whether excessive heat or excessive 4. Describe the ways in which exterior spaces
aesthetics, and performance durability. rain, through design techniques and products and outdoor rooms can help to meet LEED
that mitigate climate issues. and SITES requirements of Human Health and
How the building sits within the landscape
Well-Being and Materials Selection, as well as
sets the context for its construction and use. Creating an outdoor space that is able to
those that apply to WELL certification.
Landscape architectural design helps the build- effectively weather the elements, meet its design
5. Explain the approach to Whole Building
ing interact with its physical location, as the look purpose, and appreciate the owner's need for Design.
and feel ofthe site is greatly influenced by the low maintenance costs can be invaluable to a
hardscape surfaces, site features, plantings, and designer. This course will explore the ways that To receive AIA credit, you are required to
exterior spaces that comprise the environment designers can create an attractive and sustain- read the entire article and pass the test. Go to
around a building. This course will provide able outdoor environment compliant with ce.architecturalrecord.com for com plete text
insight into design approaches and materials several LEED, SITES, and WELL criteria while and to take the test for free.
that assist landscape architects with a Whole providing a Whole Building Design approach to AIA COURSE f K,I9O8H
Building Design team approach. a project.
 EDU CATI ONAL-ADVERTI SE M ENT 103

AIA
Continuino
Education-
Provider CONTI NUING EoUCATIoN I
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In this section, you'll find four compelling courses highlighting creative solutions for tomorrowk buildings brought to you by in6ustry
leaders. Read a course, and z
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then visit our online Continuing Education Center at ce.architecturalrecord.com to take the quiz free ofcharge to earn credits.
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Sponsored by Bison Innovative Products, Endicott Clay products Company, Sponsored by RSMeans data from Gordian
and ThermoryUSA

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Continuous Perimeter Foundation Vents Embracing the Timber Age

Sponsored by loto-Vent Systems USA, Inc. Sponsored by VaproShield

EEE CREDIT:1 AIA LU/HSW PM 5U CREDIT: I AIA LU/ELECTIVE

* CATEGORIES

BE BUILDING ENVELOPE DESIGN PMD PRACTICE, MANAGEMENT, DIGITAL SI SITE INFRASTRUCTURE DESIGN
PE PROFESSIONAL ETHICS TECHNOLOGY
SU SUSTAINABILITY
PM PRODUCTS AND MATERIALS RE RESIDENTIAL

Courses may qualify for learning hours through most Canadian provincial architectural associations.
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 101

Overlap
A new line ofFlos pendants
by Michael Anastassiades
reimagines the cocoon-like
style of the company's iconic
1960s luminaires by Tobia
Scarpa and Achille and Pier
')
Giacomo Castiglioni. Like the
original "cocoon-wrap" lumi-
naires, the new Overlap
pendant features the same
resin membrane invented
decades ago to package U.S.
Army shipments. This time,
the material wraps a steel
frame of two interlocking
rings, providing soft, dif
fused illumination and a
nostalgic ambience.
usa.f los.com Lily
This streamlined pendant by Montreal-based Eureka
Lighting features an optical-grade acrylic lens and
adjustable cable. It can also pivot 180" on its high-
quality hinge to provide precise illumination in any
direction. For more design freedom, Lily is available
with canopy mounting or a track system, and can be
specified in custom lengths and colors. The circular
luminaire is stocked in five standard colors (shown).
eurekalighting.com

i,i
I I
W15l Extra Large Pendant
In a reaction to the shrinking
size ofLEDs, architects Claesson
Koivisto Rune designed a super-
I

il
LIII lt
sized fixture. The W151 Extra
Large Pendant, from Swedish
lighting companyWistberg, is a
playfully unfussy cone-shaped
luminaire made of spun alumi-
num in three simple variations
-tall and narrow, low and wide,
and medium.
wa stberg.com
.i
{

3l

Chime
New York manufacturer Stickbulb is rolling out a
collection of chandeliers made of wood suspended
from a powder-coated steel ring. The company de-
buted the concept at this year's NYCxDesign, where a
l0rhigh version built from reclaimed wood won Best
in Show. Now the cascading fixture is available in a
choice of three sizes (20", 28", and 36" diameter) and
five wood species in a variety of lengths of up to 12',
arranged individually, clustered, or nested.
stlck bu lb.com
lOO ARCHITECTURAL RECORD AUGUST 2019 DECORATIVE LIGHTING PRODUCTS

lnside Job
Color, form, and materiality shine to provide
ambience and visual punch.
By Kelly Beamon €'. :.. .:.

/
Ludo
While its style was
inspired by a 1950s
I
Italian design, the Ludo
wall sconce is made in
America-now. NewYork
manufacturer Blueprint
Lighting designed the
11" x 6" brass and spun-
aluminum fixture to
swivel, providing up- and
I _l downlight. It works with
incandescent E12 cande-
labra-base lamps up to
40W or their LED alterna-
tives. Options include 36 Shaper Sense
standard enamel colors, Eaton Lighting partnered with felt-products manufac-
custom hues, and hard- turer FilzFelt on a line of 3000K-4000K luminaires that
wired or plug-in versions. also control sound. The Shaper Sense series combines
blueprintlighting.com FilzFelt's 1Oo% wool felt with Eaton's edge-lit acrylic
panels to form box-, trapezoid- and drum-shaped
pendants. All are open on toP, providing two'way
illumination as well as improving daylight penetration
when the sun is out. Shaper Sense works with Eaton s
wireless control systems.
eaton.com/lighting

Mela
Sonneman's blown-glass
LED pendant Mela, which
means apple in Italian, is
made more dynamic by its
dichroic surface and fruit-
like etched acrylic core.
Offered in three sizes, the
large (15" x733/i'1, medium
(11" x 10%"), and small (7%"
x 7") versions deliver the
samewarrn, dimmable {
3000K glow and a color
rendering index of90. An
optional three-light canopy
r )
ra
t
i
is also available.
sonnemanawayof li ght.com
Fascio
Architect Lauren Rottet created the Fascio Collection for Visual
Comfort with luxury in mind. The range includes wall sconces,
pendants, a floor lamp, and chandelier (shown), all made of crystal
rods bundled (as its Italian name implies) in a band of brass. Finish
options include bronze, polished nickel, and hand'rubbed antique
brass. The faceted crystal delivers a refracted, glare-free glow.

l*f:r c irca lig hting.com

 ARCHITECTURAL RECORD AUGUST 2019 DECORATIVE LIGHTING
99

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an elegant hotel lobby into a shopping mall-
Mandarin Oriental like setting. Instead, the firm devised figurative
The lobby of Dubai's Mandarin Oriental Jumeira qreets
guests and visitors with a naturalistic display of genfly

Jumeira Lobby replicas ofthe real thing, fabricated by preciosa

in matte-champagne stainless steel and glass.
illuminated "trees" fabricated in glass and steel.

ambience: as in nature, light from above filters

DES IGN WIL K ES Three sizes-from 1672 feet in diameter (at the through the man-made tree canopies with a
dpa lighting consultants widest point) by 13 feet tall to ZS1/2 feet in diam- dappled effect on the floor. The team aimed to
eter by 30% feet tall-replicate layers ofa forest craft "something unique with
9 By Sheila Kim a wow factor,.
canopy while internally lit ribbed glass, held says DESIGNWILKES principal Jeffrey Wilkes.
t= within stainless-steel latticework, emphasizes
9 With the resulting enchanted forest, it appears
( rr can be daunting to try making mark in
a the artificiality ofthe tree trunks. they did. r
Dubai, a citywith a striking natural environ- Already enlisted to illuminate the hotel,s
?
ment but crammed with an eclectic jumble of public spaces, dpa lent its technical expertise. credits
! contemporary buildings at every scale. yet the As the client (WASL Group) and DESIGNWILKES ARcHTTEcT: Design and Architecture Bureau
project team behind the Mandarin Oriental desired a dynamic rippling-light display, dpa
I lNrERloR DESTGNER: DESIGNWILKES
Y
) Jumeira lobby-interior design firm DESIGN- proposed controlling the nearly 900 light points
) WILKES, dpa lighting consultants (dpa), and of the "leaves" individually. "We worked with
LIGHTtNG DESTGNER: dpa lighting consultants
J luminaire producer Preciosa-met such a chal- Preciosa to adjust the intensity, sequence, and ENGINEER: SEED (electrical)
i) lenge with a visual feast for a dramatic first
) speed of the light movement to create an evolv- cEN ERAL CONTRACToR: BILT (electrical)
J
impression. ing illuminated experience," says Tim Leeding, OWNER: WASL Group
Meant to bring the outdoors in, the installa- dpa senior designer. A central control interface StzE: 6,000 square feet (main lobby)
J tion is a colonnade of14 "trees" that double as directs modules in the base of each tree, which
( cosr: withheld
) sculptural artworks and functional light fix- in turn distribute DMX signals to their respec-
tures. DESIGNWILKES was inspired by the COMPLETION DATE: March 2OI9
tive lamps. Handblown-glass leaves diffrrse the
( region s orange blossoms but believed that light of these 2.1-watt warm-white LEDs, mount-
) incorporating living trees into the space would ed at the tip ofeach metal branch. SOURCES
l eventually be value-engineered into the installa- Linear luminaires within suspended acoustic LTGHTNG: Preciosa; LED Linear; Linea Light Group;
: tion of artificial ones, which would transform panels present a crisp ceiling and enhance the KKDC; General LED; iGuzzini; Light Graphix; Dynalite
 2 GRAND PRIZE
WINNERS
ARCHITECTURAL RECORD WILL RECEIVE A

$soo
GOGIIIAIT NAPIIIlI FT
GI
CARD!
SKETCH CONTEST 2019
GTII. T(lN EilIRIES [0t I0 EllIEt:
lf you are a licensed architect or related professional
) Sketches should be architecture-oriented and
drawn specifically for this competition.
who practices in the United States, you can enter this
remarkable contest. ) Create a sketch on a 5-inch-by-5'inch white
paper cocktail napkin. You may cut a larger
All you need is a white cocktail napkin and pen to napkin down to these dimensions.
demonstrate that the art of the sketch is still alive. ) Use ink or ballpoint pen.
Two qrand prize winners will be chosen (1 licensed
architect, l related professional). Grand prize winners
) lnclude the registration form below or from the
website.
will receive a S:OO qitt card and a set of cocktail
napkins with their winning sketch printed on it! ) You may submit up to 6 cocktail napkin
sketches, but each one should be numbered on
The sketches of the winners and runners-up will be the back and include your name.
published in the November 2019 issue of Architectural
) All materials must be postmarked no later than
Record and shown online in the ArchitecturalRecord.
September 6,2019.
com Cocktail Napkin Sketch Gallery.
Winning Sketch 2018 by Kevin Utsey, Registered Architect

DEADLINE: September 6, 2019. ENTER NOW!

ARCHITEC TU RAL
For more information and official rules visit: archltecturalrecord.com/cocktall-napkln'sketch-contest
Due to the volume of entrles, cocktall naPkln sketches wlll not be returned.
R E CORD
IIIITIIII 5ll{CHES IIIIITII
f
-f

Founding sponsor I
!
I NAME
I
I
FI RM
I

CENTRIA I
I
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ADDRESS

centria.com YEARS IN PRACTICE PHONE EMAIL

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D ARCHITECT iI DESIGNER

SEND ALL SUBMISSIONS IN * O SPECIFICATION WRITER D FACILITIES MANAGER

ONE ENVELOPE TO:
TI ENGINEER D CONTRACTOR
!
Cocktail Napkin Sketch Contest O STUDENT C OTHER
Architectural Record I
350 5th Avenue, Suite 6000 I ARE YOU REGISTERED? ARE YOU AN AIA MEMBER?
New York, NY 10118 I O YES D YES
I
oNo DNO
T

I Entry form the size of 5 x 5 cocktail napkin, for reference

I
I
 I I 97

lt

a
I

Lumination Architectural Linear Series

WGD9 Wall Grazer Dubbed LAL Series by manufacturer Current, powered by GE, this mini-
Tircked up into a ceiling's edge, the 3"-deep A-Light wall malist linear platform was engineered for efficiency, performance, and
grazer emits a precise 7" light beam that accentuates a design flexibility as well as ease of installation and use. Available in 2,'
wall's pattern and texture without shadows or hotspots. and 4" widths ar;Ld2',4',5', 6', and 8' lengths for recessed or suspended
Sold in l'-long increments (with 90'nonilluminated tran- applications, in black, white, or silvet the luminaires can link together
sitions available through the company's Design Assist for continuous runs, with an uplight option. Separate drivers in the
team), the WGD9 comes in 3000K, 3SOOK, and 4000K color pendants allow independent control ofdirect and indirect light.
temperatures at 90 CRI, with 0-10V dimming down to 1% currentbyge.com
and optional occupancy, photocell, and daylight sensors.
a liq hts.co m

Aerial
Known for the high quality of its LED light
I I
sources, Soraa extends its product offering to
include luminaires. This new group of cylindri-
cal downlights provides compelling housing for
the company's advanced optics, with features
such as an easily removable light module and
integrated toolless onboard dimming. Black,
bronze, white, and custom finishes and cord
colors are available.
I
soraa.com

Slots and Dots

This 1"-wide track system by
Amerlux is outfitted with
magnetic attachments so its
light sources can be easily
snapped in and out as need-
ed. Extremely versatile, Slots
and Dots can be configured
by simply inserting the light
sources into its channel.
These include accent track
head, pendant, and linear
units, with high-perfor-
Lore mance optics or lenses.
Awarded Most Innovative Product ofthe Year at Lightfair, Available ir.2',4', and 12'
Lore, a full-array downlight family by Ecosense, breaks lengths, the track can be
ground with an autosensing technology that "intuitively" linked to flow seamlessly
connects with multiple protocols for O.7oA dimming, 120-
./ across a ceiling or wall.
277 universal input voltage, and Lingo, a proprietary amerlux.com
bidirectional language that enables components to talk to
one another. Available in 3"- and 4yi-aperture sizes, this
plug-and-play system has a range ofrecessed housings and
trims, as well as wall, ceiling, and pendant cylinders.
ecosenseliqhting.com
 96 ARCHITECTURAL RECORD AUGUST 2019 ARCHITECTURAL LIGHTING PRODUCTS

llluminating Assets I
These sleek specification-grade fixtures and systems
will optimize a range of projects and programs.

v
by Linda C. Lentz

,
Whiz 2.O r=!#
Meteor Lighting took seven years to
improve its popularWhiz high bay.
The new IP65-rated LED version,
#:
winner of a Lightfair International
Innovation Award, is sleeker, more
compact and efficient, and has better Cylinder One HO
thermal management. Inblack or Ideal for large projects such as airports,
white, and with options in color tem- convention centers, theaters, and civic build-
perature, lumen output, and dimming, ings, this attractive high-output downlight
Whiz 2.0 suits ceilings that measure by Acclaim Lighting delivers up to 12,000
30'or higher, and can be configured lumens and 99,000 candelas in spaces with
for direct or indirect lighting. ceilings 20'and higher. Featuring an inter-
meteor-lighting.com nal 100-277 VAC power supply and onboard
DMX+RDM driver, the IP40-rated unit can be
dimmed down to 0 wirelessly.
acclaim lighting.com
Lutron HXL
A leading innovator in control
technology, window shades,
and (following its acquisition of 2" Volta LED
Ketra) high-quality luminaires, Recessed Downlight
oL
Lutron has developed a holistic Engineered with a 7
approach to human-centric diminutive 2" aperture
Iighting. Its new H)(L offering but equipped for
t
will provide specifiers with the maximum output,
I
a

lll
(,
I tools needed to create adaptive performance, and o'

il
and personalized environ- serviceability, WAC's
ments for clients. Users will be compact luminaire
) IT able to balance and easily con- comes in six architec-
q trol daylight throughout a
project and harness the ability
of tunable-white LEDs to emu-
tural-grade finishes
with four beam angles,
and a choice of trims
J
late the sun s cycle, said to help and lumen output.
maintain occupant circadian Features include glare
rhythms. control for visual comfort and field-
lutron.com interchangeable optics.
waclighting.com

ColorlD Content Library and

o o
Wall Controller
USAI Lightingwill empower end
I

E
I
users this fall when they launch

I t. 'ii I
their easy-to-use system of curated
lighting scenes and a circadian
program. Compatible with the
company's Color Select Ttrnable
White and Infinite Color+ fixtures,
the library's vibrant glass wall con-
troller provides one-touch access to
set the mood and can be color-
matched to a room's interior.
usailighting.com
 ARCHITECTURAL RECORD AUGUST 2019 ARCHITECTURAL LIGHTING 95

