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 Design Architect: Renzo Piano Building Workshop
Architect of Record: Davis Brody Bond LLP
Structural Engineer: WSP/Parsons Brinckerhoff
Photograph: Frank Oudeman

EDITOR IN CHIEF Cathleen McGuigan, mcguiganc@bnpmedia.com

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SPECIAL INTERNATIONAL Naomi R. Pollock, faia

CORRESPONDENT
INTERNATIONAL CORRESPONDENTS David Cohn, Tracy Metz, Aric Chen, Chris Foges

Shaking CONTRIBUTING PHOTOGRAPHERS Iwan Baan, Roland Halbe

Bad
In New York, passing subways can shake entire buildings,
but that wasn’t an option for Columbia University’s new
Jerome L. Greene Science Center. Home to sensitive
laboratory and imaging equipment requiring exceptional
stability, the design by Renzo Piano Building Workshop relies
on a steel structure to reduce floor vibrations to a miniscule
2,000 mips. Even as the elevated No. 1 train roars past,
this helps ensure that nothing distracts from the scientific
advances being made within the center’s unshakable walls.
Read more about it in Metals in Construction online.
ARCHITECTURAL RECORD (ISSN: Print 0003-858X Digital 2470-1513) February 2019, Vol. 207 No. 2. Record is
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FINANCE
the Nassau Veterans Memorial Coliseum is a beloved fixture Lisa L. Paulus
of Long Island life. When the owner of the 1972 arena decided CREATIVE
Michael T. Powell LIST RENTALS
to reward fans with a renovation worthy of its storied past, it
EVENTS SENIOR ACCOUNT MANAGER
reimagined the venue with an overcladding that would bring Scott Wolters Kevin Collopy
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Real projects start with
the industry standard
Before the project started, the Ohio History Connection
ensured the restoration of the notable John Johnston
Farm House was protected with AIA contracts.
AIA Contract Documents used: A105-Owner/Contractor-Short Form.

Learn more about the John Johnston Farm House project at aiacontracts.org/ar-jjfarm

Photography ©Marika Snider, AIA

LEARN & EARN
Earn your continuing education credits free online at ce.architecturalrecord.com or with Architectural Record’s Continuing Education app!*

IN THIS ISSUE

Photo courtesy of Formica Group

Photos courtesy of Geolam

Photo courtesy of Saint-Gobain SageGlass

Photo courtesy of Contacta

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for Wellness and Composite Wood Products
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Doors, NanaWall Systems, and Hearing Loss with Design Sponsored by Geolam
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Water Barriers Extruded
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This course is part of the Zoos, Museums, and Arts academy.
02 2019
NEWS BUILDING TYPE STUDY 1,003 KITCHEN AND BATH
19 ZHA’S LEGAL TANGLES By Tim Abrahams
RENOVATION, RESTORATION,
105 INTRODUCTION
ADAPTIVE REUSE
20 NEW CODES WILL STREAMLINE MASS TIMBER 106 ARGENTONA APARTMENT, BARCELONA YLAB
PERMITTING By Deane Madsen 55 INTRODUCTION ARQUITECTOS By Alex Klimoski
21 MORE CHANGES AHEAD FOR BOSTON CITY HALL 57 M9 MUSEUM DISTRICT, ITALY SAUERBRUCH HUTTON 110 HEARD RESIDENCE, OHIO MACPHERSON
By James McCown By Andrew Ayers ARCHITECTS / 2MA By Leslie Clagett
22 SF QUAKE-RISK STUDY By Deane Madsen
64 FORD FOUNDATION CENTER FOR SOCIAL JUSTICE, 114 SANTA BARBARA RANCH, CALIFORNIA ANACAPA
24 NEWSMAKER: RAYMOND JUNGLES NEW YORK GENSLER By Suzanne Stephens By Sheila Kim
By Suzanne Stephens
70 SMITH CAMPUS CENTER, HARVARD UNIVERSITY, 117 PRODUCTS: KITCHEN AND BATH By Kelly Beamon
MASSACHUSETTS HOPKINS ARCHITECTS
DEPARTMENTS By Robert Campbell, FAIA
78 NATIONALMUSEUM, STOCKHOLM WINGÅRDHS WITH
16 EDITOR’S LETTER: THE PAST IMPERFECT
WIKERSTÅL ARCHITECTS By Ana Martins
27 HOUSE OF THE MONTH: SAG HARBOR HOUSE 133 DATES & EVENTS
84 EMPIRE STORES, NEW YORK STUDIO V AND S9
By Suzanne Stephens
ARCHITECTURE By Linda C. Lentz 140 SNAPSHOT: IDEA EXCHANGE POST OFFICE
31 IN FOCUS: RHINOCEROS BY JEAN NOUVEL By Alex Klimoski
By James Reginato 90 VISUAL CULTURE, ARTS, AND MEDIA (VCAM)
BUILDING, PENNSYLVANIA MSR DESIGN
35 CLOSE-UP: FROST AUDITORIUM By Sarah Amelar
By Josephine Minutillo
41 GUESS THE ARCHITECT
THIS PAGE: EMPIRE STORES, NEW YORK, BY STUDIO V AND S9
A
RCHITECTURE. PHOTO BY RAIMUND KOCH.
BOOKS TECHNOLOGY
45 ARCHIGRAM: THE BOOK, BY ARCHIGRAM; COVER: NATIONALMUSEUM, STOCKHOLM, BY WINGÅRDHS WITH
EDITED BY DENNIS CROMPTON 96 SHAKING THINGS UP ENGINEERS PUSH WIKERSTÅL ARCHITECTS. PHOTO BY BRUNO EHRS.
Reviewed by Deane Madsen BUILDINGS TO HIGHER LEVELS OF EARTHQUAKE
PERFORMANCE By Joann Gonchar, FAIA See expanded coverage of Projects and Building Type Studies as well as
49 PRODUCTS: TILE AND STONE By Kelly Beamon Web-only features at architecturalrecord.com.
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14 ARCHITECTURAL RECORD FEBRUARY 2019

for the RECORD

The historical photographs below depict some of this month’s Building Type Study
projects before their renovation, restoration, or adaptive reuse. See more online!

Studio V and S9 Architecture converted a group of former warehouses built in

1869 and 1885 into a posh mixed-use complex near the Brooklyn Bridge.

P H O T O G R A P H Y (C L O C K W I S E F R O M T O P, L E F T ) : © B R O O K LY N H I S T O R I C A L S O C I E T Y; E Z R A S T O L L E R / E S T O ( 2) ;
C O U R T E S Y M S R D E S I G N ; S E R T A R C H I V E S , H A R VA R D G R A D UAT E S C H O O L O F D E S I G N , L O E B L I B R A RY ( 2)
Gensler reimagined the
interiors of the 1967 Ford
Foundation building, designed
by Kevin Roche John Dinkeloo
and Associates.

Hopkins Architects
renovated Harvard
University’s Holyoke
Center, designed by José
Luis Sert and completed in
1966, as the Smith
Campus Center.

MSR Design repurposed a gymnasium dating back to

1900 for Haverford College’s new Visual Culture, Arts,
and Media facility.

Follow us on Twitter @ArchRecord Join our group and follow our company page on LinkedIn

Like us on Facebook.com/ArchitecturalRecord Follow us on Instagram @ArchRecordMag

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16 ARCHITECTURAL RECORD FEBRUARY 2019
editor’s letter

The Past Imperfect

How should we confront the tough questions around
preservation, adaptive reuse, and the future of place?
Last Month, the Ford Foundation, the Midcentury Modern master-
piece in New York by Kevin Roche John Dinkeloo and Associates,
officially reopened to the public after a $205 million makeover. When
the renovation was first announced three years ago, preservationists
fumed, worried that the interiors of the 1967 landmarked building
would be ruined. There were extravagant custom furnishings by
Warren Platner, among others, made of mahogany, brass, linen, and
leather, in a range of hues from A (amber) to B (brown). But as deputy
editor Suzanne Stephens reports in this issue, everyone can calm down
now—the original design has been respected as the building was pulled
gently into the 21st century.
The renovation—which removes most private offices and opens up
the building’s 12 floors—brings about an egalitarianism and transpar-
ency that reflect the more focused mission evident in the philan-
thropy’s newly enhanced name: the Ford Foundation Center for Social
Justice. Yet, despite these changes, the sensitive renovation by Gensler—
with Dan Kiley’s atrium garden reconceived by landscape architect
Raymond Jungles—has left the serene and distinguished ambience
intact (page 64 and “Newsmaker,” page 24).
Change: we love to resist it. The initial response to renovating or An even more famous symbol of Postmodern architecture became a
adapting a building that’s deemed significant because of its age—or its controversial lightning rod for preservationists last year, the 1984 AT&T
architect’s pedigree—usually begins with an uproar. That preservation- building by Philip Johnson and John Burgee in Manhattan. After the
ists and design lovers are alert to the potential damage to revered firm Snøhetta proposed inserting a large expanse of glass—quite beau-
architecture is a good thing. But when is an adaptation or addition tiful in the renderings—to enliven and bring light into its fortress-like
justifiable to ensure that a structure remains a thriving part of our masonry facade, protestors stormed the street in front of the building,
built environment? and ultimately won New York City Landmarks protection, killing that
We’ve witnessed several recent battles over this question. The Frick element of the Snøhetta proposal. It was arguably a surprising outcome
Collection in New York, in a mansion built by Carrère & Hastings just for a building that many critics have loved to hate.
before World War I, dumped one design for an overscaled addition by Preservation movements tend to err on the side of caution. In the case
Davis Brody Bond after public protests, and turned to architect Anna- of the Ford Foundation, the client (and we, the public) got an excellent
belle Selldorf, known for her sympathetic restorations and expansions. result with the renovation. Yet, too often, champions of good architec-
But Selldorf couldn’t escape the wrath of preservationists in another ture find it hard to talk about when and how to change buildings, and
project, for an addition to the Museum of Contemporary Art San Diego. find themselves backed into intransigent positions. How to adapt archi-
Though her design preserves the quirky interior atrium by Venturi tecture to current—and future—needs remains one of the toughest
Scott Brown—whose 1996 expansion was an add-on to an add-on to the questions practitioners face.