55 Hudson Yards edge in a cavity under the slab, angling the

fixtures toward the granite cladding to accen-
waves ofcolor in the onyx and the vertical ribs
in the glass panels. "On timeless projects like
Lobby tuate the texture ofthe stone. A 3500-Kelvin this one, it is ourjob to let the light speak for
color temperature lends warmth without
Kohn Pedersen Fox muddying the surface.
itself without creating visual distractions,"
Margulies explains. "You don't see the equip-
Onelux Studio TLcked into the perimeter ofthe suspended ment-instead, you see the effect." t
By David Sokol ceiling, beneath the wall washers, indirect
linear LEDs illuminate the negative white credits
AccoRDrNc ro lighting designer Stephen space between the granite wall and the ARcHTTECT: Kohn Pedersen Fox - Trent lesch, Lauren
Margulies, hiding luminaires helps a project to dropped wood plane. The brightness ofthese Schmidt, Lane Rapson, Jacyln Jung, design team
mature gracefully. "If a viewer's first impres- additional light sources enhances the ceiling's
sion includes lighting equipment, then you
LIGHTING DESTGNER:oneLux Studio - Stephen
floating quality and makes its hidden wall
Margulies, Yasamin Shahamiri, Rob Merow, design team
run the risk oflooking out ofdate," says the washers even less conspicuous. Visible me-
partner ofOne Lux Studio. Heeding this phi- cLTENT: Related Companies
chanical slots on the underside ofthe ceiling
losophy, the New York-based firm achieved an house low-intensity LED downlights. oWNER: Related Companies; Mitsui Fudosan
ageless character in the three-story-high lobby Backlit elements enliven the stone and SlzE: 12,000 square feet
of KPF's recently completed office tower at 55 enhance wayfinding. These include tall onyx- cosr: withheld
Hudson Yards. panel insets behind the main reception desk
COMPLETTON DATE: February 2019
To provide an effective ambient glow in such and on the lobby's west wall, as well as two
a large volume, Margulies and his team took large grids outfitted with vertically ribbed
advantage of an approximately 2-foot-deep cast-glass panels-one near the entrance, SOURGES
wood-veneer ceiling structure suspended over another opposite the elevator banks. In both LTGHING: Axis Lighting; Color Kinetics; Dado Lighting;
the 12,000-square-foot space. They concealed cases, integrated lighting amplifies KpF's Kurt Versen; Lucifer Lighting; Nanometer Lighting
discreet LED wall washers around its upper material choices, by highlighting both the coNTRoLS: Lutron (preset dimming system)

j LI
t

/
i

-I

*--i t,,

The lighting designers took advantage of the building lobby's dropped wood-veneer ceiling to house and conceal the majority of the luminaires needed to light
the space.
 :\-
-L- --
\.

1 \Tt'
rg
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 93

Brenta
Fabricated in a proprietary high-
impact 1O0%-recyclable concrete
mixture infused with plastic fibers,
Neri's substantial collection of land-
scape lighting from ltaly includes
bollards and wall sconces as well as
gently illuminating planters and
benches. All are available in 3000K or
4000K color temperatures.
nerinortha merica.com

t
Sana Wall Sconce
Designed to complement contemporary urban
spaces with its industrial qualrry this exterior
sconce byTech Lighting is made ofconcrete
and satiny black aluminum and measures Sya" f,
widex}s/q;'deep x 16" or 22" high. With a color
temperature of 3000K, this Ip65-rated Dark
Sky-compliant sconce aims light downward,
making it ideal forwayfinding.
tech lig hting.com

Babylon
The creamy, ribbed
surface ofthis
rechargeable LED
fixture designed by
Harry Paul seems
handcrafted, but it is
actually made of
roto-molded polyeth-
ylene. Featuring a
warm 2700K color
temperature, the
IP64-rated Babylon
offers up to 10 hours
oflight at full bright-
ness. It measures 173la"
high x 17" in diameter
! at its widest point and
can be operated with
- an eight-step dimmer
Fienile
Inspired by his homeland's rural haylofts, Norwegian
industrial designer Daniel Rybakken created Fienile for
I and remote control.
dedo n.de

Luceplan in both interior and landscape (above) versions.

Introduced at this year's Euroluce, this compact fixture
is made of a satiny anodized aluminum and features a
low-pitched'roof" supported bywalls that guide the
dimmable light to achieve a washing effect. Fienile
comes in two sizes and four subtle hues for outdoor use.
lu cepla n.com/itla rea-down load
92 ARCHITECTURAL RECORD AUGUST 2019 OUTDOOR L!GHTING PRODUCTS

Town & Garden L

LED technology expands the effective lighting solutions
for urban environments and landscapes.
By Linda C. Lentz
A
{

EQ Collection
Winner of a Lightfair
International Innovation
Award for its sleek, con-
temporary design, ANP
Lighting's series of single-
and double-strut post-top
luminaires (Ieft), wall
mounts, and bollards
comes in a variety of sizes,
with a choice of lumen
packages and distribution
types. Features include an
LED light-guide technology La Linea
that signifrcantly reduces Conceived by Bjarke Ingels Group (BIG) forArtemide, this flexible, IP67'
glare and eliminates pixi- rated silicone tube of light can be twisted and turned to accommodate
lation ofthe LED source, numerous installation requirements, outdoors or indoors. Measuring 8'
and sensor options for or 16' long x 2" in diameter, the tubing tolerates temperatures from -4' F
flexible control solutions. to 104' F and delivers a comfortable, diffused 3000K light with a 90 CRI
anplighting.com through a patented optic mixing chamber, controllable via the manufac-
turer's app.
artemide.com

Outdoor Dot Washer

Tivoli Lighting's new Outdoor Dot Washer was de-
signed to provide low-resolution dots ofcolor for
- dynamic visual effects on building facades, bridges,
and other structures. Available with RGBW or white
LEDs, this dynamic lP67-rated luminaire will oper-
ate at temperatures ranging from -4o F to 122'F with
a standard DMX 512 control driver, and has a propri-
etary voltage range said to ensure color uniformity
and consistent brightness to optimize the effects of
various lighting schemes.
tivo lilig htin g.c o m

lnula Column
ProPoint Linear Selux's zero-uplight International Dark
Available in 1' and 4' lengths, at 8W or 12W per foot, Traxon's Sky-friendly area luminaire is offered
small-profile ProPoint Linear graze-lighting fixture al- with a choice of one to three stackable
lows for easy, concealed placement. One of a
\. modules, each with a recessed light en-
family of exterior solutions outfitted \l gine, convex cone-shaped light chamber,
with the same LED chip for \J and a matte-black finish. Made of die-cast,
consistent color and illumi- \, / low-copper aluminum, the 8"-diameter
column comes in 10'-18' heights, with
nation, ProPoint Linear
comes in gray, black, or
\, optional dimming in 3000K,4000K, or
white finishes, with four 5000K white light. An Amber light option
beam options, and a choice 9 will further decrease light pollution in
of RGBW, and static or sea-turtle environments.
dynamic white lamping. selux.us
osra m.us/tra xo n.com
 91

welcoming, safe place to stroll at night was a

big priority for all stakeholders, so lifting the
light source and letting it create an even wash
of light is one of the primary design elements
ofthis project," Born says.
d
The light poles are spaced approximately 70
feet apart on average, and each has four pairs
of small LED floods, each with a warm
3000-Kelvin color temperature and 85 CRI-a
/ -/ welcome change from the single, glaring light :.. :. i;'
source often used for such projects. At the
dv
same time, for familiarity, the lighting design- Ndl
ers maintained Nicollet Mall's previous level tdrl,
ofbrightness, which exceeded 2 foot-candles. , '1.,
Cylindrical RGBW beacons located at the top , ttits

,
of the light poles may be programmed in
conjunction with different events, and
unique, globe-shaped lanterns project from
I il.
4J lIr1t
l|.rr;

select poles as part of a public art program.

Outside of the walk zones, Field Opera-
tions conceived a variety of outdoor rooms
n
.l
rrrrd,, xt'r
:':-'"I
..,.i,r
for destination seekers. These include a lush- n
ly planted reading area for fine weather, I !ta
where luminaires that look like oversize
I
floor lamps add to the ambient glow, and a ffr f,lr:l
theater-in-the-round accented by LED points. rtl

At the heart of Nicollet Mall, pedestrians i

might gather, find respite, or take a selfie

I
underneath the Light Walk, a series of con-
tiguous trellis-like armatures, topped by
G
t
r I
t
mirrored fins, that the lighting designers
outlined with color-changing LEDs in chan-
nel extrusions. Stands ofuplit birches,
1
northern pin oaks, and other trees unite the
o
rooms into one continuous experience and
E lend a seasonal diversity to this reinvented
[i F
E
H! l. i,l
!!
o
z street's warm, multifaceted scene. r
@
; !t!
t
o
l
credits \-
z=
I LANDScAPE ARCHTTECT: James Corner Field
o
-o 0perations - James Corner, Lisa Switkin, Megan Born,
;I Eric Becker
o
E
LIcHTING DESTcNER: Tillotson Design Associates -
0
F
o
Suzan Tillotson, Erin Dreyfous, Megan Trimarchi

ENGTNEER: SRF Consulting Group (electrical) r- I

T M
o .:
-
The design team created
cENERAL CONTRACTOR: Meyer Contracting
coNSULTANTS: Snow Kreilich Architects (architecture);
,t
welcoming public spaces:
Coen+Partners (landscape); Pentagram (wayfinding); ti
a reading "room" (above)
with floor-lamp-style Skyrim Studios (custom lighting design); Premier Electric lr ..4.+
fixtures, and a two-block- (electrical contracto0
ral
long mirror-topped trellis cLtENT: Minneapolis Downtown lmprovement District
i
rli .t lr lr ll
(bottom) outlined with
light. Street poles (top)
feature color-changing
beacons, small f loodlights,
owNER: City of Minneapolis
SIZE: 12 blocks
T
fr I.

and sculptural lanterns. COST: withheld

COMPLETIoN DATE: November 2017

souRcEs
LIGHTING: Bega; Lumenpulse; Targetti; BK Lighting; MP
Lighting; Millerbernd Lighting
90 ARCHITECTURAL RECORD AUGUST 2019 OUTDOOR LIGHTING

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rounding buildings. Today, this downtown zone is being revitalized as a

Nicollet Mall mixed-use neighborhood, and Minneapolis is again reshaping its urban
James Corner Field Operations fabric by implementing a redesign of the Nicollet Mall, led by the land-
scape architecture and urban-design firmJames Corner Field Opera-
Snow Kreilich Architects tions, with lighting by New York-based Tillotson Design Associates
Tillotson Design Associates (TDA) and local expertise contributed by the notable Snow Kreilich
Architects and landscape architect Coen+Partners.
By David Sokol According to Field Operations senior associate Megan Born, the new
rN TrrE MrDrrLE of the last century, when suburbia threatened to drain scheme retains Halprin's existing curvilinear street, while organizing
Minneapolis ofbusinesses and retailers, the city reinvented itselfin the it to work better for pedestrians-people who are walking through it or
image of corporate campuses and indoor malls. Local officials convert- those seeking out the mall as a destination in itself. For the former
ed a dozen blocks of the city's Nicollet Avenue into a transit mall group, Field Operations created a clearly legible, 10-foot-wide walkway
according to a design by landscape architect Lawrence Halprin, while next to buildings, with TDA outfitting 43-foot-tall poles with adjustable
real-estate developers inserted miles ofskyways that connect the sur- tED floodlights to supply most of the ambient illumination. "Making a
ARCHITECTURAL RECORD AUGUST 2019 LIGHTING 89

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C O I.ITI NUI 1I|O EDUCATI()l\l ARCHITECTURAL

ARCHITECTURE + CONSTRU
C EN TER
CT toN RECORD
86 ARCHITECTURAL RECORD AUGUST 2019 COASTAL RESILIENCE
la

ages of rapid climate change. In New Bern,

this is becoming a hard reality. Since the city
Ir,.
occupies a vast coastal Plain that is barely
I
I higher than sea level now not enough levees
and walls can be built to be effective. Nor will
I
low-impact development provide appropriate
-
a*- r-
protections.'Green infrastructure is probably

- { not relevant" for the coastal plain, says

Western Carolina University's Young.
tl.ri.&
New Bern residents-at least those who can
afford to or who qualify for government
grants-are adapting to the Presence ofwater
l4 by raising their homes. Buyouts are offered
property by property in North Carolina, which
7- F|E| .l
rgi--. could mean a slow but steady loss of popula-
A -;rff 4 rr.*
tion for New Bern and other high-risk cities.
With more shorelines suffering greater dam-
!t, age, and less money for civil-engineering
megaprojects, the next frontier in disaster risk
may be the managing of such retreat at a
larger scale. After all, within decades, the
lowest-lying shoreline and barrier islands

L could well be permanently inundated by

rising seas. r
1 Jarnes S. Russell,FAIA, o journalist and consultant,
served as director, Design Strategic Initiotives ot
the NewYork City Department of Design ond
Construction.

Contlnulng Educatlon
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." ? <tUl. includino one hour of health,

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quiz at continuingeducation.bnpmedia.com or D
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app available in the iTunes Store. Upon passing
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AFTER THE STORM SWA Group's Buffalo Bayou Park in Houston, completed in 2015, included reconfiguring the continuingeducation.bnpmedia.com. q
watercourse to control runoff. Though inundated during Hurricane Harvey in 2017 (top), the landscape proved resilient o
and was quickly restored (above, one year after the hurricane). Learnlnq ObJectlves F
c
I Explain the interaction of storm-related l
o
trailsas well as performance venues, and an with little damage. Impressed, voters soon coastline flooding and stormwater overflows
E
o
obsolete waterworks converted for art display. approved funding to move ahead with a Bayou originating inland.
Greenway plan to create trail corridors, new =
The design for the Buffalo Bayou Partnership, 2 oescribe the changing nature of severe z
by the SWA Group, included enhancing the parks, and flood-mitigation facilities along 300 o
weather as climate-change effects intensify. F

degraded ecology ofthe waterway and config- miles ofbayou stream beds. Though the Buffalo J
3 Define the terms "hard path" and "soft path" o
uring the watercourse to control storm runoff Bayou project enhanced an existing stream,
and explain when each type of flood protection
7
that raises the bayou level by much as 20
as most cities possess underutilized low-lying land is appropriate.
l
z
2
feet, several times a year. Natural meanders that can host natural-system improvements and o
were restored to slow eroding flows, and the increase drainage capacity, slow flows, clean
4 Describe the application of natural-system
o
channel topogtaphy was shaped to capture silt. stormwater, and offer amenity.
techniques to adapt shorelines and inland
streams to changing conditions and reduce
;
I
o
Architectural elements resist flood Pressures While soft-path techniques can be more f lood impacts. E
and collisions from floating debris. adaptable than fixed barriers, some places find 0
o
neither approach is likely to defend their AtA/CES Course *Kl9O8A F
The design was subjected to Hurricane o
I
Harvey's record-breaking torrents and survived communities from the almost inevitable rav-
 ARCHITECTURAL
RECORD
INNMTION
CONFERENCE
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Marlon Blachrell, FAIA Ynonne Farrell Francls K6r6 Lesley Lokko ila Yansong
Principal Co-Founder Founder Founding Director, Founder & Principal Partner
Marlon Blackwell Architects Grafton Architects Kere Architecture Graduate School of MAD Architects
Fayetteville, Arkansas Dublin Berlin Arch itecture, University Beijing and Los Angeles
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a4 ARCHTTECTURAL RECORD AUGUST 2019 COASTAL RESILIENCE (h

funding and other issues of operational and t

construction convenience aPpear to have been
the motivation for the change in approach-re-
sulting in a project of diminished quality in
{v
the eyes ofneighbors shut out ofthe redesign
process. 'We are deeply disappointed with the
,-|
City's last-minute rationale to spend an addi- -!
tional $700 million for a total cost of $1.45 I.

billionl without studying alternatives or foster- rE

ing a public conversation on tradeoffs," said a Irt
statement by the organizations that had led 2?
J,,
the Rebuild by Design competition.
The City could have learned lessons from a
decades-long project in its own backyard that
{
is a national model for reducing the effects of /#E
inland storms and flooding. DDC has linked
and upgraded stream fragments on Staten '?'-
4<"..o
Island to create a network of stormwater-
management waterways called Bluebelts. The
program restores degraded stream beds with
widened channels and naturalized edges. The
streams and piped drainage flow into con- ;iit,*,
structed stornwater ponds and wetlands that
filter trash and control outflow volumes. With INCREMENTAL STRATEGY On New York's Staten lsland, once-degraded stream beds have been restored and linked
together. The network helps control outflow volume and prevent flooding in low-lying neighborhoods.
water managed at stages along the length of
each stream, touents no longer inundate the
lowest-lying communities near the shore. Such vast oil, gas, and petrochemical-processing storm's devastating effects.
incremental and low-tech solutions grow in infrastructure that lines the shipping canal at Now New York-based Rogers Partners
appeal as the Federal government finances the head ofGalveston Bay east ofHouston in Architects, collaborating with Rice University's
fewer projects that rely principally on large- 2017, a $30 billion protection project, long in Severe Storm Prediction, Education and
scale civil-engineering works, such as East Side planning by the U.S. Army Corps of Engineers Evacuation from Disasters Center and Walter
Coastal Resilience. but short on Congressional commitment, P. Moore, a local infrastructure-engineering

Indeed, when Hurricane Harvey flooded the began to look far too expensive, despite the firm, have devised Galveston Bay Park, a
conceptual plan that claims to be a more
economical solution. Some 12 miles of 25-foot-
tall rock revetments are proposed to line an
{ existing channel dredged through the shallow d
o
bay. Nine gates would close to seal the ship- F

ping-canal entrance and protect industrial s

areas on the east side ofthe bay during severe j
weather. )
Soils dredged in doubling ofthe width of l
E
the channel would be placed behind the revet-

t; a
ments to build up parkland and natural-
habitat edges, creating some 10,000 acres of
new destination parkland for the metro area.
a

=
o
The plan is 'building allies" among business,
=
o
civic, and environmental groups, says princi- F
F
pal Rob Rogers. Besides all the auxiliary o
-! 9
benefits, the project is estimated to cost far e
less than the earlier plan, at $2.3 billion. "The z
F
era of single-purpose infrastructure is over," d
c
says Rogers. "Everything we build now needs
E
to be multifunctional." 0
Galveston Bay Park would expand on a soft o
E
infrastructure that already helps manage
flooding in Houston. Upstream of downtown F
q
l
and the shipping canal is the slow-moving o
Buffalo Bayou, a 2.3-mile stretch of which was q

HYBRID SOLUTION Rogers Partners Architects and collaborators propose combining hard and soft flood protections
upgraded in 2015 with a widely admired park o
for Galveston Bay that would include floodgates and new parkland, created from soils dredged from a shipping channel. along its banks that includes bike and walking
=
 83

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HIGHER GROUND A team that inctudes AKRF and Btc
has developed a flood-protection scheme for 2.4 miles
along New York's Lower East Side (eft). tt calls for raising
-F the elevation of an existing park about 8 feet (above).

Now led by engineering firm AKRF, and

including BIG, the City's Department of Design
and Construction (DDC) has proceeded with a
first phase, called EastSide Coastal Resilience,
that would protect the most vulnerable stretch
along the East River. TWo years in, the project
was delayed and expensively revised to add a

,a?
, network of storage pipes that will run inside
ts .1 )r the barrier, because the amount ofinland
runoff had been underestimated. (Disclosure: I
worked for DDC, but not on either of its proj-

I J ects discussed in this story.)

Last fall, the team unveiled another major
revision. Designed in secret, this latest scheme z
would replace an existing s7.S-acre park along
=
a
the river, raising it about 8 feet, an elevation
E
higher than anticipated 100-year floods. The
o
original design would have placed the protec- o
tive elements inland of the park, adjacent to a
wetlands. After Maria, local businesses report- front along Manhattan's Lower East Side. The major highway, leaving the park largely
ed that the park, which opened in 2010, 9
project came out of "the Big U," a scheme unaffected. The new design, by raising the G
protected their buildings. Streets turned into devised by a team led by the Bjarke Ingels bulkhead at the water's edge to the necessary
streams, but they flowed away from buildings Group (BIG) and one of the winners of the 2013 height, requires the replacement ofthe park at =
and into the wetlands as designed. The park HUD Rebuild by Design competition. (The the higher level on fill. Even with the much- z
itself sustained little more than cosmetic competition was conceived to generate innova- expanded scope this change entails, the City
damage. tive flood-resilience solutions for communities "will deliver protection one full hurricane F
d
f
Yet navigating the politics of complex affected by Hurricane Sandy that could be season sooner than the original design," o
jurisdictions can make implementing opti- widely applied.) Envisioned as a series of according to Phil Ortiz, spokesman for the ;;
mum soft or hybrid systems problematic-as berms, walls, gates, and other devices, the Big Mayor's Office of Resiliency, which is oversee- z
tr
New York is discovering with its ambitious U would form a continuous barrier, wrapping ing the project. o
plan to protect 2.4 miles of low-lying water- z
Lower Manhattan. Meeting a 2023 expiration date for HUD e
82 ARCHtTECTURAL RECORD AUGUST 2019 COASTAL RESILTENCE (tl

approach is often referred to as a'hard path"

method because the barrier is fixed, but it
loses value once overtopped, which, frighten-
ingly, is happening much more often. And
while bulkheads can be useful where there is
little space along the shoreline, this type of
engineered armor is now often considered a
last resort, since it can exacerbate erosion and
harm the rich ecological continuum between
the waterfront and upland environments,
leaving shorelines largely devoid ofhabitat. In
recreational areas too, hard-path protections
I considerably diminish the visitor experience.
Instead, natural-system solutions that can
adapt to changing conditions provide multiple
tl benefits. These "soft path" tactics include dune
\ systems, planted waterway edges that may be
partially reinforced with structured terraces,
t:
constructed marshlands, and ponds. Natural-
,-fl =
ized stream basins include elements, such as

ffi
wider stream beds and oxbows, that slow the
\ flow ofwater and hold it until conventional
piped drainage systems catch up. These strate-
gies, at neighborhood or even watershed scale,
IAitL.-*<lri; include "green infrastructure" Practices that
are already used across the country to aug-
ment older storm-drainage systems. Also
referred to as low-impact development, these
e practices encompass green roofs, permeable
surfaces, subsurface tank installations, linear
bioswales, and bioretention basins to retain
water (infiltrating it into the soil to keep it out
a.-
,* of the storm-drainage system) or detanwatet
(storing it or slowing its flow until peak flood-
ing passes). Designing soft-path Protections
SPONGE PARK ln Mayaguez, Puerto Rico, Local Office Landscape and Urban Design and architect Javier Bonnin
demands a team ofspecialists in hydrology
Orozco created a beachfront park that includes wetlands capable of storing storm'surge waters.
and wetland ecology, but architects and land-
coast ofthe Carolinas, catastrophic flooding is overflows toward shorelines, bays, or river scape architects play a role in integrating these
a known risk. But the intensity and level of outfalls just as storm surges crash over bulk- installations into sites and neighborhoods.
damage from Florence was unPrecedented, heads. The flooding in the lowestting areas is Such soft systems have succeeded in places
signaling one more way that the climate crisis much more severe than historical norms-as like Puerto Rico, which was devastated by
is exacerbating and complicating the Problem Hurricane Harvey demonstrated in 2017 when Hurricane Maria in 2017. The storm tested the z
9
of protecting communities from storm-driven it came to a stop over greater Houston, shatter- 1.2-mile-long Parque del Litoral, a beach park
floods, as well as from more frequent tidal ing records with as much as 50 inches of rain. in Mayagiiez. It is a pioneering project combin- o
z
flooding caused by rising seas. And don't be confused by how severe storms ing shoreline protection and upland water o
e
While people typically associate the high are measured: a 100-year event does not mean management by New York-based Local Office l
o
winds that down trees and power lines as the such storms will only happen once a century Landscape and Urban Design working with z
most destructive part of severe storms, "wind but that they have a 1 percent chance of local architect Javier Bonnin Orozco. It cut off G
speed doesn't tell you enough about the kind occurring in any given year. That's why old stormwater pipes that had previously
of damage hurricanes will cause," explains communities can experience two or more dumped polluted runoff into the bay. Instead, o
z
Robert S. Young, the director ofthe Program '100-year" storms in the space ofa few years. day-to-day runoffis biologically treated in J

for the Study of Developed Shorelines at Yet stormwater systems are usually designed wetlands constructed inland ofa dune and low 9
Western Carolina University in Cullowhee. to manage only a 5- or 1o-year storm, and, with enough to store a considerable amount of o
"More common today are big fat storms push- more frequent severe storms, local drainage storm-surge water. Trees and shrubs were J

ing a lot of water in front of them." systems are falling behind. planted to help diffuse the energy of a storm o
J
Increased rainfall and more intense and Until recently, standard practice for coastal surge, and the accompanying high winds. o
longer-lasting storms are trends that are likely communities in the U.S. was to build protec- Parking and recreation spaces were installed ;
I

to intensify as the planet continues to heat uP, tive shoreline barriers such as bulkheads with porous pavement to infiltrate runoff,
d
according to the Intergovernmental Panel on (usually concrete, timber, or sheet piles) and reducing the drainage burden. The commer- o
F
Climate Change. Such torrents overwhelm revetments (sloped walls made of large, cial street on the inland edge ofthe park was o
I
conventional storm-drainage systems, hurling stacked rocks) intended to be permanent. This raised to direct surface runofftoward the G
 ARCHTTECTURAL REcoRD 2O1e COASTAL
AUGUST RESILTENCE (ilh 81

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DOUBLE WHAMMY During tast
Florencg the small North Carolina city of New Bern was ''
rf
inundated by the compound effects of storm surge and
river floodinq. .i.
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Before the De uge

Communities on the front lines of the climate crisis take a "soft" approach to flood protection x
o
F
By James S. Russell, FAIA t
F
F

E
r,Asr NovEMBrn, New Bern, North Carolina, Pamlico Sound just seven miles away on the driven by the hurricane from the coast in-
could not have looked more peaceful. Along a Atlantic coast. land, where it collided with the rain-swollen N
J
waterfront park, calm waters lapped the On closer look, however, the destruction rivers. As time passed, the rivers continued to o
shoreline barely 3 feet below sidewalk level. wrought by Hurricane Florence, two months rise, carrying the runofffrom heavy rain J
The compact redbrick 18th-century town earlier, was still evident. Porches on riverfront that had been falling for days as far away as
looked to be an island, surrounded by long houses had been wrenched askew by flood- Raleigh-Durham, 100 miles northeast. New =
o
stretches ofunruffled water to the east and waters. Brick foundation walls had been swept Bern was cut offfor weeks and suffered $100 ;
I
south. The city of 30,000 people is actually away. A massive tree had crushed a small million worth of damage. The City Manager's c
located at the confluence oftwo rivers, the E
cottage. Office counted up 235 businesses arrdl761. 0
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Neuse and the much smaller Trent, but the Florence inundated New Bern beginning on houses that were affected. F
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combined streams broaden as they flow into I
September 13. First it was the storm surge, With hurricanes a regular event along the o
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ARCHITECTURAL
RECORD
 XYLEM AT TIPPET RISE ART CENTER FISHTAIL, MONTANA KERE ARcHITECTURE 77

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With time, the wood will turn gray, and the weathering steel will INTO THE WOOD Each hexagon of the honeycomb canopy (above, and both opposite)
oxidize, leaving rusty streaks on the materials. ..We wanted to make contains approximately 280 logs, all sustainably sourced from the Western U.S.
something that will blend in and age with its surroundings,,'says Nina
Tescari, the projea leader from K6r6's office. To further the natural expe
rience, there is no lighting or electricity within or around the stnrcture.
credits
The site, nestled in a grove ofaspen and cottonwood trees, was cho_
sen by the clients and provided Kdr6 with ..a starting point.,' ..Given the
ARcHrrEcT: K616 Architecture - Di6b6do Van Sweden (landscape)
Francis K6r6, principal; Nina Tescari,
immensity of nature around us-the big, infinite skies-we tried to cLtENr: Tippet Rise Art Center
Vincenzo Salierno, design team
bringXylem back to the intimate, secret part of nature: the heart of a SrzE:2,100 square feet
tree," says Tescari. Adds K6r6, "It lets you feel intimate within the mon- ARCHITECT OF RECORD: GUNNSTOCK
coMPLETIoN oarr: July 2019
umentality of this place as it opens you up to the horizon." Timber Frames - Laura Vicklund
That goal of opening up to the world outside is fundamental to the ENGTNEERS: AECoM, DCI Engineers
SOURCES
project, and extends beyond the realm ofTippet Rise. In one oftheir (structural); D0WL Engineering (civil)
WOOD FABRICATION: Chris
early conversations, the Halsteads not only commissioned Xylem, but also GUNN,
GENERAL CONTRACTOR:
proposed funding the constnrction of Naaba Belem Goumma high Gunnstock Timber Frames
0n Site Management
school, which K6rd designed for his home village of Gando. ..Not only do coNcRETE: Davis and Sons Construction
coNSULTANTS: Pete Hinmon, Tippet Rise
we get this beautiful pavilion from Francis, but we get to make people in STEEL: TrueNorth Steel, Western States
Montana aware of Burkina Faso and his work there, and the connections Art Center (project management); 0ehme, Steel Erection

between small towns around the world," says peter. Named for K€r6's
father-a "visionary who understood the importance of education,,, the
architect says - the school for 1,000 students will open early next year. r
76 ARCHITECTURAL RECORD AUGUST 2019 BUILDING TYPE STUDY LANDSCAPE & LEISURE

I SEATING
2 PATH

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canopy to form a perfect circle. More vertical
I
I 1f l r rllll logs cover each column, rising up from the
I
. lr curving built-in benches. Kdr6 says his inspira_
t L F,l tion for the seating design came from a
r.* r .r,l&1 I painting Cathy Halstead made decades ago

fl' , rl . lali that evokes a single-celled organism, the para_

*1, mecium. (The pavilion's name also has organic
* roots; 'xylem" refers to the vascular tissue of
I lr plants.) 'Her piece of art just pushed my design
q forward," he says. Some 40,000 linear feet oi

I llr
logs were used in construction, says Laura
I Viklund of Gunnstock Timber Frames, the
architect ofrecord, who designed several other
buildings at Tippet Rise.
I The pavilion's floor ofexposed concrete
poured into a metal deck sits atop a base of
steel beams, secured to the site by helical
piers. "It has to withstand extreme elements,,
says Kdr6, 'so we were happy to have visionary
engineers." (His firm's frequent collaborator
AECOM, in London, and DCI Engineers in
Bozeman, Montana, were the structural engi-
and of music," says peter Halstead. ..So we look neers on the project.)
how to formally connect that idea with the
forward to doing those things there.. A gurgling creek cuts through the tall
site," the architect recalls.
K€r6, who has worked extensively in his grasses surrounding the pavilion, the wood of
K€r6 and his collaborators developed the
native Burkina Faso, first explored a similar which smells ofjust-cut pine. The space seems
design for a modular honeycomb canopy of 31
idea for a structure in the 2015 exhibition to amplify the sound of the moving water and
steel hexagons supported by seven y_columns
AF&ICA: Architecture, Culture and ldentity at the constant chittering ofbirds and insects.
tine of1-inch-thick Cor-Ten. Ten vertical bundles of
Louisiana Museum of ModernArt in Denmark. ponderosa Beams of sunlight pierce through gaps in
and lodgepole pine logs fill each the
The Halsteads had seen photographs ofK6r6,s structure overhead, dancing across the floor as
9-foot hexagonal frame, stepping down into
Louisiana Canopy, and were taken with his the angle ofthe sun changes. And although
the space at different elevations and allowing
installation ofupright logs, suspended over_ the dining hall and other buildings arelust a
dappled light to filter through. Additional
head and gathered up from the floor to form short walk away, sitting inside
bundles, sawed smooth along their outer faces, Elemimlarts a
seating. "From there, we started to think about strong sense ofbeing alone in, and embraced
fill in the partial hexagons at the edges ofthe by, the spectacular landscape ofTippet Rise.
 75

Xytem at Tippet Rise Art Center I K6r6 Architecture I Fishtail, Montana

hythrn
Using geometry and natural materials, a new pavilion
providis an intimate perspective on wide, open spaces.
BY MIRIAM SITZ
PHOTOGRAPHY BY IWAN BAAN

ishtail, Montana, is a very small matic natural backdrop. The property is home
place-its poPulation is listed as to large-scale works by Ensamble Studio (ntc-
478-but everYthing else about it ono, August 2016), Mark di Suvero, Alexander
is immense: the snow-caPPed Calder, Stephen Talasnik, Patrick Dougherty'
- Beartooth Mountain range in the and others. Now K€r6's pavilion, Xylem'repte'
distance and that legendary big skY, sents the first site-specific commission at
a bright blue bowl stretching across Tippet Rise since its opening in 2016.
The 2,100-square-foot circular structure of
the horizon. The panoramic views in every
direction somehow feel greater than 360 de- wood and steel is a serene place ofrespite for
grees. Within this extraordinary setting, a visitors. "I started to think about how I could
surprisingly intimate new structure by create a space where you can retire' be your-
Di6b6do Francis K6r6 offers a vantage Point self, and begin to dream," says the Berlin-based
from which to connect with the great western architect of his first permanent work in North
landscape. America. Situated near the main performance
On a 12,000-acre working sheep and cattle space, Olivier Music Barn, and close to the
ranch just outside of Fishtail, Cathy and Peter open-air Tiara Acoustic Shell, Xylem will host
Halstead, through their family's Sidney E' programming such as small concerts or poetry
Frank Foundation, established the music and readings from time to time. "We think of
visual arts center TipPet Rise against the dra- poetry as the underpinning ofarchitecture

"-'#

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lN THE GROVE Xylem (right) is nestled into a stand
of aspen and cottonwood trees (left), near the Tiara
Acoustic Shell bY ARUP.
 74 ARCHITECTURAL RECORD AUGUST 2019 BUILDING TYPE STUDY LANDSCAPE & LEISURE

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 AGA KHAN GARDEN NELSON BYRD WOLTZ LANDSCAPE ARCHITECTS EDMONTON, ALBERTA 73

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FULL CIRCLE An amphitheater behind the td/ar accommodates lectures, I

I

performances, and breaks for lunch (above). A granite reflecting pool is a mirror for I
the aspen parkland forest (top, right). Orange tensile structures bring life to the talar i

at niqht (bottom, right).

evate the shared domain and make it more open. !