original 1916 Irving Gill building—Selldorf plans to relocate the main
entrance and thereby remove the fat Postmodern VSB columns that
marked it. The protestors who signed a petition against that move failed
to prevail, but the controversy begged an uncomfortable question: are
all buildings by great architects equally great? Few critics who paid
tribute to Venturi when he died last September cited the San Diego
museum as one of his firm’s finest. Is it, in fact, on a par with Venturi
Scott Brown’s Sainsbury Wing of the National Gallery in London, which
the AIA is honoring with this year’s Twenty-five Year award?
P H O T O G R A P H Y: © M I C H E L A R N AU D
But there are lots of positive examples of additions and adaptations. In
this issue, we look at half a dozen of them—three that retain reverence
for the original exteriors while bringing unexpected freshness to the
design of the interiors, and three that bring vibrancy to the urban realm
with the bold reinvention of old architecture.
Cathleen McGuigan, Editor in Chief
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 perspective
ARCHITECTURAL RECORD FEBRUARY 2019
D A I LY U P D AT E S
architecturalrecord.com/news
twitter.com/archrecord
The jostling architecture along the High Line expresses an aesthetic of self-absorbed preening. The area has become
a social club for celebrity architects, who compete by pretending that their fellow members simply don’t exist.
Legal Tangles Threaten Future of Zaha Hadid Architects
BY TIM ABRAHAMS
The fuTure of the firm Zaha Hadid Architects
(ZHA) will be determined by a claim, or lawsuit,
making its way through the High Court of
Justice in London. The suit centers on who will
control Zaha Hadid Holdings (ZHH)—the sole
shareholder of the firm—and, thus, the future
of the practice. Patrik Schumacher, the only
partner of the firm, was Zaha Hadid’s chief
architectural collaborator. After Hadid’s death
in March 2016, Schumacher was named one of
four directors of ZHH. Now he has brought the
claim against the other three directors of the
holding company: the architect’s niece, Rana
Hadid, and two of Zaha’s friends—Brian Clarke,
a stained glass maker, and Lord Peter Palumbo,
a developer and architecture connoisseur who
formerly chaired the Pritzker Architecture
Prize jury.
In the lawsuit, Schumacher asks that Rana
Hadid, Clarke, and Palumbo be stripped of their
directorship of the holding company. They
have, he says, attempted to force him out of the
firm to take over running it. Documents
Schumacher has filed in court also claim that
his three adversaries are acting against the
wishes of the late architect as laid out in her
will and an attached Letter of Wishes, written
in April 2015, particularly when it comes to the
running of the practice. Zaha Hadid wrote in
the letter that “Patrik Schumacher should as
far as practicable be in control of the business
. . . and should benefit from at least 50 percent
of [its] income and capital, and the balance be
for the benefit of other employees.”
Since the architect’s death, the relationship
between the group of three on one side and
Schumacher on the other has deteriorated. In
a talk at the World Architecture Festival (WAF)
in November 2016, Schumacher courted con-
troversy by suggesting that a “freely
P H O T O G R A P H Y: © I WA N B A A N
self-regulating and self-motivating market
process” would solve the housing crisis in the
UK. Those comments prompted Rana Hadid,
Clarke, and Palumbo to slam Schumacher
down in a joint statement. “Knowing Dame
Zaha as well as we did, we can state categori-
cally that she would have been totally opposed
to these views and would have disassociated
Visit our online section, architecturalrecord.com/news.
—Architecture critic Justin Davidson, writing in New York Magazine
The will of late architect Zaha Hadid, who died
unexpectedly in March 2016, named her former partner
Patrik Schumacher one of four executors.
herself from them,” they stated. Schumacher
refutes in his claim that she would have dis-
tanced herself from his remarks.
Although that quarrel was the most public
evidence of a dispute between Schumacher and
his fellow directors, the conflict was affecting
how the practice was run. In February 2017,
Palumbo and his confreres amended the ar-
ticles of association of ZHH to give the holding
company greater influence over the firm. In the
lawsuit, Schumacher’s list of grievances against
the trio range from the petty—forbidding him
from speaking at her memorial service—to the
extreme: transferring some $6.5 million out of
the firm to a foundation set up in Zaha’s name,
and unsuccessfully trying to appoint six new
board members to the practice, against the
wishes of its current management.
To complicate matters, the four directors of
the holding company, appointed after Zaha
Hadid’s death, are also the executors of the
architect’s will. Schumacher is asking that
Rana Hadid, Clarke, and Palumbo be removed
as executors too, given, he claims, that they
news 19
have used that position to gain control of the
practice. Indeed the defendants have in public
emphasized their role with regard to the will.
“The attempt to remove these three executors
is totally unjustified and misconceived,” they
said in a statement responding to the claim,
without mentioning that the claim primarily
targeted their role as directors of the holding
company in charge of the practice.
Despite reports in the press, which mischar-
acterized the lawsuit’s primary aim as the
removal of the other three executors, Schu-
macher’s claim proposes that independent
executors be appointed instead of his three
antagonists. (He has previously offered to stand
down as an executor if they did the same.) But
with regard to the firm, it seems there is no
place for compromise. Rana Hadid, Clarke, and
Palumbo have tried to push Schumacher out,
says the suit, and now, he is trying to remove
them as directors of ZHH, the holding company.
When a ruling is handed down, either Schu-
macher or the trio will be in control of Hadid’s
architectural legacy for the long term.
A spokesperson for Schumacher says that the
current directors of the practice and the staff
are all behind him. Although architects in the
office released a statement distancing them-
selves from Schumacher when he spoke at the
WAF in November 2016, they have also signed a
letter to Rana Hadid, Clarke, and Palumbo
alongside him expressing serious concern about
their attempt to appoint six new directors.
“Without [Schumacher], they’d have no busi-
ness, and with him the practice is thriving.
They are expecting to have record financial
turnover next year. So there are immense
frustrations within Zaha Hadid Architects,”
Schumacher’s spokesperson says.
If Schumacher is successful, he will take
control of the firm and will be able to appoint
other directors. If the claim is not successful, it
strengthens the hand of Rana Hadid, Clarke,
and Palumbo, who will undoubtedly tighten
their grip on the holding company and make
Schumacher’s position untenable. An amicable
settlement is unlikely.
The defendants declined to comment. n
20 ARCHITECTURAL RECORD FEBRUARY 2019
New Code Changes Will Streamline Mass Timber Permitting
BY DEANE MADSEN
The process for mass-timber-construction
permitting is about to become streamlined,
thanks to changes to the International
Building Code (IBC) set to take effect in 2020.
In December, the International Code Council
passed 14 code changes relating to mass tim-
ber construction that, pending validation of
the vote, would be included in the 2021 IBC.
(The code is revised every three years.) Among
the changes is the creation of three types of
construction that set new allowable heights
and firesafety ratings for wood buildings.
The current code sees buildings in mass
timber, including cross-laminated timber, as
outliers from existing categories, and requires
performance-based design for permitting
processes. The proposed changes would both
define mass timber construction and create
three new categories for it, dealing with mass
timber that is protected with noncombustible
materials, partially exposed, and unprotected,
with maximum heights of 18, 12, and nine
stories, respectively. Allowable areas for mass
timber structures would also be increased
perspective news
Mass timber elements serve as structure and interior
finish in LEVER’s four-story Albina Yards project.
over current allowances for heavy timber
construction.
Thomas Robinson, founder of Portland,
Oregon–based LEVER Architecture, explains
the potential of these code changes from his
office in a mass-timber building his firm
designed, Albina Yards: “With this new code,
you could say, ‘If I follow these guidelines, I’m
pretty confident that I’ll be able to get a per-
mit.’ That has a huge impact on how owners
will think about investing in these types of
buildings,” he says, “and on strengthening the
national supply chain, because people will be
comfortable investing in technology and in
building new [mass-timber] plants.”
Robinson and his team at LEVER are well
versed in timber construction, as co-winners
of the U.S. Tall Wood Building Prize for their
12-story project, Framework. (The other win-
ner was 475 West 18th by SHoP Architects;
both are currently on hold for financial rea-
sons.) The LEVER team conducted around 40
tests for firesafety, acoustic performance, and
P H O T O G R A P H Y: © J E R E M Y B I T T E R M A N
structural performance to gain permitting for
Framework, which was the first wood high-rise
to win such approval in the United States.
Robinson says his firm’s work highlights the
opportunity that code changes present to
architects, who will no longer face the same
rigors of testing his team encountered.
Tentative approval of the code-change pro-
posals in the spring is likely. Final approvals
will occur in October, with the 2021 version of
the IBC to be published at the end of 2020. n
 ARCHITECTURAL RECORD FEBRUARY 2019
More Changes Ahead for Boston City Hall
BY JAMES MCCOWN
Change is Coming slowly but steadily to the
landmark Boston loves to hate—Kallmann
McKinnell & Knowles’s 1968 Boston City Hall.
Considered a Modernist béton brut master-
piece by many but reviled by others, the
building has long faced threats to its existence:
In 2006, the late Mayor Thomas M. Menino
proposed selling and possibly tearing down
the building—an idea revived as recently as
2013 in the Boston Globe’s opinion column.
Now, having escaped the wrecking ball, City
Hall’s 50th anniversary has prompted Mayor
Martin J. Walsh (who once argued for demoli-
tion too, as a mayoral hopeful, in 2013) to
commit to an overhaul of the interiors and the
large and windy seven-acre, brick-paved plaza.
So far, the city has committed $60 million
to the project, and a comprehensive feasibility
study published in 2017 estimates that the tab
over the next quarter-century will total some
$91 million. “Over these 50 years, the urban
context, public safety and security measures,
and municipal operations have evolved to the
point that the city needs the building and
plaza to adapt for 21st-century civic life,” stat-
ed the report, called Rethink City Hall.
Boston-based Utile Design took the lead on
conducting the study, which identified two
interior spaces that urgently needed work: the
building’s main lobby, renovated by Utile in July
2017, and the City Council Chamber, refurbished
last October. Utile’s redesign of the lobby vastly
improves lighting in the space, which was previ-
ously dark and forebidding, and also introduces
such visitor-friendly amenities as curvilinear
wood benches and a coffee bar. Finegold
Alexander Architects, another local firm, was
tapped to refresh the City Council Chamber.
P H O T O G R A P H Y: © R A J DA S ( T O P ) ; A L E X I U S H O R AT I U S ( B O T T O M )
“It was depressing to see how the building
had degenerated over the years,” says firm
senior principal Jim Alexander. The room had
perspective news
Finegold Alexander Architects led the renovation of the City Council Chamber (above), which concluded in October.
Sasaki won the commission to redesign City Hall Plaza (bottom), starting this year.
poor lighting and acoustics; the seating area
for City Council members was awkwardly sunk
2 feet into the floor; and, most significantly,
the space lacked proper ADA accessibility.
Alexander likens the chamber to an ancient
Greek agora—a civic meeting place rife with
symbolism. “With the sunken seating, there
was a lack of intimacy between the lawmakers
and the people,” he says. “It needed to be both
an intimate and participatory space. It also
needed to regain its original power.”
The council seating is now flush with the rest
of the floor. The City Council president’s po-
dium and the citizens’ are more accessible and
adjustable, to accommodate seated and standing
speakers. The room’s coffered ceiling features
LED lighting along the perimeter of each panel,
and the architects introduced new materials,
including wood and bronze on the tables and in
the railings, “as a counterpoint to all of the
cast-in-place concrete,” Alexander says. Blue
drapery in the room both adds color and per-
21
forms acoustically.
By chance, as he was working on the cham-
ber, Alexander ran into Michael McKinnell—
one of the building’s original architects. “I was
feeling a little intimidated when explaining
our role,” Alexander says. “Then he said,
‘What a relief you’re doing that!’ ”
The exterior plaza will be a bit more chal-
lenging to adapt to modern needs. According to
the Rethink City Hall report, the renewed exte-
rior space should “return to its rightful place at
the forefront of urban activity” and “serve as a
site of vibrant public engagement with govern-
ment.” Historically, the plaza has hosted both
contentious and triumphant gatherings, from
protests in the 1970s over public school–deseg-
regation busing, to present-day celebrations of
the Red Sox World Series wins.
The city issued a request for qualifications in
early 2018 for the plaza renovation, selecting
Sasaki Associates of Watertown, Massachusetts,
in May 2018. Sasaki’s plans have not been re-
leased, and the firm declined to comment for
this article, but the city has indicated construc-
tion is expected to begin this year.
Phase I of the master plan calls for comple-
tion of the plaza’s southern end by 2020, with
its northern portion to follow by 2022. Other
high-priority repairs to the building—such as
replacing aging mechanical, electrical, and
plumbing fixtures—are set to be completed
within this time frame too.
For all its controversial history, City Hall
holds a certain deep, if paradoxical, place in the
hearts of Bostonians. “We have a love/hate
relationship with the building,” says Alexander.
“But it’s great to see that it has finally turned
the corner.” n
22 ARCHITECTURAL RECORD FEBRUARY 2019
perspective news