The result is an elegant public forum where one can imagine-as l

the garden's sponsor, host institution, and designers hoped-that local I

and global communities will gather in the presence of nature to

advance their mutual understanding. In the Koran, the garden is a
metaphor for paradise. r

Katharine Logan is an architectural designer and a wnter focusing on design,

sustainabikty, ond w ell-b eing.
72 ARCHITECTURAL RECORD AUGUST 2019 BUILDING TYPE STUDY LANDSCAPE & LEISURE

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credits garden, their ornate tracery would have supplied a welcome layer of
ARCHITECT: Nelson Byrd Woltz owNER: University of Alberta Botanic texture, play of light, intimacy of scale, and permeability to spaces
Landscape Architects - Thomas Woltz, Garden beyond. Here, however, the filigreed curtain ofwoodland that sur-
Breck Gastinger, Nathan Foley, Sandra stzE:435,600 gross square feet rounds the garden suggests a missed opportunity: a simpler, more
Nam Cioffi, Jen lrompetter, Alisha Savage, contemporary panel design would have let the natural intricacy of
coNSTRUcrlON cosr: S25 million
Siobhan Brooks, Fraser Stuart, Kari the parkland forest shine.
COMPLETION DATE: october 2018
Roynesdal, Mandi Fung Swaths of flowering annuals, climate-adapted perennials, and
pollinator-friendly plants fill sunken gardens edging t}re chaharbagh's
LANDSCAPE ARCHITECT OF RECORD: SOURCES
quadrants. Historically, sunken gardens brought the scent and fruit of
Dialog Design
SYSTEMS: RAiN Bird, ACO Drain, Zurn citrus trees to the visitor's level, but here they set the flowers at a great-
GENERAL CONTRACTOR: HARDSCAPE: Expocrete, Owen Sound er remove. At first this seems a puzzling choice-until you remember
Clark Builders Ledgerock, A. Lacroix Granit, Permaloc the garden's primary goal is to create a public space for dialogue and
cLrENr: Aga Khan Trust for Culture LIGHTING: BEGA, WAC Lighting understanding. The sunken beds support this goal by seeming to el-
AGA KHAN GARDEN NELSON BYRD WOLTZ LANDSCAPE ARCHITECTS EDMONTON, ALBERTA 71

d i::

r\

I
LEVEL BEST Visitors navigate the descent from the
ta/ar to the chahar bagh (opposite, top). The formality of
sunken flower beds contrasts with the natural forest I
beyond (above). A trickling fountain animates a
woodland walk (right).

lying nature. "Geometry is scaleless, both

infinitely small and infinitely large," says
Gastinger, "so tapping into it offers a pathway
to greater understanding ofthe natural
world." The design team wanted the garden's
Islamic sources to be legible, he says, "but we
definitely wanted to avoid falling into the trap
of pastiche." Photography highlighting the ,;-
project's geometric motifs may give the im- rj
pression that it teeters on the edge ofthat trap,
but in person the experience of scale within
the garden's expanse creates a much more
subtle effect.
The exception, arguably, is a series of
decorative panels that form the court's -''a
guardrails. A riff on jali window screens,
which traditionally are carved from stone,
the panels are executed in ultra-high-perfor-
mance concrete. Seen in a desert or urban
70 ARCHITECTURAL RECORD AUGUST 2019 BUILDING TYPE STUDY LANDSCAPE & LEISURE

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SITE PLAN 4
 69

# E I beginning, passing a lozenge-shaped black granite pool that reflects

the sky, and stands of wild roses, Alberta's emblematic flower, that
bloom among the trees. Emerging from the forest, the path climbs to a
ilt #' i shaded terrace, or talar, that overlooks a four-part court, or chaharbagh,
together forming the most structured and identifiably Islamic part of
.i;.ifr-
'*
the garden. A limestone colonnade the length ofthe talor supports a
series oforange tensile canopies, whose vibrant glow contrasts with the
I .
forest backdrop.
Water, precious in desert cultures (and increasingly so elsewhere),
! r:- lrI wells up out of a massive block of polished granite on the ,alar, seem-
tI ingly the source for a waterfall and rippled chute that flow to the
I channels of t}re chaharbogh. In addition to the plays of texture, illumi-
I
nation, and pattern that celebrate water, the garden's formal geometry
1 seamlessly integrates a series of stepped and calibrated beds for wet-
I land plant nurseries, seed production, and botanic research. Beyond, a
restored wetland surrounded by fruit trees expresses the theme of
stewardship.
rfa At opposite corners of t}re chaharbagh-where the formal garden
opens to paths encircling the pond-a rose garden and an "ice garden"
Y symbolize the Alberta setting. The rose garden centers on a five-petaled
hIJ&tL. --.&t1r.,ra., .,..,r
fountain, with a paving pattern based on the rose's fivefold symmetry.
The ice garden's paving pattern is based on sixfold symmetry, the struc-

s"v6,:,e#il*8d*# ,1rr.i.
:
l ture of ice crystals and snowflakes, and includes openings for fog jets
to mist the small space on summer days.
Throughout the garden, the use of precise geometry at multiple
scales, from layout to detailing, refers to the mathematical order under-

!i
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lt
THROUGH LINE A central axis connects a canopied terrace, quadripartite court,
and-behind the vlewer-a reconstructed wetland (above). llluminated niches backlight
cascading water (right).
{
shifts. Drawing on the landscape fiirm's award-winning research into
historic precedents, the $19 million project comprises forest walks, a
central court ofgranite and limestone terraces, a dozen pools and I

fountains that express the manifold nature ofwater, and an informal

orchard oflocally adapted trees, all linked by views across a naturalis-
tic wetland.
From the garden's entry court, a woodland walkway makes a quiet
 58 ARCHITECTURAL RECORD AUGUST 20.19 BUILDlNG TYPE STUDY LANDSCAPE & LEISURE

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Aga Khan Garden I Nelson Byrd Woltz Landscape Architects I Edmonton, Alberta

Order in the Court

A garden inspired by Islamic traditions fosters civility and understanding.
BY KATHARINE LOGAN
PHOTOGRAPHY BY JEFF WALLACE

he new Aga Khan Garden, near Edmonton, in the Cana- ofhumanity and the beauty ofnature are productively connected..
dian province ofAlberta, is the largest garden in North Sponsored by the Aga Khan Trust for Culture, the 12-acre project within
America to interpret the landscape traditions of Islam. At the University of Alberta Botanic Garden (UABG) is intended to foster
a latitude above 53 degrees, it is also the world's northern- intercultural dialogue and understanding.
most, translating the desert-based horticultural traditions "It was a tall order to imagine what a garden inspired by Islamic
of Islam for Alberta's short summers and cold winters. landscapes would look like in Alberta in the 21st century,,, says Breck
For centuries, gardens have symbolized a spiritual ideal Gastinger, a senior associate at Nelson Byrd Woltz (NBW), the project's
in Muslim culture. They are places "where the human meets further New York- and Charlottesville, Virginia-based landscape architect. In a
proof of the divine," the Aga Khan, spiritual leader of the Shia Ismaili remarkable fusion, the design uses the formal structure of the Islamic
Muslims, has said in speeches on the subject, "and where the ingenuity garden as a frame for the Canadian parkland biome's dramatic seasonal
TANK SHANGHAI SHANGHAI OPEN ARCHITECTURE 67

a city, always transforming itself. The gardens

grow and change," says Li.
The master plan for Tank projects the
possibility of ferries' bringing guests from
downtown along the river to the cultural
compound's docks so they wouldn't have to
deal with Shanghai's notorious traffic.
At the moment, getting to Tank means a
walk of a few blocks from a subway station or
driving to the entrance on Longteng Avenue, a
wide boulevard lined with cranes and heavy
equipment for the rising headquarters of sev-
eral Chinese technology companies. On Tank's * a
waterside edge, the Pudong financial district's
shiny new skyscrapers loom in the distance.
Facing the river, an extensive construction
site borders the Tank complex on one side,
while on the other is an airfield for helicop-
ters-perhaps one day the vehicle ofchoice for
the country's tech tycoons living and working
in West Bund. Like Olmsted's urban parks,
Tank Shanghai could well become a space for
local residents and serye as a destination for
the larger city. More important, the scheme
successfully continues a trend seen in other
urban areas where gigantic storage containers
of this kind have become outmoded. r

AlexandraA. Senois on orchitechfie ond desryn

w riter liv ing in Hong Kong.

credits
ARcHtrEcr:0PEN Architecture - Li Hu, Huang lllenjing,
principals in charge; Ye Oing, Luo Ren, Victor 0uiros, Zhou
Tingting, Chen Xiuyuan, Li Zhentao, Zhao Yao, Lui Ki, Jia
Han, Zhang Yiwen, Steven Shi, Zhou Xiaochen, Huang
Zhonghan, Laurence Chan, Cynthia Yurou Cui, Yang 0i, Ge

Can, Gao Qi, Stephanie Lee, Jin Boan, Zhang Hao, Wang
Mangyuan, Yan Dihua, Zhang Chang, Tomas Kowalsky, I
iI
Jiang Simin
LocAL DESIcN INSTITUTE: Tongji Architectural
Design Group

coNsuLrANrs: Beijing EDSA 0rient Planning &

Landscape Architecture (landscape design); Shanghai

Ming Chi Architecture and Engineering (lighting)

cLtENT: Shanghai West Bund Development Group

stzE: l2 acres (site); 117,000 square feet (tanks)
cosT: withheld f'"
coMPLETION oArr: March 20]9
L

SOURCES
LrcHrNG FlxruRES: Hongri Lighting; Flos
;
ELEVATORS AND ESCALATONS: MitSUbiShi EIEVATOTS
\
EXTERIoR zlNc PANELS: VM Building Solutions
BATHROOM FIXTURES: KOhICT

HARDWARE: ATMOT
/
ExrERroR coATlNG: Zheiiang Tiannu Paints
EPOXY TERRAZZO FLOORING: ChiNA SRS FIOOTiNq
66 2019 .. BUILDING TYPE STUDY

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AT THE CORE The art gallery in Tank 3 occupies a

a 7 central space that is daylit by an oculus (above). Other
residual spaces display art, with vantage points
increased by spiraling ramps (left). ln some tanks, the
architects inserted bands of glazing in the walls to allow
views of the park (opposite).
F
a,/' Holl's Beijing office for two years, until 2010.
Then he and Huang (the Princeton-educated
OPEN cofounder, who is also his wife) focused
lql
-- solely on OPEN, working on a number of
government-related buildings for cultural and
educational uses. He says that this experience

d
/:,, has taught him about the need to be flexible
when working in China. "I like projects with-
out a very clear brief" Li says.
For his part, Qiao says he is pleased to see
\ -I families visiting Tank on weekends. The open-
ing show featuring interactive works by Team
Lab, the Japanese multimedia collective,
brought some 220,000 visitors to Tank in its
first three months, an achievement, consider-
ing the distance from downtown. "Tank is like
TANK SHANGHAI SHANGHAI OPEN ARCHITECTURE 65

charge admission).
Tanks 1 and 2, which have street entrances,
have been refitted to become a restaurant and
a performing-arts venue. Tanks 3 and 5 are
converted to galleries for painting and
sculpture and retain the original round con-
figuration; the architects designed spiraling
ramps and staircases encased in painted metal
W
walls to provide dramatic entries to those
areas. In Tank 4, OPEN built a multistory aq '..4 'tt '4, t

steel-frame cube to house Qiao's office plus

entertainment spaces, as well as halls that
have permanently flat walls suitable for more
I'-. t I
conventional art display. In the rectilinear .,t
:a
underground halls connecting the tanks,
F
reinforced-concrete columns, placed about 30
feet apart, support the concrete roofand the
expanse of greenery above. L
Li, a former partner in NewYork at Steven tr .l
Holl Architects, trained at China's elite e
Tsinghua University in Beijing, then did
graduate studies at Rice University in
Houston.
Upon returning to China in 2008, Li led
64 ARCHITECTURAL RECORD AUGUST 2019 BU]LDING TYPE STUDY LANDSCAPE & LEISURE

o
-_lt IT'S A GAS
The l2-acre site sits at the
d edge of an unused airfield,
ilt where open space around
ci I the fuel tanks now
I I
, features gardens, a
stepped waterfall, and an
a urban plaza (left). A
rectilinear underground
space, covered in planting,
T connects the various
tanks and brings visitors

t
il to the serrated roof of the
project space (opposite,
top). The architects
:
designed circular ramps to
lead from the lobby to
display space in Tank 4
(opposite, bottom).

'llil1l- ti ( t-'11
L 1 TANK'I IZ FOYER

\ 2 TANK 2 13 CAFE

rll 3 TANK3 14 MULTI.

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-E 5 TANK 5
SPACE
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15 ART STORE
'!3_ 14 16 ART STUDIO
10
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8 ART
17 URBAN
PLAZA
I GALLERY
9 ATRIUM
18 0FFtCE
17
10 LOBBY
II LECTURE

t \lr-ll THIRD.FLOOR PLAN 0 100 FT.

HALL

GROUND.FLOOR PLAN /-T\ O

trt.- loo FT- 30 M-

V-,/ 3o'M.

Tank 1 - Live Music Club Tank2-ArtRestaurant Tank3-ArtGallery

x
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Tank4-ArtGallery Tank 5 - Multi-functional Exhibition Space

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 ,. .)
63

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to become attractive and accessible. OPEN's

cofounder and principal Li took inspiration
from Frederick Law Olmsted, best known for
J I

designing Central Park and other urban parks

in late 19th-century America. He notes, "The
essence ofTank is about inviting people into a
space to be enjoyed by everyone."
In order to accomplish this goal, the archi-
tects created a system ofrolling landscapes
(which they call "super surface") around the
former fuel tanks, to offer multiple means for
walking and viewing the park to those who
enter the grounds, free ofcharge. For example,
a phalanx of neatly planted Wingleaf Soap-
berry trees draws visitors to a paved lane
ending at the Huangpu River. Concrete paths
cut through undulating lawns and flowering
plants to lead up to a rooftop observation
point, or to a pavilion.
Art is very much a part of the Tank's
identity. The gardens are dotted with large
sculptures such as those by Danh Vo, which in
SHAKING UP SHANGHAI A compound of five tanks that once stored aviation fuel has been turned into a park and
turn point toward the sunken plaza where a cultural center on the outskirts of Shanghai (top), where a large open plaza unites the group. lnside, each of the tanks
row of full-length glass doors welcomes a offers different functions, including art display and performing arts. Rolling landscapes (above and opposite), which
paying public to indoor exhibitions (which do OPEN Architecture refers to as a "super surface," unite the complex and take visitors on various paths with views.
62 ARCHITECTURAL RECORD AUGUST 2019 BUILDING TYPE STUDY

,it
;rf,E

Tank Shanqhai I Shanghai I OPEN Architecture

Tanks for the N/emories

A once-industrial area is transformed into a public park with cultural facilities.
BY ALEXANDRA A. SENO
PHOTOGRAPHY BY WU QINGSHAN

n the last six years, 12 acres of land on the banks of Shanghai's inserted galleries, dining areas, a music club, and event spaces, among
Huangpu Rivet where five cylindrical metal tanks once stored other facilities.
aviation fuel, have been transformed into a park and culture com- "The unique grouping presented so many possibilities" says Qiao
plex. Now called Tank Shanghai, the ambitious endeavor, which Zhibing, one of China's most prominent contemporary-art collectors
opened in March, is about a half hour's drive from the downtown. and the cultural impresario chosen by West Bund authorities to operate
In 2013, the Shanghai West Bund Development Group, a local the programming at Tank.
government unit, hired Li Hu and Huang Wenjing of Beijing's OPEN Since the site is zoned as an urban park, new building aboveground
Architecture to design and build the project. The result features was limited. What is now Tank's main entrance on Longteng Avenue
645,800 square feet ofgardens, pavilions, plazas, and underground was the edge of Longhua airf,reld, one of Shanghai's main airports from
halls (for multiuse functions and mechanical rooms) that connect the 7922 to 7966.
five structures. Inside the giant industrial vessels, OPEN Architecture The once-restricted zone controlled by the Chinese military needed
LINDE CENTER FOR MUSIC AND LEARNING LENOX, MASSACHUSETTS WILLIAM RAWN ASSOCIATES 61

open, expanding the dining area outdoors beneath a broad overhang.