Study Outlines Quake Risk in San Francisco

BY DEANE MADSEN
The afTershocks of San Francisco’s 1906
earthquake continue to reverberate more than
a century later, shaping the city’s policies—es-
pecially as more skyscrapers rise, bringing to
the fore new habitability and recovery con-
cerns for the next seismic event. And another
“big one” is coming; seismologists predict a 76
percent chance of a 7.0-magnitude earthquake
in the Bay Area within the next three decades.
In preparation for this, the city’s Office of
Resilience and Capital Planning (ORCP) pub-
lished the comprehensive San Francisco Tall
Buildings Study in mid-January, which reveals
some of the city’s weaknesses while formulat-
ience analyst for the ORCP. (The maximum
considered earthquake typically refers to one
that has roughly a 2 percent chance of being
exceeded in 50 years.) “We need to think about
buildings that are reusable, not disposable, for a
whole host of environmental reasons, as well as
for the long-term viability of the city.” The
report’s recommendations include new design
and construction requirements, such as tighter
drift limits. (See “Shaking Things Up,” page 96.)
In light of the much-publicized sinking of
the Millennium Tower, which has led to greater A report released January 10 examines earthquakes’ potential
scrutiny of the San Francisco codes for impact on a large group of buildings higher than 240 feet.
minimum geotechnical requirements for new

ing plans to address them before the next
quake hits.
Among its many focus areas are building
performance and geotechnical requirements.
After an earthquake, many buildings could be
deemed uninhabitable because of current
regulations. “We design buildings today with a
10 percent chance of collapse in a maximum
considered earthquake as the building code
standard,” says Danielle Mieler, principal resil-
buildings, the report recommends further
study and codification of best geotechnical
practices, based on deeper understanding
of foundations and the city’s unique soil
conditions.
The study also provides thorough documen-
tation of the city’s tall-building stock. One type
of construction it calls out is welded-steel mo-
ment frames. Many of these structures have not
been reinspected since the 1994 Northridge
P I C T U R E A L L I A N C E / D PA / N E W S C O M
P H O T O G R A P H Y: © PAT R I C K P L E U L /
earthquake in Southern California revealed
vulnerabilities in some connections.
The San Francisco Tall Buildings Study provides a
template that could be useful for cities world-
wide—even those not located in regions of high
seismic activity. As the climate continues to
change, and natural disasters occur more fre-
quently and with greater ferocity, this type of
investigation could help other places prepare for
the next big one, in whatever form it takes. n

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24 ARCHITECTURAL RECORD FEBRUARY 2018
[ NEWSMAKER ]
Raymond Jungles
BY SUZANNE STEPHENS
If you are In Miami and see the lush gardens
on the rooftop of Frank Gehry’s New World
Symphony, or the grounds around the Grove at
Grand Bay by Bjarke Ingels Group, you are
looking at the work of Raymond Jungles. The
landscape architect’s practice, based in
Miami’s Coconut Grove, is known for its vi-
brant native plants, often arranged in
curvilinear patterns evocative of the work of
the late Brazilian landscape architect Roberto
Burle Marx. Jungles has also taken on a very
unexpected assignment: overhauling the
garden that Dan Kiley originally conceived in
1967 for the atrium of the Ford Foundation
Center for Social Justice
in New York (page 64).
The garden is part of a
renovation that Gensler
undertook for the land-
mark designed by Kevin
Roche John Dinkeloo
and Associates. Jungles’s
knowledge of subtropi-
cal plants helped him
meet the challenge of
choosing botanical
specimens that would
thrive indoors in a tem-
perate climate. record
talked to Jungles about
the trajectory of his
career.
About your last name—
Jungles. It’s perfect, but
what was it originally?
It’s my real surname. I
was born in Omaha, and my father’s family
came from Germany, where it was spelled
Jungels or Junglas.
In the name-as-destiny department, how did
you end up as a landscape architect in Miami,
with its, well, junglelike vegetation?
I got interested in plants in high school in
Columbus, Ohio, and began working part-time
in a nursery. When I got out, I headed for
Florida to do more of the same thing. Soon I
entered a community college, and then trans-
ferred to the University of Florida at Gaines-
ville, where I studied landscape design in the
architecture school. I was very interested in
environmental concerns: Ian McHarg’s Design
with Nature was extremely influential‚ and still
is today in my work.
While you were in college, you began develop-
ing your particularly exuberant approach to
gardens. How did that happen?
perspectivenews
I was influenced a lot by Roberto Burle Marx—
from the time I heard him lecture at the Uni-
versity of Florida. After graduation in 1981, I
got to know him when he had some work in
Miami. He said, “Come to Rio de Janeiro,”
which I did, a number of times, and just fol-
lowed him around. When Burle Marx came to
Miami, he would give me crits on my gardens.
His designs could be graphic and bold, but
softened by his plants.
In the last 15 or so years, you have received
very notable commissions, working with
high-profile architects. What brought about
this direction?
I began with gardens for private houses, which
I still take on. As I got better known, develop-
ers started noticing. About 10 years ago, they
began hiring architects from out of town, such
as Herzog & de Meuron for the sky garden at
1111 Lincoln Drive, and
turned to me for the
landscaping. It was a good
time to be in Miami.
How did the Ford Founda-
tion project in New York
come about?
I was interviewed because
of a referral from a Foun-
dation board member.
Normally I stay away from
designing interior gar-
dens. They need to be well
maintained, since plants
don’t live well in condi-
tioned environments. But
I couldn’t turn down this
one! The Ford Foundation
proved to be a great re-
search opportunity. I
may take on more interior
gardens, depending on
certain factors. We are busy, with a staff of 23,
including 17 professionals.
What are you working on now?
I recently finished the landscape for Brice and
Helen Marden’s small Golden Rock Inn in
Nevis [in the Caribbean]. And our firm is de-
signing a tropical garden as part of the Burle
Marx show opening at the New York Botanical
Garden [in the Bronx] in June. On a larger
scale, we are doing the gardens for KPF’s con-
dominium project, Water Street Tampa, and
we just finished Faena House Condominiums
in Miami by Foster + Partners.
Did you ever think of becoming an architect?
I was encouraged to think about it in college. I
really love architecture. But this way I get to
work with all these great architects and learn
from them as part of our collaboration. If I
were an architect, I wouldn’t get to meet and
talk with all of them. n
noted
West Coast Firms Mithun
and Hodgetts + Fung Merge
The Seattle and San Francisco–based firm Mithun
and the Los Angeles–based practice Hodgetts +
Fung (which recently redesigned the Robert Frost
Auditorium at Culver City High School in Los
Angeles, page 35) have merged. The existing
Hodgetts + Fung office in Culver City is now
called Mithun|Hodgetts + Fung.
The Shed in New York Announces
Opening Date
The 200,000-square-foot cultural center designed
by Diller Scofidio + Renfro in collaboration with
the Rockwell Group will launch its opening
season on April 5. Located next to the High Line,
in Manhattan, the eight-level building notably
includes a movable outer shell.
VSBA’s Sainsbury Wing Wins AIA’s
Twenty-five Year Award
The AIA has honored Venturi, Scott Brown and
Associates’ 120,000-square-foot Sainsbury Wing at
the National Gallery in London with the
organization’s Twenty-five Year Award, which
recognizes projects that have stood the test of
time for 25 to 35 years and continue to set
standards of excellence in architectural design.
MIT Taps DS+R to Redesign
Warehouse for Architecture School
Working with local partner Leers Weinzapfel
Associates, Diller Scofidio + Renfro will overhaul
the Metropolitan Storage Warehouse in Cam-
bridge, Massachusetts, to create a new home for
MIT’s School of Architecture and Planning, as
well as a campus-wide “makerspace.”
60
62
59 56
58 56
50
53
51 51 51 50
P H O T O G R A P H Y: © T O L G A K AV U T P H O T O G R A P H Y
40
D J F M A M J J A S O N D
2017 2018
INQUIRIES BILLINGS
Billings Increase for 15th Month
According to new data from the AIA, architectural
billings increased for the 15th-straight month,
though the Architectural Billings Index changed
from 54.7 in November to 50.4 in December.
(Scores over 50 indicate an increase in billings.)
The project inquiries index fell by 7.5, to 55.6, and
the design contracts index dipped by 2.5, to 52.1.

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 ARCHITECTURAL RECORD FEBRUARY 2019
“Unprepossessing” is an apt way to
describe the 1920s colonial revival house
that Ted Porter found in 1999 in Sag Har­
bor, Long Island, and finished renovating
for himself and his partner, Steve Godeke,
last year. The New York–based architect
with his own practice wanted a weekend
home in this picturesque former whaling
village, and the location, within walking
distance of Main Street, was ideal.
But its small rooms and low ceilings (7
feet, 11 inches high) were constraining, and
local codes and guidelines restricted how
much could be made of the two­story,
1,900­square­foot cottage. First, it is a
“contributing structure” to a National
Historic District, which meant the town’s
P H O T O G R A P H Y: © J E F F R E Y B R A N D S T E D
Board of Historic Preservation and
Architectural Review declined to allow
significant changes to the street facade.
Second, zoning prevented a house on such
a small site—.22 of an acre—from expand­
ing beyond its footprint or height.
Not surprisingly, the review board had
no problem with Porter’s replacing the
aluminum clapboard and asphalt roofing
—both transmogrifications made some
years ago—with cedar shingles of the origi­
nal design. But other than this upgrade
perspectivehouse of the month 27
A RENOVATION OF A 1920S COTTAGE IN A HISTORIC DISTRICT OF A COASTAL
TOWN HOLDS SURPRISES WITHIN. BY SUZANNE STEPHENS
While architect Ted Porter adhered to historic
guidelines for the street facade of the 1920s house in
Sag Harbor, Long Island (above, right), he was able to
open up the volumes at the back (above). The large
rear window brings light inside (right).
and the inclusion of boxwood, Japanese 8
maple, and cloud­pruned yew in the front
yard, there is little clue from the street of
1 ENTRANCE
an architect’s extensive intervention.
2 LIVING
But upon entering, you find an open,
ROOM
airy interior. Everywhere, white oak clads 7
3 DINING
floors, walls, and even ceilings—punctu­ 9
ROOM
ated by splashes of color in furnishings,
objets d’art, and other accoutrements. 4 KITCHEN
“While I was designing the house, I visited 5 SCREENED
SECOND-FLOOR PLAN
Alvar Aalto’s architecture in Finland,” says PORCH
Porter in reference to combining a mod­ 6 MASTER
ernist vocabulary with natural materials. BEDROOM
5
The effect is warm (literally, helped in the
7 LIBRARY
winter by the insulation added to the wood
8 SUN-ROOM
frame, and a newly redesigned fireplace in
the living room). 4
9 GUEST
6
2 BEDROOM
To create light­filled volumes, Porter
opened up the rooms to the rear: he lifted
the ceiling of the living area to a 10½­foot 3
height, and installed a literal “picture 1
window”— 9½ by 8 feet and triple­glazed—
to frame the view of the lush back garden. 0 10 FT.
Jutting out to the back, too, is a remodeled FIRST-FLOOR PLAN
3 M.
28 ARCHITECTURAL RECORD FEBRUARY 2019
perspectivehouse of the month
White oak tongue-and-groove panels clad all interior
surfaces (no gypsum board!), as shown by the switchback
stair (left). On the second floor, Porter pushed the ceiling
of a guest bedroom into the attic for height and reused
preexisting doors for the closets (above).
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screened porch, 10½ feet tall, which overlooks
European beech trees that conceal a small lap
pool beyond.
The desire for higher ceilings required
Porter to raise most of the second floor 3 feet
and push the ceilings of these rooms into the
former attic, where they reflect the slopes of
the gable. Now a guest bedroom, library, and a
new sun-room (above the screened porch)
complement the one-story master bedroom
suite at one end of the first floor.
In connecting the two levels, Porter re-
moved the straight stair perpendicular to the
entrance and inserted a switchback one to the
right of the door. To keep the incline of the
first flight low enough so it would not obstruct
the two windows facing the street, Porter
designed deep treads with shallow risers: as
the stair turns back to ascend to the upper
hall, it reassumes normal dimensions.
Through these basic, if complicated and
painstakingly crafted moves—inserting a new
stair, raising ceiling heights, adding ample
expanses of glass, and cladding surfaces in
wood—Porter has demonstrated a timeworn
precept: innovation is born of necessity.
Constraints, to repeat the key word, often are a
good thing. n
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 ARCHITECTURAL RECORD FEBRUARY 2018
Rome Redux
Jean Nouvel blends the historical and the
contemporary for Alda Fendi’s experimental arts
organization.
BY JAMES REGINATO
Jean nouvel’s first project in Rome—the new
headquarters of the multidisciplinary arts
organization Fondazione Alda Fendi - Esperi-
menti—is in Velabro, the quarter where the
mythic baby twins Romulus and Remus, who
founded the city, were supposedly discovered
in a basket on a bank of the Tiber. The build-
ing is adjacent to the Arch of Janus, not far
from the Imperial Fora.
Nouvel created the six-story, 38,000-square-
foot complex, called Rhinoceros—whose name
alludes to the resin statue by Urs Fischer that
P H O T O G R A P H Y: © R O L A N D H A L B E
sits outside the building, symbolizing the
power of Rome’s imperial history—out of three
contiguous apartment buildings. Erected be-
tween the 17th and 19th centuries, the
structures were in a parlous state when the
foundation, started by Alda Fendi, acquired
them. Nouvel was selected for his “very strong
approach,” says Fendi, which is “hard, some-
times. But at the same time, he is very respect-
ful of history and has very poetic spirit.”
IN FOCUS 31
The new foundation headquarters occupies three
historic apartment buildings near the Arch of Janus
(above). The architects inserted steel framing for lintels,
pillars, doors (top, right), and stairs in the atrium (above,
3 2
right). A section (right) shows lodgings and galleries.
3 2
2 4
3 2
2
Fendi created her foundation, which aims to 3 2
break down barriers between art, theater, 5
literature, music, and performance, after the 3 2
fashion powerhouse established by her parents 1
was sold to luxury-goods group LVMH in 2001.
The organization has mounted many provoca-
0 25 FT.
tive, avant-garde happenings in its previous SECTION
7 M.
home, at the Palazzo Roccagiovine, above the
Forum of Trajan, and at other locations in
1 ENTRANCE
Rome. In this new setting, which Nouvel de-
2 RESIDENCE
scribes as an “artists’ village,” Fendi also
initiated a partnership to exhibit work loaned 3 INTERIOR COURTYARD
by the Hermitage Museum. 4 CONNECTIVE STAIR
In addition to galleries and shops, which 5 GALLERY
will open at a later date, the building houses a
24-suite hotel, called the Rooms of Rome, and
32 ARCHITECTURAL RECORD FEBRUARY 2019 IN FOCUS