On a recent sweltering afternoon, students conversed on the cafete-
ria's terrace, and one young man, lost in the score in front of him, played
an invisible string instrument. All the studios were in full swing. People e9
dropped in on a piano master class in Studio E, the moody chords of
Chopin filling the space. Beyond the pupil and mentor, the oak leaves
wavered in the breeze as curious visitors paused to take in the scene, just
as the architects intended, extending Tanglewood's legacy by engaging
with the making of music from yet another vantage point. r
c red its
ARCH rTEcT: William Rawn Associates - PRoJEcr cosr: S32.5 million
William Rawn, Clifford Gayley, principals; COMPLETION DATE: JUNC 2OI9
Kevin Bergeron, project architect;
Elizabeth Bondaryk, Ewelina Peszt, team
SOURCES
CONSULTANTS: RCEd HiIdCTbTANd
CURTAIN WALL, WINDOWS,
(landscape); Kirkegaard Associates
ENTRANCES: EFCO
(acoustics, audiovisual); Nextstage
OPERABLE GLASS PARTITIONS:
Design (theate0; LeMessurier Consultants
NanaWall
(structural); Vanderweil Engineers (m/e/p/
fp, lT, security); Foresight Land Services
GLAzI NG: Viracon, oldcastle :
BuildingEnvelope
(civil)
METAL LOUVERS: lndustrial Louvers
GENERAL CONTRACTOR:
MOISTURE EARRIER: Carlisle
Consigli Construction Company
cEl Ll NGS: Armstrong, 9$lood
CLTENT: Boston Symphony 0rchestra
PAINTS & STAINS: Benjamin Moore
SrzE: 24,000 square feet
60 ARCHITECTURAL RECORD AUGUST 2019 tsUILDING TYPE STUDY LANDSCAPE & LEISURE

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I
HIT A HIGH NOTE The fronts of the Gordon Family Studio (above) and Studio
(opposite) fully retract. A serpentine walk links the complex's four buildings.
E

2 VOLPE FAMILY STUDIO

3 GORDON FAMILY STUDIO
buildings do." Says Reed Hilderbrand principalAdrian Nial, "We moved a
4 CINDY'S CAFE
lot of earth, but the goal was to make it feel as if it had not been manipu-
5 COVEREDWALKWAY lated - that it had always been that way."
6 REDOAKTREE The studios withia the complex are trapezoidal, their side walls splay-
7 LOBBY
.',lltB ing away from the performing area to push the sound out into the room
:i,/.'. and allow the abundant use of glass. Acoustics (on which WRA collabo-
8 SERVERY
rated with Kirkegaard Associates) and a desire for simple forms also drove
9 MECHANICALYARDS
the team to use shed roofs, which enable the optimal ceiling height, with
10 SERVICE YARD
more compression over the stage area. The volumes are scattered on the
lltllllxl site, rather than aligned. "This gives a sense that they aren't quite per-
fect," says Rawn, pointing to other structures here. "The intensity is in
their finely tuned acoustics." While the complex stands out as a more
refined version of its predecessors, it complements them in its modesty.
6
nT,#SH
:.ll.J- The glazed lower ends of the studios-the larger two of which have
- , .l
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fully retractable glass walls - create a dialogue between outside and inside
I

and between the people occupying these spaces and the spontaneous
$

8
tirtl:- audience that can materialize from passersby. (On hot days, these air-
conditioned spaces will undoubtedly remain closed, however, challenging
tlre ideal of flooding the campus with sound.) The maple.lined interiors
are elegantly spare; the drama comes from the landscape, visible beyond
the performance areas. These connections to the larger world will surely
energize and inspire musicians and audiences accustomed to more typi-
cally cloistered facilities. Ouaide, the winding wallovay links the studios
GROUND FLOOR PLAN
o 30 FT. at their front ends, creating a community out of the discrete, intimate
lo M. spaces. The cafeteria is strictly utilitarian, though its glass front also slides
 LINDE CENTER FOR MUSIC AND LEARNING LENOX, MASSACHUSETTS WILLIAM RAWN ASSOCIATES 59

strategies for connecting the audience to the

/ :'i
outdoors with abundant apertures, like Ozawa
I TAPPAN ESTATE HOUSE
Hall's S0-foot-wide barn door. But now he
2 HIGHWOOD ESTATE HOUSE points out, "it's doubly important to flgure
3 THESHED out ways to make Tanglewood more accessible
4 SEIJI OZAWA HALL to everyone-make it more than just a conser-
5 LINDECENTERFOR vatory" because of increasing professional
MUSIC AND LEARNING
competition.
Though the center was first envisioned as a
o single building next to Ozawa Hall, the architecs

y'"o 5
r: .G
o
broke down the volume so as not to make it
/"\
\,/ (2? imposing. "This was also an opportunity to
engage the landscape in differentways," says
(" () D
WRA design principal ClitrGayley, "including the
\).--r spaces between programmatic elements, so you

,L; s\
could experience the joy of passing through the
landscape as you went room to room." Working
a
,{, with Reed Hilderbrand landscape architects
(which is engaged in an ongoing projea to uni$
and enhance the larger campus), the design team
\C\ relocated the site up the hill to a former overflow

nil parking lot, because, says Rawn, "\Me wanted

these studios to parake of the lawn as the other

1.

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THE HILLS ARE ALIVE The complex sits up the

'. hill frorn,RaWnis celebrated Seiji Ozawa Hall
(oppoSite; top) and includes a low-slung cafeteria
that looks out to a'loo-year-old oak tree.
58 ARCHITECTURAL RECORD AUGUST 2019 BUILDING TYPE STUDY LANDSCAPE & LEISURE

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or musicians and music lovers (WRA) especially significant: completed in

worldwide, Tanglewood, in the June, it is Tanglewood's first major construction
idyllic Berkshires of Western in 25 years, since the completion in 1994 of
Massachusetts, is widely considered WRA's burly, top-ranked Seiji Ozawa Hall, with
hallowed ground. Founded in 1932 its towering brick facades and barrel-vaulted
it hosts one of the globe's preemi- roof. The Linde treads more softly-a family of
nent music festivals and is the three boxy western-red-cedar-clad performance
summer retreat for the Boston Symphony studios with zinc-coated copper standing-seam
Orchestra (BSO). The venue has been graced by shed roofs and a low-slung cafeteria, linked by a
legendary figures from Leonard Bernstein and serpentine covered walkrrray. Sifting atop a
Aaron Copland to Bob Dylan and Lady Gaga. ridge that runs across the campus, the hand-
But it is equally celebrated for its breathtaking some, plainspoken buildings embrace a
campus, composed of two former estates whose l0O-year-old red oak tree and the vistas beyond.
524 pastoral acres spill out across woodlands The 24,000-square-foot complex addresses
and large swaths of manicured lawns, dotted the needs of both the Tanglewood Music
with canopy trees, that open to views of the Fellowship Program and the justJaunched
gently rolling scenery. Tanglewood, says BSO Tanglewood Learning Institute, an initiative
president and CEO Mark Volpe, "is the gestalt offering activities to the public, such as art
of music, nature, and pedagogy." classes, film screenings, and lectures.
While the beautiful pastoral setting has Additionally, the Center brings, with its flexible
always been the core ofthe Tanglewood expe- interiors, much-needed new programming
rience, the campus's built environment is space to the campus. The biggest pavilion, the
also steeped in history with Eliel and Eero 3,950-square-foot Studio E, with its retractable
Saarinen the first architects to have left their tiered seating, hosts everything from BSO
mark here. The simple structures scattered rehearsals to movies and banquets. And, as the
across the grounds-like diminutive wood- only fully climate-controlled buildings here,
framed camplike practice studios or the the Center can be used off-season.
5,700-seat fan-shaped Koussevitzky Music Rawn's design sprang from a notion he calls
Shed (a steel canopy over a dirt floor, inspired "intensity and informality," which Tanglewood
by Eliel's original design)-project a no-non- embodies in its rigorous standards yet casual
sense attitude and are open to the outdoors, atmosphere, where barriers between audiences ri
sending music wafting out, from the trilling and performers are diminished, and where by
of a string quintet to the triumphal swelling day the public uses the grounds as a park.
ofa full BSO rehearsal. New additions to this "Tanglewood's democratic spirit captivated me
landscape are not undertaken lightly. 30 years ago, as it still does today," says William
That makes the Linde Center for Music and Rawn, founding principal, who took lessons '-- 1.,

Learning by Boston's William Rawn Associates learned from his first project here, particularly
 57

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CENTER STAGE Unlike Ozawa Hall and the Shed,

where openings are behind the audience, Studio E
(above) and the other pavilions here have walls that
open behind the stage, allowing the landscape to
become part of the performance experience.
 BORDEN PARK NATURAL SWIMMING POOL EDI'/ONTON, ALBERTA GH3 ARCHITECTURE 55

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To avoid overloading the system, the number of bathers is limited to

980 per day, with a maximum of 400 at one time. Swimmers are also PORoUS AND PERMEABLE qh3's building (oppdsitelop) is made of limestone
asked to follow rules that include a soaking shower-courtesy oftube- stacked within qabions (above), The co'nstruction method refers to the water-
like chrome fixtures lined up along the exterior of the stone walls- puritication elemeftfs, which include a bed of cr$sted granite (opposlte, bottq,m).
Openings are exterded thewafls' full 12-footheight (left); accentuating theirlieft.
before entering the water, and refrain from using certain sunscreens
containing ingredients that can provide too many nutrients for the
filters' aquatic life. "The pool is a balanced ecosystem, and people are
part of it," says facility manager Cyndi Schlosser. credits
Schlosser and her stafffollow a protocol specifically devised for ARcHTTEcT: gh3 architecture - Pat SOURCES

the Borden Park pool to satisfy the provincial government health Hanson, Raymond Chow, Bernard Jin, sToNE wALLS: Gabion Wall Systems
department's concerns. The regimen includes testing for potentially Joel DiGiacomo, Nicholas Callies, John WINDOW FRAMES: lmar
dangerous pathogens several times per week, both on-site and by an McKenna, DaeHee Kim, project team GLASS: Vitro Architectural Glass
outside lab. coNSU LTANTS: Morrison Hershfield METAL DOORS: DETONdE
What is the pool like to swim in? On an overcast and chilly day (structural, mechanical, electrical, civil,
MILLwoRK: Simonet
earlier this season, the water was clear, refreshing, and cool. It had no LEED); Associated Engineering (gabions);
SKYLIGHTS: VEIUX
briny taste, like ocean water or the sometimes fishy smell of lake water, Polyplan (natural swimming pool)
WOOD DECK: Accoya
making the experience feel a little like a dip in a pond, albeit one that GENERAL CONTRACTOR:
OUTDOOR SHOWERS: Bossini
has a rectilinear shape and no mud at the bottom. And, afterward, Ellis Don
SOLID SURFACING: Dupont
there are none ofthe usual side effects ofchlorine-no raw eyes, itchy cLtENT: City of Edmonton
skin, or strawlike hair. Without these annoyances, it is possible to relax
StzE: 54,000 square feet
on the deck and look at the tops ofthe park's trees peeking out from
behind gh3's robust but elegant gabion walls, creating a true amalgam cosT: S11 million

ofarchitecture and nature. r CoMPLETIoN oarr: July 2018

54 ARCHITECTURAL RECORD AUGUST 2019 BUILDING TYPE STUDY LANDSCAPE & LEISURE

rl -
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I I I ENTRANCE filtration process. The system includes a set of

Z UNIVERSAL regeneration basins at one end ofthe pool
CHANGING ROOMS deck, visible to pauons but protected by glass,

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4
SHOWERS

MAIN SWIMMING
and an adjacent bed ofcrushed granite con-
cealed behind the building's gabion walls.
= =,= POOL
Overflow from the pools circulates through
these filtering elements, which contain marsh-
5 WADING POOL loving plants such as cattails, water lilies, and
4 6 SHADE UMBRELLAS rushes-and, in the case ofone ofthe basins,
7 STORAGE microscopic marine animals. The plants and
8 VOLLEYBALLAREA organisms use the contaminants that humans
introduce, like carbon dioxide, nitrogen, and
I 9 REGENERATION
phosphates, as nutrients and remove them
BASINS
from the water.
7 10 GRAVEL FILTER BED
The water is heated, but only to abo1rt74
11 PUMP/TESTING degrees, and then the sun is allowed to take
ROOM over. But if the temperature of the water
+ 12 STAFF AREA should rise above 84 degrees (something that
has yet to happen at the pool, now in its sec-
/1 0
fi-
soFT.
ond season of operation), the facility would
SITE PLAN \,/ t5 M.
temporarily close, since that is the tempera-
ture considered conducive to bacteria growth.
 53

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he first hint that there is something unusual about struction method was famously used at Herzog & de Meuron's late-
the new outdoor swimming pool at Borden Park in 1990s Dominus Winery in California's Napa Valley, it is most common-
Edmonton, Alberta, is what isn't there-that insidious ly used for retaining walls and other civil engineering applications,
but telltale odor of chlorine. This is because the 64,000- rather than buildings. Here in Edmonton, the permeable gabion walls
square-foot recreational complex, which includes a sandy seem especially appropriate for a seasonal pavilion, one without a
beach, changing rooms, and plenty ofspace to soak up mechanical heating or cooling system, Hanson points out. Not only do
the sun, is Canada's first "natural" public swimming they facilitate natural ventilation, but the thermal mass provided by
facility. Instead of using chlorine or other chemicals for disinfection, it their 3-foot depth helps moderate temperatures within the building
relies on the cleansing capabilities ofsand, gravel, and carefully select- and just outside it, on the pool deck.
ed aquatic plants and organisms. To accentuate the walls'heft and materiality, the gh3 team has
And the architecture provides its own subtle clues that something deployed a number of visual sleights of hand. Within the stacked lime-
is different here. Natural materials are combined with a minimalist stone, the architects have concealed the true vertical support system of
expression and inventive details to give the Borden Park Natural hollow-section steel columns, allowing the enclosure to read as weight-
Swimming Pool a refined toughness not normally associated with a bearing. They extended the door and windows the full height ofthe
neighborhood swimming hole. stone-filled 12-foot-tall cages (nearly 3 feet above the interior's ceiling),
Designed by gh3 architecture, a Toronto firm whose practice encom- framed them in steel plate, and pushed the glass far into the openings.
passes both landscape and buildings at a range ofscales and types, the The assembly is topped with a caplike parapet, only 4 inches high,
$11 million project comprises two concrete pools that at first glance belying the roofs actual thickness. This set ofdecisions produces a
seem mostly conventional: a small, shallow one for toddlers, and a quiet, crisp-edged structure punctuated with deep shadows. "The
much larger, deeper one for older children and adults. Both are rectan- details highlight the elemental, rectangular form," says Hanson.
gular, with white bottoms and sides. But they are part of a planar The idea for a chemical-free pool in Edmonton came from residents
landscape. Regardless of the depth, the water's surface is flush with ofthe neighborhoods surrounding the 54-acre Borden Park, located 2.5
the deck all along the pools' concrete perimeter, which in turn is level miles northeast of downtown and known for its meandering paths and
with the expanses of sand and other areas finished in wood plank. mature shade trees. Aware of the natural-pool movement-which first
This plinth{ike zone is defrned by gabion walls of local limestone gained traction in Austria in the 1980s and later spread to Germany
that enclose a long, low-slung building along the site's eastern edge and elsewhere in Europe-they wanted to replace the park's rundown,
housing reception, staffareas, and a snack bar, along with the chang- 1950s-era pool with an unchlorinated one.
ing rooms. The porosity of the stone walls-mortarless and held gh3, which has completed several projects in Edmonton as part of
together by metal cages-is a reference to the filtration process that the city's design-excellence program, turned to Polyplan, natural-pool
purifies the water, says Pat Hanson, a gh3 partner. Although the con- specialists based in Germany, for help devising the treatment and
52 ARCHITECTURAL RECORD AUGUST 2O]9 BUILDING TYPE STUDY LANDSCAPE & LEISURE