Insidetheindividualresidences,thearchitectsprintedphotographicimages
onmovablewindowscreens,showingglimpsesoftheapartmentsbeforethe
renovation.Sectionsoforiginalfloortileswereleftuntouchedbutsurrounded
bynewmaterials(above).Stainless-steelkitchenandbathroomfit-outswere
insertedtoprovideastrikingcontrasttomottledwalls(left).

a rooftop branch of Paris’s Caviar Kaspia restaurant, with

terraces offering dazzling views of ancient Rome. “It’s a
neighborhood under one roof,” says Fendi. “A place for living
with art.”
Since the facades are listed as landmarks, Nouvel preserved
many elements while giving the building a “new lease of life
that is electrifying,” he says. Inside, the architect added steel
framing for lintels, pillars, and stairs. For the hotel rooms, he
had more leeway to express himself; each apartment, he says,
“is a separate project.” While he retained many original frag-
ments of tile and mottled stone, the architect inserted
A stainless-steel blocks containing kitchens and bathrooms to
function as sleek objects in space. Contrasts don’t stop: the
4 interiors of the movable window screens are covered with
1 G
 ALLERY
1 2 CONNECTIVESTAIR
photo prints showing what the apartments looked like before
3
4 the renovation began, and new furnishings encompass a
3 INTERIORCOURTYARD
P H O T O G R A P H Y: © G I O N ATA X E R R A
2 1
1 variety of custom items as well as highlights of Italian design,
4 RESIDENCE
1 such as Castiglioni lights.
A 1
Visiting or staying in the Rhinoceros, you feel steeped in
3
antiquity while belonging to the moment—an invigorating
4 and inspiring experience. Says Nouvel, “It’s a play of encoun-
4
ters, a collision of epochs from the most ancient to the most
modern.” n

0 30 FT.
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 ARCHITECTURAL RECORD FEBRUARY 2019
Back to the Future
An innovative midcentury structure gets
long-overdue recognition—and an upgrade.
BY SARAH AMELAR
culver city, California, had an unexplained
anomaly for 54 years. On a banal high school
campus sits a 1964 building that looks, from
above, like an enormous origami crane with a
broad fanned tail, perched amid the sur-
rounding suburban sprawl. This is the Robert
Frost Auditorium, named for the California-
G E T T Y R E S E A R C H I N S T I T U T E , L O S A N G E L E S [ 2 0 0 4 . R . 1 0 ] ( 2)
P H O T O G R A P H Y: © J U L I U S S H U L M A N /J . PAU L G E T T Y T R U S T.
born poet. From the ground, it resembles a
giant scalloped seashell, with a dramatic
flying buttress at one end, recalling Eero
Saarinen’s sculpturally expressive buildings.
Like them, the Frost is a work of engineering
bravura, with its overarching roof of pleated
thin-shell concrete, only 4 inches thick, and
clear span of 240 feet. Hard to imagine what
such a daring work was doing on a public-
school campus in a middle-class,
movie-industry town on Los Angeles’s
Westside—or how the school district could
even have afforded it. Compounding that
mystery, no one could explain how the archi-
tects credited with its design had produced a
scheme so unlike their other, far more con-
ventional, work. Who really designed it?
CLOSE-UP 35
The Robert Frost Auditor-
ium in Culver City (above)
employed thin-shell
concrete techniques for its
pleated roof, shown in
construction (right).
Finally, last fall,
weeks before architects
Hodgetts + Fung (H+F)
unveiled the Frost’s
$16.3 million renova-
tion, its backstory
emerged. Andrew Nasser
was identified as the
original designer. This
dapper, 83-year-old, Ethiopian-born English- Caltech. He later provided the structural ex-
man-turned-American—still an engineer in pertise for many of John Lautner’s famously
nearby Pasadena—had tackled the auditorium acrobatic buildings, but never received any
commission as a 26-year-old employee of credit for the Frost. Instead, says Nasser, F&M
Johnson & Nielsen, consulting structural partner Ralph Flewelling claimed, in a 1962
engineers to the project’s architect of record, newspaper article, that the scheme had come
Flewelling & Moody (F&M). Nasser had trained to him in a dream and he’d sketched it up on a
as an architect, interning with Eero Saarinen bedside pad; when the young engineer con-
before earning his engineering degree at fronted him, Flewelling tried to banish him
36 ARCHITECTURAL RECORD FEBRUARY 2019 CLOSE-UP 36

messing it up.” With Nasser’s oversight, it was

built accurately (though he was not involved
with interior fittings, mechanicals, acoustic
treatments, or internal partitions).
Flewelling is no longer alive, but his firm
still exists. Its president/CEO, Scott Gaudineer,
whose arrival at F&M postdated the Frost, says,
“I could imagine Flewelling posing that kind
of challenge, but I’m guessing the final results
were more of a collaboration.” (Nasser, who
never sought the credit he’s now received,
firmly believes otherwise.)
Decades later, the ill-maintained Frost
became a white elephant, plagued by inad-
equate air-handling and abysmal acoustics.
Its soaring, fan-shaped auditorium was run-
down, while its HVAC mechanicals and
backstage functions crowded its adjoining
brick-clad drum.
But by the time Nasser was ushered back

I M AG E S : © J U L I U S S H U L M A N /J . PAU L G E T T Y T R U S T, G E T T Y R E S E A R C H I N S T I T U T E , L O S A N G E L E S [ 2 0 0 4 . R . 1 0 ] ( T O P ) ; L A N E B A R D E N ( B O T T O M )
onto the scene, the renovation was virtually
done. He was excited to see the Frost celebrat-
ed, but, he says, “I wished I’d been on the
project, working with Hodgetts + Fung from
the beginning. I would have loved collaborat-
The 1,250-seat auditorium, completed in 1964, clearly revealed the engineer Andrew Nasser's concept and massing ing on a building I know so intimately. These
(above). Last year, architects Hodgetts + Fung renovated the building, inserting a 40-foot-high steel proscenium arch
(bottom, left) supporting catwalks and lighting rigs (bottom, right), along with air-handling and acoustical elements. days, most of my work is about finding subtle,
often unexpected, ways to thread modern
from the project. (The junior engineer stayed vidual architectural attribution is not always enhancements into distinctive structures
on because—as his boss, Carl Johnson, pointed clear. But Nasser had never worked at F&M. As and navigate the codes, as I’ve done for some
out—only he could carry out the scheme.) he tells it, Flewelling—who’d used cast-in-place Lautners.”
Nasser had conceptualized the 28,640- concrete in more conventional ways—was Beyond air-handling and acoustics, H+F had
square-foot building, even devising ways to aware of the self-assured engineer’s fascina- transformed the auditorium into a profession-
make its construction affordable (for around tion with thin-shell structures and his affinity al-caliber theater. Now a 40-foot-high steel
$750,000). At the 1962 World Conference on for modern design, and challenged him to proscenium arch spans the stage, supporting
Shell Structures, he presented the unbuilt craft an inspired yet economical solution for a catwalks and lighting rigs. The original seats
scheme, detailing its evolution and methods for 1,250-seat auditorium on the remnant triangu- were refurbished, the ticketing lobby upgrad-
casting the vast roof’s segments on-site without lar site. “He handed me the vacant plot plan ed, and the brick drum’s interior reconfigured
formwork. The building later survived earth- and said, ‘Let’s see what you can do with this with a double-height black-box theater.
quakes, unscathed. It also became a location for one, young man!’ ” Nasser recalls. “So I got Remedying the HVAC maladies, however,
such futuristic movies as Sleeper and Gattica. right to work. Once I had the concept and posed challenges with significant trade-offs.
Last fall, Culver City honored Nasser for the massing, I made sure to dimension every- The supply vents flanked the stage, with long,
design. Of course, with team projects, indi- thing, because I didn’t want to risk them narrow ducts that barely delivered air to the
 A

1 1
1 1

4
3

A
0 20 FT.
FLOOR PLAN
5 M.