Borden Park Natural Swimming Pool I Edmonton, Alberta I gh3 architecture

N/ ak ing a Splash
Quiet but powerful design enhances the environmentally healthy ambitions of Canada's first
chemical-free public swimming pool.
BY JOANN GONCHAR, FAIA

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 ARCHITECTURAL RECORD

q BUILDING TYPE STUDY IOO9 5I

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Edmonton,
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56 Linde and Learning

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Formed from concrete, with a proprietary etched-con-
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Among new outdoor-seating collections that Italian Torche Solar Path Light
manufacturer Pedrali is releasing in the U.S., Tribeca, a French solar-lighting company Les Jardins Lighting has launched a contract
stackable line ofchairs and barstools, features powder- division for its sustainable sun-powered luminaires. Among the offerings
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Patio
Three years of research led to the fast-drying, fluorocarbon-free design of Patio by Karina Nielsen Rios. The Trevira fabric
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 ARCHITECTURAL RECORD AUGUST 2019
products landscape 47

Outside lnfluences
These site furnishings, pavers, and luminaires add
convenience and visual interest to public spaces.
By Kelly Beamon

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Los Angeles-based Rios Clementi Hale Studios has created six new
-
modules to round out its existing Rio System ofoutdoor benches
designed in 2015 foTJANUS et Cie. Made of aluminum and treated
with the manufacturer's proprietary sealant, a new planteq table F
attachment, and connection module can all be linked to the origi- t^ ,tlf
,{ F'
nal convex and concave benches with stainless-steel hardware, and . --{
screwed in place with optional mounting hardware. Freestanding
cocktail and side tables and a trash receptacle are also available.
According to Sebastian Salvad6, one of the architecture firm's
creative directors, "Landscape architecture, interior design, archi-
tecture, and graphic-design thinking all influenced the final form,
construction, and placemaking character of the furniture."
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KINGSPAN
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GOES ALL.IN T gs a I
ON NORTH
AMERICA Light Air *

North Americon President Bill Hogon

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sheds light on the compony's ocquisition
of CPI Doylighting, Bristolite Doylighting i
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Systems, ond Skyco Skylights, ond whot
it meons for commerciol orchitects ond
controctors designing for doylighting
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ond smoke monogement.

Kingspan is a leading global building envelope You recently acquired CPI Daylighting, a daylighting
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in the commercial design and building space? Bristolite Daylighting Systems and Skyco Skylights.
Why those companies and what does that mean for
We're focused on innovative daylighting and smoke your customers and partners?
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and smoke vents. We're more than just a manufacturer They offered innovative products and high-quality
though - we're also advocates for the benefits that performance that allowed us to expand and enhance I
natural light and air have on the health and well-being our existing offerings.
A
of building occupants. Our role is to help educate and
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-.
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 F I 45

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HOVER OVER The apartment tower's expansive terrraces overlook the Lez River, which runs through the city (above). For a few duplexes, the architects provided a stair to connect
the balconies (opposite, top). The balconies, held to the shaft by tie rods, offer ample opportunity for socializing between the floors (opposite. bottom).

assortment of buildings previously designed by shop in Paris, and brought in Marie de France ofcurves, to bend around corners.
such architects as Ateliers Jean Nouvel, Zaha asproject architect. (In 2016, the Paris office The facade is clad in white metal. The
Hadid Architects, Studio Fuksas, and Ricardo won another competition-with Laisnd and balconies are formed of built-up welded
Bofill (Taller de Arquitectura). Roussel-for the arresting Vertical Village sections and bolted to vertical steel H-beams,
In this case, Laisn6 and Rachdi, who had proposal in Rosny-sous-Bois, part ofthe Grand which in turn are fixed to the concrete floor
both worked forJean Nouvel, wanted to enter Paris urban plan.) slabs. While the balconies appear to be canti-
the competition but in partnership with a Since the 25,000-square-foot site for LArbre levered, they are connected to the tower by
more experienced architect the RFP encour- Blanc along the Lez River offered panoramic tie rods. Basically steel trays, their loads have
aged younger generations ofarchitects to views of the city, the brief called for a rooftop been calculated according to their orienta-
collaborate with somewhat older ones. Even bar and restaurant for the public. In addition, tion and length, and the assemblages are
though Fujimoto, age 48, hadn't practiced in an art gallery occupies the base, with cowork- covered with fireproofing and wood decking.
France, his ethereal and idiosyncratic residen- ing office space on the floor above. Steel pergolas above the terraces act as
tial work, such as the N House (nrcono, April From several angles, the tower appears to brises-soleil.
2009), House NA (nrcono April 2012), and be cylindrical, although the plan is actually These extrusions seem to float; the exterior
House K (nrcono, April 2013) had brought him kidney-shaped, which allowed longer, gentler stairs that connect the terraces ofthe few
international stature. curvilinear expanses for the generously duplex apartments might pose exciting mo-
Fujimoto was game. The designers all con- proportioned apartments, many of which ments for those who are susceptible to vertigo.
vened for a five-day charrette in Tokyo to have two balconies. Even so, the reinforced- But on a beautiful evening at sunset, with
generate the Montpellier scheme. When they concrete column-and-slab structure and the plenty oflanguedoc wine, you can relax and
won the competition ir^2o74, Fujimoto set up enclosing walls rely on faceted planes, instead forget any fears ofgoing out on a limb. r
44 ARCHITECTURAL RECORD AUGUST 2019 CLOSE.UP

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 42 ARCHITECTURAL RECORD AUGUST 2019 CLOSE'UP

In Full Bloom
Sou Fujimoto branches out with a residential high-rise
in the South of France.
BY SUZANNNE STEPHENS
PHOTOGRAPHY BY IWAN BAAN

THE srcrrr of a bushy, white, curvilinear 17-story tower Tokyo architect Sou Fujimoto, working with three Paris-
in the city ofMontpelliet, France, could stop you in your based architects: Manal Rachdi ofOXO Architects;
tracks. And this is before you notice that the balconies of Nicolas Laisn6, and Laisn6's former partner Dimitri
this mostly residential building extend out like branches Roussel. The project is the second result ofa series of
of a thickly foliated tree, almost deSing gravity. Aptly competitions started by Montpellier in 2013, called the
called LArbre Blanc (White Tree), the recent addition to Folies Richter, to bring more experimental architecture
the city of 278,000, close to the Mediterranean, makes a to the city. (The first winner, a nine-story aPartment
dramatic gesture to the region's sunny climate. Here 113 block, La Folie Divine, was designed by London-based
luxury apartments, contained in the "trunk," oPen onto architect Farshid Moussavi, and opened irr2077.)
balconies that cantilever as much as 25 feet. Montpellier officials hope to commission a dozen such
The organic design was conceived by a team led by more "folies" in the future that will join a variegated

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40 ARCHITECTURAL RECORD AUGUST 2019 IN FOCUS

supported by a diagonal spine truss spans

nearly 148 feet.
Inspired by the Curragh plains, materials
for the new grandstand reflect the rural con-
text. The roof is clad in copper-colored
aluminum panels. On the soffit, those panels
are perforated to provide a visual connection
to the trusses while permitting ventilation
through fans within the roof. Rather than flat
panels, the designers opted for sinusoidal ones
that have greater rigidity and allow supports to
be hidden inside of the curye. A movement
joint across the roofis barely noticeable.
The edge detail was developed to coordi-
nate structural requirements with cladding
elements and the rainwater-collection system,
which utilizes runofffrom the grandstand
roofto provide all peak graywater require-
ments on a race day.
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AND THEY'RE OFF! The new grandstand is the heroic centerpiece of the reorganized racing grounds. lts dramatic to be an extremely elegant and streamlined F
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38 ARCHITECTURAL RECORD AUGUST 2019 IN FOCUS

rF you cAUGHT some of the Wimbledon tournament last month, you

may have noticed a new retractable roof over Court 1. That roof, along
with other improvements to the stadium just beside Centre Court, was
designed by Grimshaw, which has also developed a master plan for the
All England Lawn Tennis Club. The global firm, known mainly for
highly complex transportation facilities and innovative science and
educational buildings, is beginning to flex its muscle when it comes to
athletics. In County Kildare, Ireland, Grimshaw has just completed
another sporting venue-with another impressive roof.

I
Officially opened at the end of May, the reimaghed Curragh
Racecourse, which includes a dramatic grandstand, was designed to
"grow from the landscape," according to Kirsten Lees, managing part-
ner of Grimshaw's London office. (The firm has recently seen a change
in leadership, with Andrew Whalley succeeding founder Sir Nicholas
Grimshaw as chair earlier this summer.)
Set amid gently rolling natural grasslands with the Wicklow
Mountains in the distance, the historic Curragh has long been one of
Ireland's most important Thoroughbred racecourses. Working with
Dublin-based architects Newenham Mulligan & Associates, Grimshaw
reorganized the previously linear grounds by relocating the entrance to
bring visitors directly to the heart ofthe action. A new parade ring,
where the horses meet theirjockeys before a race, now has views to
Curragh's famous track. Dismal low spaces in the former grandstand,
which was well beyond its serviceable life-"the facilities didn t match
the track," says Lees-have been replaced with a welcoming double-
height atrium at the angled rear ofthe new grandstand. 'It's about the
spectacle," Lees asserts. 'Everyone's dressed up in their frnery."
But it is the grandstand's soaring roofthat is the star ofthe show.
Topping a precast-concrete superstructure that is exposed throughout
much ofthe public space ofthe building, and covering an area of
77,500 square feet, the underside ofthe shapely, surprisingly thick roof
surges to a razorlike edge, creating a gravity-defying illusion. 'You read
it not as a volume but as a planar surface," says Rossella Nicolin, associ-
ate director at AECOM Sports, which provided the structural and m/e/p
engineering.
A series of steel Pratt trusses composed of standard open sections
form the sweeping roof, which isl2Yzfeet at its deepest, where me-
chanical equipment is housed. Though relatively simple, the shape and
layout ofthe trusses were developed through parametric scripting
tools. This allowed many structural options to be rapidly assessed and
optimized. For instance, adopting shallow steel trusses would have
yielded a very heavy and uneconomical structure. Thanks to tapered
plate girders along the edge, the roofthins to just under 6 inches as it
cantilevers over the plein air seating beneath it. At the center, the span
is 88% feet, but at one corner, at the western end, a double cantilever

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LIFE AQUATIC Locals flock to the park to enioy its porch (right) and observe sea life at
"Mussel Beach" (opposite, top). Ken Smith planted vines on the steel-mesh structure
(above, and opposite), which wilt eventually serve as a green "billboard."

has planted to create a green "billboard" visible from the highway

that runs along the riverfront.
Linking the pier to the mainland is an existing footbridge that
both firms helped reconstruct. Working with marine biologist Ron
Alveras, they created "Mussel Beach," where strategically placed
boulders in the inlet provide a habitat for sea life. 'ii.
Throughout, Smith designed the pier's two east-west walkways
with a deliberate "meandering plan, where you have to look up from
your phone while walking," he says.
Pier 35 is not the final step in this revitalization scheme, first
'l|rtfilitiii;,
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advanced by the Bloomberg administration in the post-9/11 rebuild- ' z 1 1 | i'
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ing of lower Manhattan. But it is the last large piece. While work i i :.jr : i ;,
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it:';llliilt, ;, 'j:.
began on this portion in 2010, the project stalled under the current : *xt
De Blasio administration. Now the federally funded stretch of water-
j,;1t; .;;1.
front needs just a few finishing touches and should be completed .

next year. ,
"Most New Yorkers are cut offfrom the water, and this is one
of the places where you can really see it," says Smith. Amid the
bustle of a dense downtown, this narrow multiuse oasis allows
city-dwellers to hear, smell, and feel the water and the breezes-
and relax. r

1 ESPLANADE 4 PORCH

2 FOOTBRIDGE 5 STEEL.MESH ROOF

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36 ARCHITECTURAL RECORD AUGUST 2019 FIRST LOOK

Screen Time
A reimagined pier brings a breath
of fresh air to a Manhattan
neighborhood.
BY KARA MAVROS

1E oN MANTTATTAN's Lower East Side, a scenic park at Pier 35,

designed by SHoP Architects and Ken Smith Workshop, is
now open. As one ofthe final phases ofthe East River Espla-

JT nade, a two-mile waterfront-revitalization plan begun 14

years ago, this recent addition at a single pier may seem
relatively small. Nevertheless, the 28,000-square-foot plot
accommodates many activities. In the morning, locals
.- -^;!
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t practice tai chi; in the afternoon, sunbathers assume their

,! il € e
positions on the lawn. By evening, families enjoy the last
I
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'!
H-= IB NYPD patrol boats even get their takeout meals delivered to

3 il" 11
the pier. "The Chinatown and Lower East Side community
is underserved in terms of public space," says Ken Smith,
firm principal. "Pier 35 isn't for the tourist crowd that goes
to the High Line; this is full of New Yorkers."
Reflecting an urban reality, the site abuts an unsightly
NewYork City Department of Sanitation garage on the
north. In order to camouflage its neighbor, ShoP designed a
barrier structure of steel mesh between the shed and the
park's open space. This elongated volume, composed of a
series offolded triangular screens that create a canted wall,
-4 juts out over the river. At its eastern end, the architects
sS

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tors can sit under the lifted canopy-a concept, says Cathy I
E Jones, project director at ShoP, inspired by "your grand-
F
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mother's front porch" (except this porch is sandwiched z
* between sanitation storage and million-dollar vistas). Four
swings suspended from the shelter's roofare placed against
F

M- the backdrop of the structure's rust-colored weathering- E

l
steel wall, which SHoP added to further conceal the garage.
Deep wood steps, wrapping around the southeast corner, N
Li
provide additional seating. Eventually, the overall enclosure F
F.I of steel mesh will be dressed in a tangle of vines that Smith o
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ARCHITECTURAL RECORD AUGUST 2O]9
perspectivebooks 35

Blasts from the Past

Swlmming to Suburbia and Other Essays, by Craig the Arts campus in Valencia in a Other writings include as-
Hodqetts; edited by Todd Gannon. Oro Editions,220 7973,\rtForum article, the couple sessments of the Los Angeles
pages,524.95. still ended up with the school as residential architecture of John
RaiewedbyDemeMadsen the client for their Wild Beast Lautner, the Santa Monica house
Pavilion for music some 30 years that Frank Gehry designed for
rF You meet Craig Hodgetts, it's hard not to be later. himself and family in 1977, and
swept up by his general enthusiasm-not just As an architecture student on even ruminations on a car Le
about architecture, but about people, cars, the East Coast in the mid-1960s, Corbusier designed in 1936. Yet
cities, and surfing. That gusto permeates his Hodgetts studied with James an urban thrust underlies
writings, which span nearly half a century, Stirling at Yale University, and he Hodgetts's contributions. In the
condensed and collected into this volume. includes three essays about his essay from which the book
Divided into four categories-polemics, proj- British mentor. A profile pub- draws its title, the author crafts
ects, people, and performances-the book lished in 7976 inDesignQuofierly a love letter to Los Angeles, the
unveils the ideas and possibilities that have shows that Hodgetts had embed- city he has inhabited for the
influenced Hodgetts's architectural work. ded himself with Stirling at his better part offour decades (he
As the practice of Hodgetts and Hsinming home and office in London, observing the was born in Cincinnati). Hodgetts finds that
Fung, partner (and wife), has grown-from its idiosyncrasies of the character who loomed the city's streets and freeways have a logic,
founding as H+F in 1984 to its current merger large in his life. The other pieces provide a while knowing that the beach is its soul. All
with Mithun-so have the texts that begin measured retrospective look: one, a critique of considered, the collection, including fiction,
with his early-career efforts with Los Angeles the Ayala Science Library at the University of collages, and designs for film sets, proves that
architect Robert Mangurian. One essay is a California, Irvine, completed in 1994, two whatever the medium, his all-encompassing
testament to the negotiating skills of both years after Stirling's death, alternates between energy translates into impressive production. r
Hodgetts and Fung: though Hodgetts, as the Hodgetts praising the solidity ofthe design
outgoing associate dean, thoroughly lambasted and reluctantly recognizing that it was not one Deone Madsen is aWashington, D.C.-based writer
the architecture at the California Institute of of Stirling's best works. md photo gr apher sp e ci alizing in ar clit e ctur e.