3 3

SECTION A-A

1 ENTRANCE 4 SCENIC SHOP

2 SEATING 5 ACOUSTIC ABSORPTION
3 BLACK-BOX SPACE 6 THEATRICAL GRID

audience. The new solution had to be forceful yet quiet. “On top of
that,” says Hodgetts, “we had to tiptoe around the structure and never,
ever, even slightly, breach or modify it,” a tall order for a design where
form and structure are essentially one. “By today’s standards, you
couldn’t build it as it is now,” Hodgetts explains. “If you touch the
structure, suddenly it has to comply with current codes—and the whole
thing might have to be demolished.”
After analyzing several options, H+F devised a quiet and efficient
system, with air-handlers projecting overhead along the auditorium’s
curving back wall. Surrounding the ducts, stretched fabric over metal
frames provides acoustic attenuation. Though technically effective,
the HVAC and acoustic treatments compromise the hall’s formal
purity, eclipsing the ends of the long ribs that radiate from the stage,
arcing over the audience. In rendering this monumentally anomalous
structure high-performing, the architects (and the school) made
function a top priority. Yet H+F also chose to renovate so that every-
thing could potentially be returned, without a trace, to its historic
condition.
With the school and community already embracing the reborn
Frost, says Heather Moses, its general manager, “the change has been
phenomenal. Before, no one wanted to be here. Now, everyone does.”
“I’m delighted the building’s finally recognized for what it is and
functioning better than ever,” says Nasser, adding, “At its first inaugu-
ration, I had to sneak in at the back. But this time, I got a standing
ovation.” ■
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perspectivebooks
These Buildings Are Made for Walking
Archigram: The Book, by Warren Chalk, Peter Cook, Dennis Crompton, Ron Herron, David Greene, and
Michael Webb; edited by Dennis Crompton, with essays by Reyner Banham, Martin Pawley, Michael Sorkin,
and others. Circa Press, 300 pages, $135.
Reviewed by Deane Madsen
ImagIne that the animated yellow subma­
rine of the 1968 Beatles film sprouts a dozen or
so telescoping legs, grows to the size of a city,
and walks over to join three or four more just
like it. This mobile architecture—the product
of frenzied drawing more than psychotropic
drugs—is just one of the provocations from the
prolific 1960s British collective Archigram
included in this book.
Archigram arose from the idea of an urgent
architectural telegram:
what started as a six­
pence pamphlet
published in a northwest
London basement in 1961
grew to become an archi­
tectural movement.
Archigram directed 10
printed salvos at the
profession through 1974.
They were written and
drawn by a group of
moonlighting, fun­loving, pen­wielding Brits
led by Warren Chalk, Peter Cook, Dennis
Crompton, David Greene, Ron Herron, and
Michael Webb. These pamphlets, reproduced
close to original size, serve as the connective
tissue binding assorted essays and projects that
fill the 300 pages of this lively compendium.
While Archigram’s drawn output was sub­
stantial, its actual built work was limited to a
handful of exhibition designs, including a
pavilion for the 1970 Osaka World Expo, a
swimming pool for Rod Stewart, a playground,
and an underground multipurpose exhibition
hall in Monaco.
If Le Corbusier’s self­promoting L’Esprit
Nouveau journal set the table for Modernism,
the Archigram pamphlets were a mischievous
attempt at a tablecloth swiped from under the
setting: samplings of the collective’s works,
overlaid with thematic text, took deliberate
aim at the stale modernism Archigram’s mem­
bers encountered in their day jobs. Full of
colorful pop images and exclamation points,
each Archigram was meant as a caffeinated
jolt to stimulate the profession out of stagna­
tion and into renewed conversation. With
speculative projects that incorporated techno­
logical innovations characteristic of the space
race—such as the movable towers of Cape
Kennedy, as well as space capsules them­
selves—with axonometric and collaged
Peale™ Panel w/ silver or gold mirror ©2018 modularArts, Inc.
renderings, Archigram developed a high­tech
architecture that resonated worldwide. Echoes
or aftershocks appeared in renderings by
Richard Rogers and Renzo Piano for Paris’s
with silver or gold mirror inserts
Centre Pompidou, Superstudio’s gridded in­
finities, Madelon Vriesendorp’s Delirious New
York illustrations, and the postwar infill imagi­
nations of Lebbeus Woods.
Fifty years after Archigram’s heyday, many
of its proposals seem prescient, for the group
investigated stackable,
expandable housing and
™
universities, with movable
PEALE
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MUDD
cranes adding or replacing
parts as needed. Yet for all
of the energy poured into
these schemes, a midcen­
tury ethos of such dispos­
able dwellings stands out as
incongruous with today’s
concerns over sustainability
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and material use.
Each edition of Archigram’s efforts consisted
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ect images—usually rotated to further disorient
™
LINEN
the reader and linked by snippets of poetic
text—on stapled sheets. The current book
fleshes out schemes explored by the group
with longer project narratives and the usual
sidecar of plans, sections, and details. Fold­out
sections and a pop­up add dimension and a
touch of fun, as does the inclusion of photos
from the Archigram Opera, a four­screen mul­
timedia installation that debuted in 1972.
But by collecting all the far­flung remnants
of Archigram pamphlets into a single publica­
tion, the urgency of the original message gets
lost in the pages of a weighty book. Such a
wealth of images and explanation requires
slow perusal and runs counter to the wildfire
spread of ideas stoked by the pamphlets in
their day, or by widely shareable visuals that
go viral in the current media landscape (a
digital archive of Archigram’s output was
launched in 2010 by EXP, the Research Centre
for Experimental Practice at the University of
Westminster). Yet in returning to print, the
medium that launched the group, Archigram
reasserts its legacy as one that is far from
ephemeral. n
Deane Madsen is an architectural writer and photog-
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ARCHITECTURAL RECORD FEBRUARY 2019
products tile & stone 49

Praise for Patterns

Advanced technologies for tile and stone have
enabled manufacturing larger-than-ever formats
and surprising applications.
By Kelly Beamon

Garden
With a digitally printed all-over pattern, this porcelain wall
tile looks like textile. The units are available in a 24" x 48"
format, as well as a 24" square, with a background in Green
or Sun (shown).
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Tropic
To mimic the effect of a fresco, designers can match three different pat-
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special screen-printing technique and a large surface, available in up to
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Dark Edition
ABK has expanded
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of porcelain slabs
that feature photo-
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company uses a
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print patterns such
as Papillon (shown).
Dark Edition is avail-
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from 2' x 4' up to
Tahiti 5' 4" x 10' 7".
14 OraItaliana’s porcelain Tahiti tiles can be used to create a abk.it
tactile feature wall suitable for applications ranging from
hospitality to dramatic residential interiors. The rectified
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50 ARCHITECTURAL RECORD FEBRUARY 2019
products tile & stone

Level Marmi
What appears to be a marble slab is actually one of Emilgroup’s large ceramic units,
roughly 5' x 11', offered in a rectified or unrectified format. At less than ½" thick, Level
Marmi is suitable for use as a kitchen or bath countertop, for flooring, and as a wall
covering. Available in 11 patterns, including Quarzo (shown), it can also be installed
outdoors.
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The Perception Collection Bath Design

Ariana Ceramica’s latest offering provides tile
This three-dimensional wall
for use on bathroom elements such as wash-
covering is actually a screen of
basins, vanities, and shower trays as well as on
stone panels, whose alternately
floors and walls. Called Bath Design, the col-
flat and angled edges are printed
lection is produced using the manufacturer’s
to create a dynamic visual effect
existing WIDE line of large-format thin ceram-
that changes as the viewer walks
ic slabs. About ⅜" thick, these tiles come in
by. The effect and pattern can be
48" x 108" and 48" x 96" units, and can be in-
varied by the arrangement of the
stalled with the company’s other lines.
vertical stone panels.
ariana.it
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Florim Stone
While it appears to be made of
natural stone, this countertop
is made of porcelain. Florim’s
Stone, made from a blend of
clays and mineral colors, is
available in slabs greater than
5' 3" x 10' 6" and in three Dekton Stonika Collection
thicknesses. Designed for Made from a blend of quartz, porcelain, and glass, Dekton
kitchen and bath applications, Stonika provides a sustainable alternative to quarried
the collection is easy to clean, stone. The solid surfacing material from Cosentino is avail-
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 ARCHITECTURAL RECORD FEBRUARY 2019 BUILDING TYPE STUDY 1,003 55

RENOVATION
RESTORATION
ADAPTIVE REUSE
57 M9 Museum District, Mestre, Italy
64 Ford Foundation Center for Social Justice,
New York
70 Richard A. and Susan F. Smith Campus Center,
Harvard University, Cambridge, Massachusetts
78 Nationalmuseum, Stockholm
84 Empire Stores, Brooklyn, New York
90 Visual Culture, Arts, and Media Building,
Haverford College, Haverford, Pennsylvania
P H O T O G R A P H Y: © A L E X X A N D R A C H E M O L L O

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56 ARCHITECTURAL RECORD FEBRUARY 2019 BUILDING TYPE STUDY RENOVATION, RESTORATION, ADAPTIVE REUSE

M9 Museum District | Mestre, Italy | Sauerbruch Hutton

Second City
Just outside Venice, a new cultural center hopes to reinvent the
Italian tourist mecca’s industrial counterpart.
BY ANDREW AYERS
PHOTOGRAPHY BY ALESSANDRA CHEMOLLO
 57

M
estre, to borrow an archi-
tectural metaphor, is the
Brick House to Venice’s
Glass House. Just as Philip
Johnson’s workaday ma-
sonry structure houses all
the support systems that
allow his minimalist crystal box to function,
so the municipality of Mestre and its neigh-
boring mainland boroughs—which are
officially part of the Comune di Venezia—con-
tain all the gritty bits that permit a major
modern port to operate: passenger and con-
tainer docks, Marco Polo international
airport, oil refineries and other industry, not
to mention the majority of Venice’s 260,000
inhabitants. But it is of course to the historic
center—home to just 51,000 people at the last
count—that all the tourists flock: 4.4 million
of them in 2017. It was partly to redress this
imbalance that the Fondazione di Venezia,
which supports cultural initiatives in the city,
decided to devote $126 million to creating a
new museum district in Mestre, the Museo
del Novecento, meaning Museum of the 20th
Century but abbreviated M9, for novecento,
which also means 900. Unveiled in December,
it is billed as Italy’s first museum with en-
tirely virtual displays. It is housed in a
startlingly polychrome building by Berlin-
based architects Sauerbruch Hutton (SH), who
beat David Chipperfield, Mansilla+Tuñón, and
Eduardo Souto de Moura in a 2010 competi-
tion for the commission. Its construction cost
$40 million (with the rest of the funds cover-
ing exhibitions and operations).
Occupying the site of a 16th-century con-
vent, which later became a military barracks,
the M9 development is located just across a
canal from Mestre’s Piazza Ferretto, the his-
toric heart of what was still a village of just
9,900 souls toward the end of the 19th
century. Over the next century, Mestre’s popu-
lation exploded (it now stands at 88,000),
resulting in rapid and uncontrolled develop-
ment that produced a chaotic urban landscape
of different styles, periods, and scales, with
city blocks crisscrossed by pedestrian alleys
and walkways. “I think one reason we won
the competition is that ours was the only
scheme to open up the site,” explains Matthias
Sauerbruch. “There are two pedestrian
routes,” continues Louisa Hutton, “which
intersect at a little piazzetta. In Mestre there
58 ARCHITECTURAL RECORD FEBRUARY 2019
are a lot of these small paths, which prompted
us to restore the small-scale texture of the site,
to give it back to the Mestrinos.”
Because of this fractioning, SH’s scheme
comprises not one but five buildings, all real-
ized to LEED Gold standard and linked by a
main diagonal thoroughfare through the site
that connects to Piazza Ferretto. To the south-
east is the main museum; opposite it, in the
same polychrome cladding, is a smaller build-
ing containing administration and other
services; behind that are two 19th-century
stable blocks rebuilt by the architects in con-
BUILDING TYPE STUDY RENOVATION, RESTORATION, ADAPTIVE REUSE
COVERINGS The large new building is topped with an
industrial sawtooth roof (above). The polychrome
facades incorporate the colors of the surrounding
buildings (left). The lightweight structure of the new
cloister canopy hovers above, but does not touch, the
surrounding roofs (opposite, top and bottom).
avoiding the harsh acoustics of glass and al-
lowing the courtyard to be used year-round for
public concerts and events.
Comprising five stories, four above grade
and one below, the main museum building
groups the usual ticket desk, coatrooms, book-
shop, café, and auditorium/cinema—which the
Fondazione plans to link up to the Venice Film
Festival—on its lower two levels, followed by
two stories of black-box space for M9’s perma-
nent displays, and a final floor of white-box
space for temporary exhibitions.
Generously glazed at ground level, the
building is largely windowless above, its
wedge-shaped plan a result of the diagonal
path through the site, whose oblique course is
echoed by a dramatic cutaway along the mu-
seum’s bravura main staircase. But what is
crete to house retail and office space; and most immediately striking about the exterior
finally the convent’s old cloister to the north- of M9’s new buildings is their ceramic facade
west, which they carefully renovated to cladding, whose 18 different hues, seemingly
contain a mix of shops, restaurants, and co- arranged randomly, are intended to reflect the
working space. Elegantly detailed, the cloister cacophony of colors in the cityscape. Months of
conversion includes a new courtyard canopy trial and error went into getting exactly the
that is emblematic of SH’s sophistication and desired shades of burnt sienna, terra-cotta,
lightness of touch: mounted on the slenderest chocolate brown, gray, and dirty white, which
of steel poles, which are arranged to emphasize are made up of transparent glazes laid down
the main diagonal path, the polyester mem- on either gray or red clay. Their composition
brane hovers just above the surrounding roofs, was also the result of a long, iterative process
forming a diaphanous umbrella that provides that involved manipulating computer
milky daylight in winter and shade in summer, simulations, to produce what is, perhaps, the
M9 MUSEUM DISTRICT MESTRE, ITALY SAUERBRUCH HUTTON 59
60 ARCHITECTURAL RECORD FEBRUARY 2019 BUILDING TYPE STUDY RENOVATION, RESTORATION, ADAPTIVE REUSE

7 10

12
7

12
7

4
14
5 2

1 10 13

A 11
9 6

A 8
3
7

0 60 FT. 0 60 FT.
SECOND-FLOOR PLAN FOURTH-FLOOR PLAN
20 M. 20 M.
0 60 FT.
GROUND-FLOOR PLAN
20 M.

1 FOYER/MEDIA CENTER 8 DELIVERY

13 2 MUSEUM SHOP 9 TECHNICAL ROOM

10 3 AUDITORIUM 10 PERMANENT EXHIBITION

11 10 4 BAR/RESTAURANT 11 ADMINISTRATION
8 7 3 5 CAFÉ 12 COWORKING

6 GALLERY 13 TEMPORARY EXHIBITION

7 RETAIL 14 TERRACE
0 30 FT.
SECTION A - A
10 M.

GRAND SPACES
The top-floor exhibition
hall is a flexible, column-
free gallery that is daylit
through clerestory
windows within the
sawtooth roof (left).
Board-formed concrete
lines the interiors along
the main staircase
(opposite, top and
bottom).
M9 MUSEUM DISTRICT MESTRE, ITALY SAUERBRUCH HUTTON 61
62 ARCHITECTURAL RECORD FEBRUARY 2019 BUILDING TYPE STUDY RENOVATION, RESTORATION, ADAPTIVE REUSE

digital-age architectural equivalent of a

Jackson Pollock.
Inside the M9, SH’s detailing diligence is
once more everywhere apparent, from the
laminated-beech walls, ceilings, and shelves
on the lower levels and the traditional tra-
chyte paving used for public walkways
throughout the complex, to the board-
formed concrete lining the main stair,
whose 83-foot-long diagonal window is a
minor feat of engineering, as is the top-floor
gallery—a 12,650-square-foot, column-free
space, daylit by long expanses of glazing in
its sawtooth roof. While a multimedia vir-
tual museum might sound gimmicky, the
immersive installations put together by the
curatorial team—which cover everything
from politics (the rise of Mussolini, for ex-
ample), human geography (population
growth, immigration, the 20th-century
transport revolution), to culture and con-
sumerism (Italian disco or changes in
domestic living patterns)—engage both
young and old with intelligence and wit,
effortlessly fulfilling the informative role
one expects of a serious museum. Inter-
viewed at the time of its opening, Fondazi-
one di Venezia president Giampietro Bru-
nello declared: “Mestre lacks an identity and
has never had a sense of autonomy. We’re
using cultural investment to develop and
enhance the commercial center.” Since
many of those 4.4 million tourists use
Mestre as a cheaper dormitory than central
Venice itself, the bet may well pay off. n

Andrew Ayers is a Paris-based writer, researcher,

translator, and educator.

FIT OUT Modern

elements enhance the credits
refurbished buildings ARCHITECT: Sauerbruch Hutton — Matthias
on the site, including
Sauerbruch, Louisa Hutton, Juan Lucas Young,
the Innovation Retail
Center (above). The partners; Bettina Magistretti, project architect
wood-clad museum ARCHITECT OF RECORD: SCE Project
shop is visible through
ENGINEERS: SCE Project (structural); Tomaselli
the ground floor
storefront glazing Engineering (HVAC); Studio Tecnico Giorgio Destefani
(right). There are two (electrical)
levels of black-box
CONSULTANTS: Ambiente Italia (energy); GAE
space for permanent
displays (opposite, top Engineering (fire protection)
and bottom). CLIENT: Fondazione di Venezia; Polymnia Venezia
SIZE: 275,500 square feet
COST: $126 million (total); $40 million (new
construction)
COMPLETION DATE: December 2018

SOURCES
EXTERIOR CLADDING: NBK Keramik
CUSTOM WOODWORK: Pollmeier Massivholz
M9 MUSEUM DISTRICT MESTRE, ITALY SAUERBRUCH HUTTON 63
64 ARCHITECTURAL RECORD FEBRUARY 2019 BUILDING TYPE STUDY RENOVATION, RESTORATION, ADAPTIVE REUSE
 65

Ford Foundation Center for Social Justice | New York | Gensler

Shifting Gears
A classic landmark is tuned up for 21st-century needs.
BY SUZANNE STEPHENS
PHOTOGRAPHY BY RICHARD BARNES

A
little over three years ago
when the Ford Foundation’s
president, Darren Walker,
announced that the headquar-
ters, based in New York, had
hired Gensler to bring the
1967 structure into the 21st
century, the news prompted a sense of dread.
Nothing against the architectural firm, but
what might be lost? Designed by Kevin Roche
John Dinkeloo and Associates, the granite-
clad steel-and-glass 12-story building,
wrapped around a 174-foot-high, skylit atri-
um, was revered as a gracefully elegant
exemplar of architecture’s late Modern era.
While the foundation needed to meet
current codes for fireproofing, asbestos abate-
ment, and accessibility by 2019, Walker had a
bigger reason for a redesign, one that would
go to the heart of a shift in the Foundation’s
mission. Ford originally bestowed grants to
strengthen democratic institutions and re-
duce poverty worldwide—as well as foster the
arts—but Walker believes it needs to be more
collaborative, working closely with partner
organizations on issues of social justice. That
meant a building plan with more transpar-
ency and less hierarchy—and jettisoning most
private offices. “We will be tearing down the
walls separating us,” he claimed in a video
interview with record in February 2016.
By switching to an open office scheme, the
Foundation could gain two floors to rent out
to like-minded not-for-profits. The reconfigu-
ration of the building’s total 415,000 square
feet of space would also mean an increase of
area for meetings and for the public. The
philanthropy’s new name expresses these
aspirations: the Ford Foundation Center for
Social Justice.
Walker planned other changes as well: his
LANTERN’S GLOW The renovation of the Ford Foundation Center for Social Justice included the interior garden
presidential office suite on the 10th floor was atrium (opposite), for which Jungles Studio was the landscape architect. The garden, entered from the 42nd Street
so big it could be converted into three confer- side (above), will soon open to the public during the week and on Saturday.
66 ARCHITECTURAL RECORD FEBRUARY 2019 BUILDING TYPE STUDY RENOVATION, RESTORATION, ADAPTIVE REUSE

ence rooms, while he moved to a smaller office one floor

below. The executive dining room would go; only a commu-
nal cafeteria on the 11th floor would remain. Finally, a space
next to the main entrance would be transformed into a
glassed-in lounge and café for those using the building.
But how could these architectural changes—particularly
with workstations replacing the Midcentury Modern offices,
with their custom leather, linen, brass, and mahogany
furnishings and finishes—occur without sacrificing the
original aura of glamour? Only the building’s exterior
and the indoor atrium were protected by landmark status.
Kevin Roche, who was not involved in the renovation,
sounded wistful in record’s video: “There are virtually no
buildings or very few . . . that have survived renovation.
What building can you think of that hasn’t been fiddled
with over the years?”
He need not have worried so much. Gensler managed the
entire process of restoration and renovation, with the open
plan that was critical to the project’s success. The original
private offices had surrounded the glazed atrium, directly

6 9
9
6
6

5
6

6
6
43RD STREET
1
42ND STREET
12

TYPICAL-WORKPLACE PLAN (BEFORE) TYPICAL-WORKPLACE PLAN (AFTER) SECTION A-A

1 8

3 6

2
7

5
11
4
12 9

A 0 30 FT. 0 30 FT.
LEVEL-TWO PLAN LEVEL-11 PLAN
10 M. 10 M.
0 30 FT.
LEVEL-ONE PLAN
10 M.

1 ENTRANCE 5 GARDEN ATRIUM 9 CONVENING ROOM

2 RECEPTION 6 WORKPLACE 10 PRE-FUNCTION

3 CAFÉ/LOUNGE 7 CLOSED COLLABORATIVE SPACE 11 FAN ROOM

4 ART GALLERY 8 COMMUNAL DINING 12 GARDEN ENTRY

FORD FOUNDATION CENTER FOR SOCIAL JUSTICE NEW YORK GENSLER 67

LITERAL TRANSPARENCY The low mahogany workstations allow expansive views

out to the Tudor City apartments and inward to the garden atrium (above). A
circulation path now edges the glass-walled atrium (right). The office of Foundation
president Darren Walker has been relocated to a smaller space (opposite).

overlooking the garden. But they and the offices edging the perim-
eter of the building were enclosed by gypsum board walls and
divided by a central corridor; there were few sweeping vistas from
one side of the atrium through to the other.
In tearing down those walls and opening up each of the floors,
Gensler created circulation paths along both the building’s exterior
glazed walls and along the atrium, placing low workstations in be-
tween. “There was no vocabulary for workstations in the original
design. We had to make it up—so we took cues from the legacy furni-
ture and the architecture,” says Robin Klehr Avia, project principal of
Gensler. Fabricated by Knoll, the 42-inch-high custom cubicles are
impressive: made of an FSC-certified mahogany and leather panels
with brass touches, their design took cues from existing furniture
and even elevator-cab details. The architects also worked with Fisher
Marantz Stone on the design of handsome custom linear brass light
fixtures that are suspended over the desks.
Many original furnishings do survive. Gensler restored 1,500
pieces—more than half of those designed by Warren Platner—and
otherwise replicated or reinterpreted the originals, keeping the
dark brown, rust, gray, beige, and cream palette found throughout.
The bold splashes of color that now punctuate common spaces come
from the Foundation’s new collection of contemporary art, which page 24) and his Miami-based Jungles Studio, the plantings are sub-
focuses on work by women artists and artists of color, such as tropical but chosen to resemble the original garden: ficus Amstel
Kehinde Wiley, Carrie Mae Weems, and Dinh Q. Le. Even Nelson King trees with twisted trunks stand where magnolia trees once
Mandela’s own drawings are on display. were located, while elsewhere a variety of plants such as Powderpuff
To meet fire safety laws, Gensler installed a fire curtain, con- and Shady Lady black olive trees and Creeping Charlie fill out the ver-
cealed in the ceiling, above the open steel railing of the 11th floor. dant setting. “We were trying to interpret what Kiley wanted—a quiet
An exhaust system on the same floor can draw smoke out of the forest,” says Jungles, who also wanted to retain Kiley’s “processional
atrium, and sprinklers—which never existed before—have been movement through the space, with concealed and exposed views.”
subtly inserted around the atrium walls. Addressing ADA codes was central to that processional circula-
For the public, the most significant aspects of the renovation will tion. The atrium garden drops 13 feet in grade from the main
be the revamped atrium garden and a new double-height gallery on entrance on 43rd Street down to the secondary one at 42nd. Only a
the first floor, which will present exhibitions on the theme of social broad brick stair brought people down one level before. Now a small
justice. The garden, originally designed by Dan Kiley, used plants glass elevator, discreetly tucked into the southeastern corner of the
geared for a temperate climate, but they did not thrive in the en- garden, will make this public space accessible. And standing inside
closed space. Now reconceived by Raymond Jungles (Newsmaker, the glazed atrium, the visitor will get glimpses of the surrounding
68 ARCHITECTURAL RECORD FEBRUARY 2019 BUILDING TYPE STUDY RENOVATION, RESTORATION, ADAPTIVE REUSE