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 perspectivebooks

A Dangerous Beauty
\ Architecture of Nature/Nature of Architecture, by Diana Aqrest, with Yael Agmon. Applied
Research and Design Publishing,2SO paqes, $49.95.

RnimtenbyBbttwdEigen

I a\
TIIE FoRTUNES ofPeter even scans ofelectron-
Cooper, patron and founder Architecture microscopic imagery. The
ofCooper Union for the Nature significance of Agrest's claim
Advancement of Science and is apparent in "Representation
Art, were based on the as Production," a far-ranging
production ofglue and dialogue between the author
household cements from and scholars Peter Galison and
byproducts of the slaughter- Caroline A. Jones. Like the
house -cows' and calves' feet. Burnett dialogue, it is one of
It was a messy but profitable the book's clariffing inter-
business, assuring Cooper a ludes between examples of the
legacy as a "pioneer polluter" studio's work. Another wel-
of New York's pond water. come voice is that ofJohn
Interestingly, A r chite ch-r e of Diana McPhee, whose reprinted essay
N atur e I N atur e of Ar chite ctur e, of 1980,'Basin and Range:
which showcases work being Geological Time," does not
done by architecture students in the institute show signs ofage.
built by Cooper's industrial ingenuity, is a Who, then, is the "us" of this book, and
vivid catalogue of material and physical where and when are we "now?" In the ac-
processes that are as alluring and troubling knowledgments (like a signpost at the end of
as the oily rainbow sheen on a contaminated this longjourney), Agrest elaborates on how
puddle. The speculative schemes-products of the visually dynamic bulk of student work
NEW!
a nearly decade-long series ofdesign studios from the Cooper Union design studios came
AuralScapes, taught by the book's lead author, architect
and educator Diana Agrest, at Cooper Union's
together. Collectively, and as a group portrait
ofthe generation that produced it, this com-
ceiling tiles School ofArchitecture to "deal with environ- pilation records changing weather patterns
mental issues"-present a dangerous kind of in a prevailing climate of warranted geo-
beauty. As historian and essayist D. Graham ecological pessimism.
Burnett says in a dialogue with Agrest, "Let By comparison, the material illustrated in
us hope that this book ofyours, so apparently New York's Museum of Modern Art 1971 exhi-
people-less, returns those who read it to the bition about Cooper Union , t};le Educotion of an
central problem of 'us.' Of us 'now.'" Architect: APoint ofView (and accompanying
Agrest describes in moving terms her early book), with its iterations of the vaunted Nine-
and far-ranging travels, from her native Square problem, seems to have come from
Argentina to the underground homes of another epoch. The past'elements" ofarchi-
Matmata on the edge of the Sahara. She looked tecture-grid, frame, post, beam, etc.-have
at the passing landscape in proto-architectural been replaced with invisible force fields,
terms-from the "plan" of the Argentine topographical vessels, cloud formations, and
Pampas, with its'unintemrpted horizontal" sinkholes. The overall impression is the un-
IT expanse, to the "section" ofthe geological raveling ofa singular point ofview. The
record written in stratigraphic lines ofthe question is no longer that of composition but
country's Serranias de Hornocal mountains in of "dealing with" a turbulent state of nature
the Argentine province ofJujuy. Traveling on in a perpetual process ofbecoming and/or
foot, train, and in a beat-up old station wagon, coming undone. One future possibility is that
the young student found the long-sought "us" (architects) will be cropped out ofthe
Us Patent 9,175,473
conduit between the sciences and humanities. picture and nature, by whatever definition,
As Agrest notes, the "central role ofrepresenta- will return to reassert itselfover our now
T rtrrcl cc Irrr]] Lbr; oornlrlnc to (]Oalta a slunr't Irg tion" in architecture is to create "a common long-estranged better selves. As an atlas ofus
rr rrI r xrr tlir rL tr)L r:: !l( tr tllll( ltal sr tr l.l ;c. F1 91l I y soL rnc ground between architecture and science in now, this handsomely produced and lavishly
.ll]sorbent and lght cmitt ng, for any rectangular the understanding ofnature." These repre- illustrated book covers some intriguingly
c oud contigrrraliar. 24" by 24" lightweight sentations might take the form of standard uncommon ground. r
?lum nLrm housing MPET baff ,-s and dimnrable architectural drawings and models adapted to
LED llght. Avai ablc in a variety ol co ors.
nonstandard objects-such as seismic faults- Edward Eigen is the author of On Accident:
rroduararts.com 2A6.7AA.421O
as well as nature prints, scientific atlases, and Episodes in Architecture and Landscape.

o
 33

ARCHITECTURAL
RECORD
Euess the lrchitect Gontest
ENTERNOW!l"Tl,T#'#ffi::ff r,'*Xf ,if,'l;T,T,:tr111,?ffi,1?x"'*.',.

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- PARTTY SAWTOOTH AND COPPER CLAD, THE CURVED PART COVERED IN
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g The Washington Dulles International Airport in Dulles, Virginia, was designed by Eero
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o same year, captured in both schemes the grandeur of flight through exploiting the sculptural
i and technical qualities of concrete.
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30 ARCHITECTURAL RECORD AUGUST 2019
perspective landscape

rN THE EARf,y 20th century the actress known as ,t T ,+

Madame Th6bault built a villa on an idyllic plot of
rolling landscape in Etretat, France, atop the rocky t,
cliffs of Normandy's Alabaster Coast. The grounds, ,
which she made into a garden for her orchids, be-
came a favorite painting spot for her friend Claude I ! tji
I
Monet, who produced many artworks depicting the
Porte dAval, a natural stone arch in the distance. In I
2016, Russian landscape designer Alexandre Grivko
transformed Th6bault's former estate into Les
Jardins d'Etretat-a public garden that hosts both It ). ,|
permanent and temporary displays of sculpture by
international artists. t!
With its meandering pathways, pristine array of
topiary and unusual artworks, Grivko's garden
recalls a scene from a storybook: the designer IF*
cites the grounds at Versailles and the imaginary
Iandscape of Alice's Adventures inWonderland as
inspirations for his fantastical display ofover
150,000 plants. Referencing Etretat's natural splen-
dor, the voluminous formations of flora evoke cliffs,
waves, and whirlpools. Just as the wind, rain, and
ocean have carved out a landscape ofstaggering
beauty, I thought of how human hands could mimic
nature to create something similarly exquisite,"
Grivko says. Using plants to occasion a kaleidoscopic
panorama ofhues and textures, he has designed a
sensory-rich experience for visitors-and a dynamic
backdrop for sculpture-that evolves throughout the
seasons. Says Grivko, 'The garden is a perpetual
artistic experiment." !

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perspectivelandscape 29

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 24 ARCHITECTURAL RECORD AUGUST 2019
perspectivehouse of the month
The screened porch and dining area on the west end of the house (left)
are lifted 12 feet above the ground-as are the kitchen and living areas
to the east-to capture an expansive view of the Long lsland Sound.
:i
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All the public rooms on this level, 12 feet above
grade, face the water: the living room and office open
out to a deck, while the dining area and screened
porch, contained in a separate structure on the west
end, sit on concrete piers. A wing at a 90-degree angle
rtR to this bar-shaped volume accommodates a bedroom
and south-facing master bedroom suite, while the
ground floor has a sauna and two more bedrooms for
the couple's family.
I The owners wanted a pool, but removed it to the
t I southern part ofthe site "so the children can throw
;l parties without disturbing the parents," says Ryall. He
j!

'lr. lEi! ilt also designed the low-maintenance landscaping, adding

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maples, bayberry hornbeam, wild cherry and a copper
L 'Ir beech to the grassy meadow.
t.
4 The all-electric, $700-per-square-foot house has a
/ I r''r,,y1 high-performance wall assembly and an energy-recovery
a
ventilator, says Rodrigo Zamora, the project architect.
Triple-pane windows and solar panels help make this

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elegantly crafted treehouse a net zero dwelling that
produces all the energy it consumes. l

Wendy Moonanisthe author of NewYork Interiors: New

-- York's Most Memorable Rooms.

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 ARCHITECTURAL RECORD AUGUST 2019
perspectivehouse of the month 23

A WEEKEND HOUSE DESIGNED BY RYALL SHERIDAN EXPLOITS THE WATER

VIEW AND ADVANCES SUSTAINABLE PRINCIPLES. BY WENDY MOONAN

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from Manhattan, Ryall Sheridan Architects in T-shaped house
(above) sits on a bluff
New York first helped locate its site on the North
Fork oflong Island. Bill Ryall, firm principal,
who has built up a substantive portfolio of qui-
Fi " '.''-' high above Long
lsland Sound. Ryall

Lt Sheridan captured
etly modern residences in the area, found a
S.S-acre plot in Orient, a quaint rural village of
700 people. The flat property ends on a high
Ef' , - ..;i
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for the living spaces
(left) and kitchen
(below) by elevating
bluffoverlooking the Long Island Sound. Here, at the main level.
its northern edge, Ryall placed the T-shaped,
5,660-square-foot wood structure and elevated its
living spaces, piano nobile fashion, to take ad-
vantage of the dramatic view.
You do not see the water as you approach; a
winding drive leads from the ncad to the carport
tucked underthe cedardad, wood frame building.
To enter t}re house, you ascend a stair leading up to
the main floor. Tlterc-kaboom- as you walk into an
open dining room, you $$p at the sight of the \,
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Owner: Nancy & Barry Sanders, Beverly Hills, CA o Photographer: Jose Enriquez-Ruvalcaba
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 20 ARCHITECTURAL RECORD AUGUST 2019
perspectivenews noted
Ihe Tide by DS+R Opens in London London Mayor Vetoes Tulip Tower
by Foster + Partners
BY TIM ABRAHAMS
OnJuly 15, Sadiq Khan blocked plans to build a
controversial 1,O0o-foot-tall structure designed
london has been in search of its High Line Although the first phase of the Tide contains
by Norman Foster's firm. The City of London
since the day that tlre first phase of New York's a 65Gfoot section of elevated walkway, it ulti-
Corporation approved the tower in April, despite
gamechanging stretch of public space opened mately shares little with the High Line as it
opposition from heritage groups. The project team
in 2009. Thomas Heatfrerwick's Garden Bridge works to define a new part ofthe city. lndeed, if
will "take time to consider potential next steps."
project was spu:red by tlte desire of local lead- yolr are going to compare it with any other
ers to have what NewYorkers had: an elevated DS+R work, it has more in common with a new
piece of inftastructure, botJl garden and public public space at the heart of Moscow Z,aryadye The Crystal Cathedral Reopens
space, with dramatic views of the city. That idea, Park-particularly in the way the elevated After S72 million Renovation
which was much derided and unfairly lambast- walkway resolves in an architectual prcmon- The Roman Catholic Diocese of Orange in
ed, died tr.2077. But now, another elevated tory providing stunning views of the river and California completed a restoration ofthe soaring
public walkway has come to fruition: the Tide, of the Emirates cable car line that traverses it. nine-story glass church, designed by Philip
designed by Diller, Scofidio + Renfro (DS+R) But trying to work out which of the frrm's previ- Johnson and completed in 1980, in mid-July. Now
on the eastern reaches oftfie Thames, opened ous greatest hits tlre Tide is riffing on is a called Christ Cathedral, the 88,00O-square-foot
July 5 -predictably drawing comparisons to the pointless task. More interesting is the way it buildingwas once home to the late Reverend
High Line from local media. invokes the history of elevated walkways in Robert H. Schuller's Hour of Powerteleision show.
I London, particularly those surrounding
t. DS+R's other current project in the city, UNESCO Adds Frank Lloyd Wright
the London Centre for Music.
Buildings to World Heritage List
London's famous Brutalist master-
OnJuly Z the World Heritage Committee
piece, the Barbican, into which the
inscribed eight 2Oth-century structures designed
london Centre for Music is beiag
by the American architect onto the UNESCO list:
threaded, is set on an elevated plinth
Unity Temple, the Herbert and Katherine Jacobs
with cars and pedestrians separated
House, the Frederick C. Robie House, Taliesin,
vertically rather than horizontally. The
Hollyhock House, Fallingwater, Taliesin West, and
partner in charge ofthe Tide for DS+R,
the Guggenheim Museum.
Ben Gilmartin, has clearly studied these
closely. This vertical separation'was
one of the driving motives for the UC Berkeley Names Vishaan
Tide," says Gilmartin. "ln tlte proposed ehakrabarti Architecture Dean
future phases, it will cross over numer- The founder ofNew York-based Practice for
ous roadways." Architecture and Urbanism will assume the
Built from steel rather tlnn concrete, deanship of the College of Environmental Design
the Tide's first phase indudes 28 "is- (CED) onJuly 1, 2020. Chakrabarti, who earned his
Twenty-eight structural columns support the first phase lands" supported by elegant, slightly M.Arch. from the CED in 1996, will continue to
of the Tide, which opened July 5. splayed structural columns, each different. lead his frrm during his tenure at Berkeley.
These are connected by prefabricated steel
The developer-tunded Tide is only partly bridges that host gardens, trees, and walkways
elevated: the section that snakes up from the above while creating canopies beneatfi.
50- o 55
river, between residential towers on one side and Integrated into the sinuous form ofthe path are ?
office buildings on tJle other (by SOM, completed
two years ago, and by Terry Farrell in the 2000s,
structures such as a caf6, wrapped in metal
mesh, by Neiheiser Arg5nos. The overall effect is
?sz l* J 60
530
respectively). This first phase stops just short of idios,yncratically British, reminiscent of that 50-
the Millennium Dome, the expo site from 2000, much maligned municipal architecnrre of the 52
now converted into a performance venue. 1960s - albeit with a softer effect, thanla to the
North Greenwich, a peninsula containing the parametric forms of the steel stnrchrre and the
40
once<ontaminated brownfield where the Tide textured greenery by the Scottish-Dutch land- JJASONDJ FMAMJ
is located, is a harsh and poorly designed place. scape architects Gross Max. 2018 20r9
The Tide is intended to be a catalyst for positive When the full project is completed in the INOUIRIES I BILLINGS
change to the public realm there, evolving from coming decade, the Tide will extend three miles
a 2013 master plan by the Iondon practice in loops around North Greenwich, with a river-
AHMM, for the developer l(night Dragon. The walk at grade along the Thames. Working in the Architeetural Billings Dip in June
current scheme includes commercial space, but volatile world of private development in london The Architectural Billings Index slipped from 50.2
also a strong residential component and an is not for tlle faint of heart, but DS+R has in May to 49.1 inJune, according to the latest AIA
emphasis on loops of public pathways. DS+R, defined and shaped a valuable piece ofpublic data. (Scores over 50 indicate an increase in firm
part of the High Line team, was invited to give space, which will exempli$ an unprepossessing billings.) New work inquiries fell from 56.2 to
ideas -which they now have turned into some area of Iondon for years to come - as important 52.8-the lowest score in 10 years-and new design
tling exceptional. a task for the city as any High Line. r contracts also dipped, from 50.9 to 50.3.
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I8 ARCHITECTURAL RECORD AUGUST 2019
perspectivene\Ms