INTO THE WOODS Raymond Jungles renovated the

atrium garden; the stairs, ascending from 42nd Street to
43rd Street (left), are supplemented by a new elevator in
the southeast corner for accessibility. In the garden
(opposite), ficus Amstel King trees, with twisted trunks,
loom above the minimalist pond.

urban context including Tudor City’s Gothic-

style apartment towers.
Walker considers himself a tough client.
Either that quality or his ebullient optimism
—or both—has paid off: the building retains
its serene identity and seems more translu-
cent and transparent, and less forbidding,
than it used to be. To be sure, the success of
the renovation may not be apparent for some
time, as the Foundation staff adapt to the
open plan and enhanced conference space.
But for those concerned that dragging this
landmark into the 21st century would ruin it,
they should acknowledge that the building
has kept its elegance and stateliness. The
sensitive renovation has left the ineffable
aura intact. n

credits
ARCHITECT: Gensler — Robin Klehr Avia, project
principal; Madeline Burke-Vigeland, principal, project
director; Ed Wood, Lydia Gould, principals, design
directors; Ambrose Aliaga-Kelly, principal, technical
director; Johnathan Sandler, principal, strategy director;
Bevin Savage-Yamazaki, project manager; Jonas Gabbai,
design director; John Bricker, principal, brand and
graphics
ENGINEERS: Jaros Baum & Bolles (m/e/p/fp); Thornton
Tomasetti (envelope, structural)
CONSULTANTS: Jungles Studio, SiteWorks (landscape);
Fisher Marantz Stone (lighting designer); United Spinal
Association (accessibility)
CLIENT: Ford Foundation Center for Social Justice
SIZE: 415,000 square feet
COST: $205 million
COMPLETION DATE: December 2018

SOURCES
METAL PANELS: Centria
COR-TEN: Amuneal
DAKOTA GRANITE: Pullman
PAVERS: Hanover Architectural Products
OFFICE FURNITURE: Knoll
PLASTIC LAMINATE: Formica, Wilsonart
PAINTS AND STAINS: Benjamin Moore, Pratt & Lambert
ACOUSTICAL CEILINGS: Saint-Gobain (Ecophon),
Armstrong
SMOKE CURTAIN: McKeon
SOLID SURFACING: Dupont (Corian, Zodiac)
RESILIENT FLOORING: Forbo (Marmolean)
FORD FOUNDATION CENTER FOR SOCIAL JUSTICE NEW YORK GENSLER 69
70 ARCHITECTURAL RECORD FEBRUARY 2019 BUILDING TYPE STUDY RENOVATION, RESTORATION, ADAPTIVE REUSE

Richard A. and Susan F. Smith Campus Center, Harvard University | Cambridge, MA | Hopkins Architects

How to Get into Harvard

A university reimagines a prominent Brutalist building to create a public front door.
BY ROBERT CAMPBELL, FAIA
PHOTOGRAPHY BY NIC LEHOUX

T
he new Smith Campus Center at
Harvard University is a building
that, like a lot of good architec-
ture, can be read in different
ways. You can say Smith is a story
about concrete and how we love
it, hate it, and sometimes restore
it to health when it’s old and sick. Or you can
say Smith is a very different story about a
university shaping architecture to push a
social agenda.
First, though, a quick description. The
Smith Center is a mishmash of two periods of
construction. The earlier work dates from the
1960s, when Harvard built a 10-story,
H-shaped building, the Holyoke Center, to
house university offices and services. The
Holyoke’s architect was Josep Lluis Sert, a
future AIA Gold Medalist known for his love
of raw concrete, who was then the dean of
Harvard’s Graduate School of Design.
That old Holyoke, now renamed the
Richard A. and Susan F. Smith Campus
Center, after its primary donors, still has its
original 10 floors. But the bottom three or
four of those floors (it depends how you
count) have been imaginatively reconfigured
by London-based Hopkins Architects, with
local firm Bruner/Cott as executive architect.
Those floors, now the heart of the Smith,
have been radically revamped, but not in a
CLEAR IMPROVEMENT The design team increased the transparency of the lower front facade, opening up the
building to a brick-paved plaza (opposite and above) as well as to views of historic Harvard Yard, across the street.
71
way that trivializes the original. Most of the
old Holyoke facades, at these levels, are re-
placed by glazing, the goal being to open
better views from the Smith out to the city
and from the city back into the Smith. The
new glass surfaces can play visual games.
Some appear to push in or out like drawers.
So what exactly is the Smith Campus
Center? Harvard is quick to note that it isn’t
just a student center. The Smith is conceived
as the school’s private version of a public
downtown, with places to sit, have coffee, or
study. It’s meant for everyone, not only for
people affiliated with the university. The
doors are open to all, and we’re promised that
they’ll stay that way. Ideally located, it’s just
across the street from historic Harvard Yard
and from Harvard Square, with its transit
connections.
The Smith is seen too as a flagstaff for
strangers, a point of orientation. Tourists,
parents, and prospective students used to
arrive, look around, and ask “Where is
Harvard?” Smith is supposed to give the uni-
versity a visible front door.
“Social engineering” has been a no-no term
in architecture for decades. But the Smith has
to be understood as the embodiment of such a
concept, as well as the incarnation—in con-
crete, glass, and steel—of one initiative of
Harvard’s former president, Drew Faust. When
 72 ARCHITECTURAL RECORD FEBRUARY 2019 BUILDING TYPE STUDY RENOVATION, RESTORATION, ADAPTIVE REUSE

12 7

7
4
13 8
8

13
14

13 4
4

0 50 FT
0 50 FT. SECTION A - A
LEVEL-THREE PLAN SECTION A - A 15 M
15 M.

9 9
10 9 9 9 9
7 1
8 8
10
7 1
8 8
2
9
8 8
9 6 9 11
2 8 8 8 8
6 66 11 11
8 3 8 66 6
6 9 6 6
0 50 FT.
SECTION B - B
8 3 8 0 50 FT. 15 0M. 50
SECTION B - B SECTION B - B
6 9 15 M. 15

1 WELCOME AREA 8 MECHANICAL

2 ARCADE 9 MEETING
3 HOLYOKE FORUM 10 TERRACE
4 CAFÉ 11 PARKING
50 CAMBRIDGE
50 FT.
TRUST 12 RECREATION
LEVEL-TWO PLAN
6 UNIVERSITY
15 M. HEALTH SERVICES 13 MULTIPURPOSE
0 50 FT. 7 PLAZA 14 EVENT SPACE
LEVEL-TWO PLAN
15 M.Square
Harvard
Harvard Square

Dunster Street Dunster Street Harvard Square credits

A A ARCHITECT: Hopkins Architects — Andrew Barnett, senior partner; Tom Jenkins,
Dunster Street partner; Sophy Twohig, partner; Edward Farndale, project architect
4 4
7 7 A EXECUTIVE ARCHITECT: Bruner/Cott Architects
eet
eet

8 8 8 8
CONSULTANTS: ARUP (structural, m/e, lighting, acoustics); Michael Van
Massachusetts Avenue
Massachusetts Avenue

1 1
Mt . Auburn Str
Mt . Auburn Str

4 7 7
7
2 2 Valkenburgh Associates (landscape)
eet

8 8
GENERAL CONTRACTOR: Consigli
Massachusetts Avenue

1
Mt . Auburn Str

7
B B B B
2 CLIENT: Harvard University
6 8 3
6 8 3
8 8 SIZE: 93,000 square feet
B B
5 5
4 3 4
COST: withheld
6 8 8
A A
COMPLETION DATE: September 2018
5
Holyoke Street 4 Holyoke Street

A SOURCES
Holyoke Street
CLADDING: Alcoa Architectural Products, Centria, Roschmann Steel and Glass
Constructions, Construction Specialties
GLAZING: Cristacurva, Oldcastle BuildingEnvelope, Saint-Gobain
LINEAR WOOD CEILING PANELS: 9Wood
0 50 FT. 0 50 FT.
NE PLAN LEVEL-ONE PLAN PLASTIC LAMINATE: Wilsonart
15 M. 15 M.
EXTERIOR DECK: Thermory
0 50 FT.
LEVEL-ONE PLAN
15 M.
RICHARD A. AND SUSAN F. SMITH CAMPUS CENTER, HARVARD UNIVERSITY CAMBRIDGE, MA HOPKINS ARCHITECTS 73

INSIDE AND OUT A glass-and-steel insertion fills in a courtyard of Sert’s

original administrative building for the school, adding a multilevel commons
area (above). A rooftop garden (right) is one of many new green spaces.

Faust became president in 2007, one of her first moves was to

scatter lawn chairs on the grass of Harvard Yard. The aim was to
entice casual strollers to leave paths and strike up a conversation
with someone from another discipline or with a different set of
interests. The chairs evolved into what the university calls its
“common spaces” program, a series of moves to fight the isola-
tion experienced by many people in a big institution.
At the Smith, the goal is much the same: to pull people out of
single-purpose places—dorms, labs, private clubs, and class-
rooms—and encourage them to explore and interact. It is seen as
a sort of mixing chamber where town and gown will encounter
one another and, hopefully, meet, mix, eat, shop, and exchange
ideas. The Smith tempts visitors by seeding itself to satisfy many
needs, with food, terraces, performance spaces, part-time offices
for literally hundreds of student organizations, and a raft of
services such as the Harvard Information Center, with its rich
historic collection.
Hopkins has created an interior that explodes in three di-
mensions, a kind of flying squad of linked public spaces of
different levels and sizes. They’re a far cry from the pancake
stack of office floors they replace, though key features of the
original are retained, such as the handsome north–south ar-
cade, newly bathed in sunlight.
Harvard refers to the new common spaces as living rooms. In
Smith, they’re finished in warm-toned European beech. In some
places brick floors bring Cambridge indoors. Here and there, lush
greenery grows on the partitions, making wandering through
the Smith feel like a stroll through a terraced urban garden.
74 ARCHITECTURAL RECORD FEBRUARY 2019 BUILDING TYPE STUDY RENOVATION, RESTORATION, ADAPTIVE REUSE

UPS AND DOWNS Hopkins’s insertion includes a variety of levels and

compressed and expanded spaces (above and opposite), with ample seating
for studying and socializing. Generous daylighting animates the interiors.