Obiffiary: Philip Fteelon, FAIA, 1953-2019

BY CATHLEEN MCGUIGAN
PHILIP FREEI.ON, FAIA, thE MUCh.AdMiTEd
architect who achieved national prominence
in part as one of the leading African American
practitioners ofhis generation, died onJuly 9
at the age of66. He had been diagnosed with
ALS in 2016.
Freelon founded his practice, the Freelon
Group, in Durham, North Carolina, in 1990,
i
I
and went on to design civic and cultural proj-
ects throughout the United States-libraries, I il
schools, museums, parks, and academic build- tl U
I
il
ings, notably for a number of historically l
African American colleges. His best-known
I rll ll l
works include the National Museum ofAfrican
American History and Culture in Washington,
tl
I
t
D.C., where he worked with David Adjaye
(Freelon's firm was architect of record); the
National Center for Civil and Human Rights in
Atlanta; the Harvey B. Gantt Center in Char- -.t
lotte, North Carolina; the Museum of the *
African Diaspora in San Francisco; Emanci-
pation Park in Houston; and the Mississippi
Civil fughts Museum inJackson.
1n2014, the Freelon Group joined with
Perkins and Will. Freelon continued to lead
his team on such projects as the North
Carolina Freedom Park in Raleigh; the
* :l
It
Durham Transportation Center; and the
Motown Museum expansion in Detroit.
In paying tribute to his colleague, Adjaye
told nrconp, "I am deeply saddened by the
loss ofPhil Freelon. He leaves behind an
indelible mark on the practice of architec-
ture, and his legacy transcends the brick and
mortar of the buildings he designed. Phil was
a pioneer, an advocate ofdiversity and inclu-
t-
sion, and his impact will only strengthen
E F
F
c
t
over time as we continue to see people of I
F
color rising in the field of architecture. More c
c
than anything, however, Phil was a dear c
I
friend and mentor." I
e
Indeed, Freelon was a highly influential
leader in the profession, where barely 2 per-
Phil Freelon at the Center for Civil and Human Rights in Atlanta, one of his best-known works (above). Designed with HOK, o
cent of registered architects are African Amer- the Center is characterized by an angled exterior facade composed of a mosaic of earth-toned phenolic-resin panels (top).
c
F
ican, and he was immensely encouraging and c
F
generous to younger minority practitioners. A era painter-Freelon studied architecture at Gold Medal and the Thomas Jefferson Award
statuesque man with a gentle demeanor, he North Carolina State University and earned an for Public Architecture, as well as honorary
d
was a powerful proponent for equity and M.Arch. from MIT. He was the youngest archi- degrees from NC State, Duke University, and
pluralism and brought a deep humanism to tect to pass the registration exam in North the Massachusetts College of Art and Design.
the communities with which he worked, and Carolina, at age 25. In midcareer, he was a Throughout his career, he taught and lectured F
o
to his architecture. The two curving exterior Loeb Fellow at Harvard's Graduate School of at various institutions, and was a professor of d

walls of the National Center for Civil and Design; and, three years ago, he established, the practice at MIT. President Obama appoint- ;
G

Human Rights, for example, were inspired by with Perkins and Will, the Phil Freelon Fellow- ed him to the United States Commission of ;f
the arms linked together of those who partici- ship Fund to "expand academic opportunities Fine Arts. o

pated in the historic marches for civil rights. for African American and other underrepre- Freelon was married to t}re jazz singer and o
C
c
Born in Philadelphia-and the grandson of sented students" at the GSD. The many awards composer Nnenna Freelon, who survives him, F
c
their three children. r I
Allan Randall Freelon, a Harlem-Renaissance- he received include the AIA North Carolina as do o
 17

1
v Mark Dion: Follies at Storm King
"My concept of a folly is somewhere between the traditional one of
{4;
the aristocracy, and the vernacular," says artist Mark Dion. His 13
highly diverse structures at Storm King-from a glass menagerie
and a grotto embedded in the landscape to a reed-clad hunting
blind and a truck that serves as a mobile laboratory-are instruc-
tional and enchanting, especiallywithin the context ofthe Hudson
1 ..i "i* River Valley art center's 500 rolling acres and its monumental
sculptures. On view until November 11, this exhibition includes
pieces created and modified over the last 25 years, as well as a new
site-specific work entitled Storm Kjng Ewironmental Field Station,
t pictured below. Josephine Minutillo

ill

A Pavilion on Roosevelt lsland by Somewhere Studio

Solvage Swings, aproject by Fayetteville, Arkansas-based architecture
practice Somewhere Studio, is the winner of this year's City of Dreams
Pavilion competition, which aims to encourage sustainability among
architects and designers. (nncono senior editorJoann Gonchar, FAIA,
served on the design jury.) Using scrap timber salvaged from a con-
struction project at the University ofArkansas, the team built 12 boxy
modules on New York's Roosevelt Island; each frames a single swing.
The side-by-side structures, with roofs alternately sloping different
ways, arranged in a triangle, enable games such as hide-and-seek.
Elie Levine

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 16 ARCHITECTURAL RECORD AUGUST 2019
pe rs pective

v Colour Palace at Dulwich Picture Gallery

For a few months, ColourPalace is brightening the sky at the Dulwich
Picture Gallery in South London. This summer's pavilion, designed
by British-Nigerian artist Yinka Ilori with architect Pricegore, is the
second iteration ofthe competition organized by the gallery and the
London Festival of Architecture. The 32-foot-tall polychromatic
structure's facade of wooden slats features a geometric pattern
inspired by fabrics in the markets of Lagos, Nigeria. It sits atop four
red precast-concrete rings and is held together by a blue fir frame
and a series ofcables and brackets. The temporary structure will

-:, t host outdoor events through September 22.KaraMawos

,lt

A Junya lshigami at Kensington Gardens

Billowing over the green of London's Kensington Gardens like a jagged
stone sail, Junya Ishigami's 2019 Serpentine Gallery Pavilion has a thin
canopy, heaped with thick flakes of loose-laid slate, which rises from
three corners. As Ishigami suggests, the deliberately random composi-
tion of varying sized stones helps to create the impression of a natural
feature but also recalls examples ofvernacular architecture, lending *;E* \r
the structure a kind ofuniversal context, and reflecting the Japanese
architect's long-standing preoccupation with the interplay between
man-made and natural environments. Chris Foges

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 ARCHITECTURAL RECORD AUGUST 2019
news 15

DAILY UPDATES
:hitectu ra record.com/news
I

twitter.com/a rchrecord
tve
What is really missing in the field of architecture is ahorizon of wrderstanding comparable to the one the audience has
in the fields of theater, cinema, or art . . . One needs the construction of a systematic discourse of architecture.
-Historianandarchitect.lcan-l,ouisCoht,n, speakingtoDanHandelforHaaretz.

In the Summertime, When the Weather Is Hot

In the U.S. and the UK, this year's roster of seasonal pavilions, representing a medley of
unusual geometries, bold colors, and textured materials, keep visitors cool in the shade.

)SelgasCano's 2O15 Serpentine

Pavilion in Los Angeles
SelgasCano's prismatic 2015 Serpen-
tine Pavilion is the first ofthe 19
structures built for the Serpentine
Gallery's annual program to travel to t,
the United States. Originally installed
in London's Kensington Gardens, the
cocoon-like structure, wrapped in a
multicolored translucent ETFE mem-
brane, has been reassembled on the
-d ,!
grounds ofthe La Brea Tar Pits-the
only active urban Ice Age excavation
site in the world-where it will remain
for the next five months. The new il(r
location will host a diverse program of
talks, film screenings, and other
events organized by Second Home, a
London-based coworking operator,
and the Natural History Museums of u l.
Los Angeles County. Second Home's ll, .!
first U.S. location, in L.A., also de- .t.l
signed by SelgasCano, is scheduled to
open in September. Alex0imoski
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= MoMA PSl
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) H6romaRama, this year's winner of the Museum
of Modern Art's 2019 Young Architects Program,
d by Mexico City-based Pedro &Juana, is a 40-foot-
o high, 9O-foot-diameter cyclorama that brings
F
seating, shade, and even a waterfall to MoMA
z
PS1's courtyard in Queens, NY. The design creates
@
z a playground ofscaffolding, partially shaded by
some 2,000 wood "bristles" protruding from its
=
o cylindrical armature. The seasonal structure is
;- i, t,.' ,r ' the home of PS1's annual Warm Up summer con-
o
a
cert series and will be open until September.
c KaraMayros
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'7 Visit our online section,architecturalrecord.com/news.

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12 ARCHITECTURAL RECORD AUGUST 2019
ed itor's letter

Crossing the Line

I
Many migrant-detention centers were not designed
for their current use-and architects should stand up ti
and say stop.

Beginning in late June, a series ofnews reports detailed once again

the horrendous conditions in certain migrant-detention centers along
the southern border. Immigration lawyers, doctors, Congressional
tl
representatives, journalists, and the Department of Homeland
Security's own Office of Inspector General described what they saw or
heard inside some of these facilities: deplorable overcrowding; lack of
I
good nutrition and sometimes even clean drinking water; poor access
to basic sanitation and medical care. While the government seeks
t
to enforce new rules for asylum seekers, the state ofthese centers
remains a testament to an intense humanitarian crisis.
What does this have to do with architecture? Architects are charged
with ensuring the health, welfare, and safety of those who inhabit the
structures they design. If local building codes were applied to the worst
of these centers, they would be closed down today. But local officials 'f;
seem to have no jurisdiction over federal facilities. Take the now- I
notorious Border Patrol center outside El Paso, in Clint, Texas, designed
largely to house vehicles and equipment, albeit with space to briefly
hold 104 adult detainees. But when a team oflawyers and doctors vis- remain complicit" in the face of the inhumane conditions at detention
ited inJune, they found instead 350 children, most of whom were centers. She believes the AIA should denounce "injustices and misuse of
likely separated from the adult who brought them over the border. The building types not meant for human habitation" and should "call for
team also learned ofan adjacent windowless warehouse that allegedly building inspections to have these facilities shut down." As Sheng
held hundreds more, according to an article irl^The New Yorker. Though points out, "The AIA Code of Ethics clearly states that we shall uphold
the law mandates that children be moved out of detention within 72 human rights." So far, she has received a positive reaction from many
hours, some children told lawyers they had been there for three weeks. Fellows endorsing a public statement.
They were "filthy," said one lawyer; they had not had access to showers, TWo years ago, the American Medical Association (AMA) voted to
and some slept on concrete floors. Overwhelmed guards charged older adopt policies to protect the health of immigrants and refugees. The
kids with looking after babies and toddlers, including changing their AMA opposed all family immigration detention, the separation of
diapers. children from parents, and any plans to expand detention centers,
But none of these facts can begin to convey the emotional misery "given the negative health consequences that detention has on both
and fear these children suffer. children and their parents."
A joint investigation, by the El Paso Times and The New YorkTimes, of This June, the American Bar Association (ABA) declared that the
the Clint facility in earlyJuly said, 'Architects designed the Clint sta- organization was "appalled by credible reports ofhundreds ofchildren
tion as a type offorward base . . . from which agents could go on forays being held in unsafe and unhealthy conditions in violation offederal
along the border . . . [andl migrants would be detained for only a few and state law, court settlements, and common decency."
hours ofprocessing before being transferred to other locations." The It is time for the AIA to join doctors and lawyers in taking a stand.
architects are uncredited, but shouldn't all architects protest when a According to Robert A. Ivy, the organization's EVP/CEO, the board is
structure designed as a giant garage becomes a squalid prison for hun- "actively discussing its position on this issue." Ivy told nrcoxn just
dreds ofchildren? before the magazine went to press that the AIA is distressed'at the
Last year, the Architecture Lobby and ArchitectsiDesigners/Planners living conditions in overcrowded detention facilities, and stands by its o
l
for Social Responsibility (ADPSR) called for professionals to refuse work ethical standards." We look forward to the AIA taking action. z
E
on immigrant-detention centers. Several AIA chapters, including
Boston and Austin, similarly called for rejecting work that violates
I
basic human rights. 9
Now Rosa Sheng, FAIA, well-known for her activism on behalf of
women and diversity in the field, has reached out to the College of CC^fuLr,t h(,bli h-.- =
o
;
I
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Fellows and the Board of the AIA to ask architects "not to look away or Cathleen McGuigan, Editor in Chief
e
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1O ARCHITECTURAL RECORD AUGUST 2019

for the RECORD

Beyond the printed page: highlights from our website, live events, and other happenings.

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..:l -ilr> BIG SKY COUNTRY

Francis K6r6 inspected Xylem (page 64), his new pavilion at Tippet Rise Art Center
in Fishtail, Montana, before the official opening in mid-July.
DEEP DIVE REPORTING
Senior editor Joann Gonchar visited the Borden Natural Swimming Pool (page 74)
by gh3 in Edmonton. Alberta, and swam a few laps to get the full experience.
UP, UP, AND
AWAY WITH TWA
Take a virtual tour of
the new TWA Hotel at
John F. Kennedy Airport
UNDER THE in New York by watching
CYCLORAMA our new video,
Assistant editor Kara Mavros,
senior news and Web editor
o
Miriam Sitz, and editorial E
assistant Elie Levine (left to o
right) attended the opening of a
Pedro & Juana's 2019 Young )
Architects Program pavilion E
H6rama Rama at MoMA PSl in F
New York.
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At Neocon in Chicago, * Managing editor Beth Broome (far left) moderated a panel at the Denver Art ;
I
products editor Kelly Beamon Museum in late June about alternative models of multifamily housing. OZ o
(left) caught up with designer Architecture's Jami Mohlenkamp, Mike M. Moore of tres birds workshop, and E
Ed Barbel cofounder of Humphries Poli Architects'Joseph Poli and Eric Doner shared their thoughts.
o
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London-based studio Barber & o
Osgerby. I
I

g Follow us on Twitter @ArchRecord fr Join our group and follow our company page on Linkedln

lil Iike us on Facebool.com/Archit€cturalRecord fi Follow us on lnstagram @ArchRecordMag

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NEWS BOOKS TECHNOLOGY

34 DIANA AGREST'S ARCH'IECTURE OF NAruRE/
15 FIVE NEW SUMMER PAVILIONS
NATUREOF ARCHITECTURE
8I COASTAL RESILIENCE ARCHITECTS PROPOSE WAYS
18 PHILIP FREELON, REVEREDARCHITECT, DIES
,, - TOPROTECTAGAINSTCATASTROPHICFLOODING
Review ed by Edw ar d Eigen '. S ByJames S. Russell, FAIA
AT 55 By Cathleen Mccuigan
35 CRAIG HODGETT'S StvlMM,NG TO SUBURBIA
20 DILLER SCOFIDIO + RENFRO BRING NEW PARK, Redewedby Deane Madsen
THE TIDE, TO LONDON ByTim Abrahams LIGHTING
BUILDING TYPE STUDY 1,OO9 89 INTRODUCTION
DEPARTMENTS LANDSCAPE & LEISURE 90 NICOLLET MALL, MINNEAPOLIS JAMES CoRNER
FIELD OPERATIONS, TILLOTSON DESIGN ASSOCIATES
12 EDITOR'S LETTER: CROSSING THE LINE
51 INTRODUCTION By David Sokol
24 HOUSE OFTHE MONTH:A RYALLSHERIDAN-
52 BORDEN PARK NATURAL SWIMMING POOL, 92 OUTDOoR PRoDUCTSBylinda C. Lentz
DESIGNED WEEKEND RETREATBy Wendy Moonan
EDMONTON, ALBERTA GH3 ARCHITECTS
29 LANDSCAPE: LES JARDINS D'ETRETAT,
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By loann Gonchar, FAIA Fox AND oNELUx sruoro By D avid Sokol
A PUBLIC GARDEN IN NORMANDY FRANCE
By AlexKlimoski
56 LINDE CENTER FOR MUSIC AND LEARNING,
96 ARCHITECTURAL PRODUCTS By Linda C. Lentz
LENOX, MASSACHUSETTS wILLIAM RAwN
33 GUESSTHEARCHITECT AssocrATEs By B eth Broome 99 MANDARIN ORIENTALJUMEIRALOBBY, DUBAI
36 DEsrcNwrLKEs, Dea ure xrrrcBy SheilaKjm
FIRST LOOK: A MANHATTAN WATERFRONT PARK 52 TANK SHANGHAI, CHINA OPEN ARCHITECTURE
BY SHOP ARCHITECTS AND KEN SMITH By AlexandraA. Seno loo DECoRATIVE PRODUCTSBy Kelly Beamon
WoRKSHOPBy Kara Mavros ,I19
68 AGA KHAN GARDEN, EDMONTON, ALBERTA DATES&EVENTS
38 lN FOCUS:GRIMSHAW'S RAcEcoURSE lN IRELAND NELSON BYRD WOLTZ LANDSCAPE ARCHITECTS 124 SNAPSHOT: JEAN NOUVEL'S TOWER lN KUALA
By losephine Minutillo By KatharineLogan LUMPURBy Karo Mavros
42 CLOSE.UP: SOU FUJIMOTO,S HIGH-RISE IN 74 XYLEM AT IPPET RISE ART CENTER, FISHTAIL,
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MoNTPELLIER, FRANcE By Suzanne Stephens MONTANA Kf RE ARCHITECTURE
47 PRODUCTS: LANDSCAPEBy Kelly Beamon ByMiriamSitz

THIS PAGE: TANK SHANGHAI, CHINA, BY OPEN ARCHITECTURE.

PHOTO BY WU OINGSHAN.
COVER: LES JARDINS D'ETRETAT IN NORMANDY, FRANCE, BY
ALEXANDRE GRIVKO. PHOTO BY MATTEO CARRASALE.
See expanded coverage of Projects and Building Type Studies as well as
Web-onlV f eatures at architecturalrecord.com.
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