6 These gathering spaces, the heart of the Smith, come without

1 CAST-IN-PLACE any particular program of activities. They can be used for any-
5 COLUMN thing from a study nook to a holiday ball. One space is shaped as
2 GLAZED BRIDGE a theater in case anyone wants to use it as one. I’m told a choral
3 LANDSCAPED singing group takes it over at lunchtime. If you want to reserve a
VITRINE site for a social or educational event, you just go online to the
4 SUSPENDED
Office of Common Spaces (a name I hope was proposed by Monty
BALCONY
Python, but possibly I’m dating myself).
Extending vertically, a small room planted with trees has four
5 STEEL
walls of transparent glass, but no door. This “vitrine” allows you
2 4 STRUCTURE
to sit comfortably in your chair while watching the weather
6 GLAZED change. As noted, Sert was an admirer of concrete architecture,
LANTERN WITH especially that of his mentor, the Swiss/French Le Corbusier,
1 3 SOLAR SHADING whom Sert brought to Harvard to design an art-studio building
called the Carpenter Center. That bit of history is one more factor
that influenced the design of the Smith. Everyone involved,
including local preservation advocates, was determined to treat
0 10 FT. Sert’s surviving work with respect. The building isn’t individu-
DETAIL SECTION
3 M. ally landmarked, but it belongs to a larger conservation district,
RICHARD A. AND SUSAN F. SMITH CAMPUS CENTER, HARVARD UNIVERSITY CAMBRIDGE, MA HOPKINS ARCHITECTS 75
76 ARCHITECTURAL RECORD FEBRUARY 2019 BUILDING TYPE STUDY RENOVATION, RESTORATION, ADAPTIVE REUSE

MAKING CONNECTIONS In the arcade (above), the design team

retained original waffle slabs and concrete columns. A landscaped
“vitrine” provides a visual link where old and new construction meet
(left and opposite).

and the renovation underwent a year or so of public hear-

ings before gaining approval.
The Smith was no picnic as a feat of reconstruction. Deep
down, footings were rebuilt to bear the weight of the long
spans for the new, larger spaces. At exterior concrete sur-
faces, engineers probed like surgeons to discover and repair
numerous hidden faults in the old steel reinforcing. New
interior partitions had to be placed where they wouldn’t
conflict with the concrete skeleton. The result is some dra-
matic collisions of time and place. Original raw, board-
formed concrete piers, for example, now stand as massive
sculptural presences in the otherwise new steel-framed
interiors.
The commons program began with the placement of a
few lawn chairs. A dozen years later, that modest initiative
has evolved, at the Smith, into a rethinking of the relation-
ship of the university with the community. This is archi-
tecture in service to social goals. That’s something not so
often seen today. n

Robert Campbell, FAIA, architecture critic for the Boston Globe

and a record contributor, worked for several years in Sert’s office.
RICHARD A. AND SUSAN F. SMITH CAMPUS CENTER, HARVARD UNIVERSITY CAMBRIDGE, MA HOPKINS ARCHITECTS 77
78 ARCHITECTURAL RECORD FEBRUARY 2019 BUILDING TYPE STUDY RENOVATION, RESTORATION, ADAPTIVE REUSE

Nationalmuseum | Stockholm | Wingårdhs with Wikerstål Architects

The Fabric of Building

Contemporary elements and technical upgrades are seamlessly woven into a classical structure.
BY ANA MARTINS
 79

A
museum for all” was the found-
ing dictum of Sweden’s
Nationalmuseum, opened in
1866 and designed by Friedrich
August Stüler, architect of the
Neues Museum in Berlin.
Chronic lack of space due to
constant adaptation of its footprint for admin-
istrative and storage purposes, however, meant
that only 30 percent of its area was accessible
to the general public, and only 2.4 per-
cent of its art collection could be displayed at
any given time. In 2013, the museum closed its
doors and went through a comprehensive,
five-year-long, $132 million renovation led by
Swedish firms Wingårdhs—known for its
contemporary architecture—and acclaimed
restoration specialist Erik Wikerstål. The re-
sult, unveiled in October 2018, is an exemplary
reconstruction that draws on Stüler’s original
design while catering to the institution’s con-
temporary needs and potential growth.
After extensive studies on its spatial require-
ments and development strategy, the museum
and the design team created a plan that includ-
ed an expansion of the three-story Neo-Renais-
sance building. Government funds were signifi-
cantly lower than required, however, and the
addition was quickly scrapped. Instead, the
architects sifted through the existing build-
ing—moving storage, administration, and
conservation rooms underground and off-site—
in order to free up more of the museum for art
and the public. “Then we needed much bigger
mechanical rooms,” explains Wingårdhs
founder Gert Wingårdhs. “For that, we blasted
6½ feet below ground level and raised the two HOLDING COURT
courtyards.” This solution not only created a The Neo-Renaissance
building is located
sprawling vaulted underground space for coat
P H O T O G R A P H Y: © A N D R É P I H L (O P P O S I T E A N D B O T T O M ) ; B R U N O E H R S ( T O P )

along the waterfront

rooms and lavatories, it also opened up the on a peninsula in
entire ground floor, giving visitors a grander central Stockholm
sense of space when entering the museum. (opposite). A shallow
Another important gesture in making room for glass dome mounted
on complex steel
three times as many artworks as before—total- structures encloses
ing just over 7 percent of the museum’s collec- the two courtyards
tion—was controlling the climate for all of the (left), with the
second floor for all types of art. Originally de- northern one now
housing a sculpture
signed to house the Royal Library, which never
court (above).
moved in, the second floor previously accom-
modated the sculpture gallery (now located in
the northern courtyard) and offices.
The architects’ intervention was comprehen-
sive but largely indiscernible, with only two
prominent additions—one outside and one in-
side—that tie the project together, both
conceptually and programmatically. Behind the
museum building, a new loading bay is clad in
patterned precast concrete mimicking a woven
surface. From there, artworks travel under-
ground and rise “as if by magic,” says Wingårdh,
through an imposing intervention in the south-
80 ARCHITECTURAL RECORD FEBRUARY 2019 BUILDING TYPE STUDY RENOVATION, RESTORATION, ADAPTIVE REUSE

UNEARTHED A sensuous modern stair (above, left) leads to the sprawling, vaulted underground space for coat rooms and lavatories, which is now accessible (above, right).
Covered since the 1930s, gallery windows (opposite, top) have been exposed, and art is displayed on movable walls. A sculptural elevator tower for transporting art and people
is clad in woven oxidized brass and dominates the southern courtyard (opposite, bottom).
A

8
15
4

7 12 12
4

17 1 2 3

6 5
6 16 6 12 12
14

18 9 9 10 11 13

A
0 50 FT.
BASEMENT PLAN GROUND-FLOOR PLAN
15 M.

credits
ARCHITECT: Wingårdhs — Gert Wingårdh, GENERAL CONTRACTOR: Skanska
12 12
4
principal CLIENT: Swedish National Property Board
12
ASSOCIATE ARCHITECT: Wikerstål SIZE: 215,000 square feet
8 Architects — Erik Wikerstål, Josefin COST: $132 million
Larsson, project leaders
COMPLETION DATE: October 2018
SECTION A - A ENGINEERS: Sweco Structures
(structural); Bengt Dahlgren Stockholm
(mechanical, plumbing); Ingemar Åblad, SOURCES
1 MAIN ENTRANCE 7 RESTAURANT 14 SERVICES
Jonas Schärman (electrical) COURTYARD ROOF GLAZING: KGC
2 FOYER 8 BAR & CAFÉ 15 KITCHEN
CONSULTANTS: Andersson Jönsson COURTYARD ROOF FRAME: Sjölins
3 ENTRANCE HALL 9 OFFICE 16 STORAGE
Landskapsarkitekter (landscape); WOOD FLOORS: Stombergs
4 SCULPTURE COURT 10 ASSEMBLY 17 COATROOMS &
Brandskyddslaget (fire safety); ACC DISPLAY CASES: Goppion
5 SOUTH COURTYARD/ 11 CONSERVATION BATHROOMS
(glazing); ÅF (acoustics); Urban Pihl ELEVATOR-TOWER BRASS: Klass Metall
AUDITORIUM 12 GALLERY 18 WORKSHOP (accessibility); Kardorff Ingenieure LIMESTONE: Borghamns Stenförädling
6 ELEVATOR TOWER 13 ANNEX Lichtplanung (lighting)
 NATIONALMUSEUM STOCKHOLM WINGÅRDHS WITH WIKERSTÅL ARCHITECTS 81

ern courtyard—an enclosed space which, over the years, was used as an
auditorium, storage, and offices—in the form of a sculptural elevator tower
clad in woven oxidized brass. This nucleus includes two smaller general
elevators for the public on either side of a huge elevator for the art, which
P H O T O G R A P H Y: © A N D R É P I H L (O P P O S I T E , L E F T; T H I S PAG E , 2) ; B R U N O E H R S

can carry almost 100 people. The lower part of the shaft can be opened,
revealing a video screen, so that the courtyard will double as an audito-
rium. “We think this will be a very active room, and, since it has not been
seen by the public since the 1940s, the experience will be very strong,”
says Wingårdh. The woven pattern is a nod to Gottfried Semper’s ideas
about textile enclosures and hints at the complementary role of the two
structures in the new organization of the museum, whose improved logis-
tical operation will allow for exhibitions to be rotated more frequently.
To continue the textile analogy, great care was taken in intertwining
the technical elements with the fabric of the building, so as to make
them not just unobtrusive, but part and parcel of the design. There are
two major examples of this: one makes use of scientific advances in
materials and acoustic design, and the other is the result of the adapta-
tion of existing decorative elements and architectural features. The two
courtyards around which the building is organized are fitted with
shallow glass domes, a commonly used element which, here, remains
hidden when viewing the building from the exterior. The three-dimen-
(O P P O S I T E , R I G H T )

sional dome structures, made up of a series of small glass pyramids,

reflect sound in many different directions toward the sound-absorbing
stucco-clad walls. On the second floor, ventilation grilles and sprinklers
have been disguised within 71 of the 349 ornamental plaster flowers
that adorn the ceilings, and new ductwork has been incorporated into
82 ARCHITECTURAL RECORD FEBRUARY 2019 BUILDING TYPE STUDY RENOVATION, RESTORATION, ADAPTIVE REUSE

the space between the ceiling’s cupolas.

One of the key alterations in the top-floor exhibition
space was to open up the windows, which had been
covered since the 1930s to make room for more art.
Instead, the galleries—designed in collaboration with
New York–based Joel Sanders—are now fitted with mov-
able walls. According to Wingårdh, natural light will
help create a brighter sense of space and “get rid of the
THROUGH THE AGES stuffiness, preventing visitors from getting over-
The bold wall-color whelmed by everything on display.”
selections were based
The permanent exhibition—which comprises a mix-
on the original
schemes for the ture of objects, furniture, and art—is organized in
museum and on the chronological order, starting from 16th-century art on
artworks in each room the third floor and spiraling down each level in figure
(above and above, eight loops around the two courtyards. The path termi-
right). A number of
design objects were
nates in the ground-floor restaurant that doubles as a
created for the showcase of contemporary design. The 300-seat space
restaurant, including a occupies three west-facing galleries that previously
glass chandelier housed the conservation workshops. Intended as “a
(right). The central
constantly changing living room,” it is an artistic project
stair is used for
concerts, so that there developed by Swedish designers Matti Klennell, TAF
are numbered seats in Studio, Carina Seth Andersson, and Stina Löfgren.
the steps (opposite). Wingårdhs and Wikerstål’s architectural choreogra-
phy of past and present, artworks and visitors, resulted
in an updated and accessible contemporary museum in a
19th-century building—one that has been propelled into
the vanguard of technological innovation while remain-
ing true to its history. The Nationalmuseum is now,
thoroughly, “a museum for all.” n

Netherlands-based freelance editor and journalist Ana Martins

writes about architecture and design.
P H O T O G R A P H Y: © B R U N O E H R S (O P P O S I T E , T O P 2) ; A N D R É P I H L (O P P O S I T E , B O T T O M ; T H I S PAG E )
NATIONALMUSEUM
STOCKHOLM
WINGÅRDHS WITH WIKERSTÅL ARCHITECTS
83
84 ARCHITECTURAL RECORD FEBRUARY 2019 BUILDING TYPE STUDY RENOVATION, RESTORATION, ADAPTIVE REUSE
 85

Empire Stores | Brooklyn, New York

Studio V and S9 Architecture

View from
the Bridge A salvaged remnant of the past engages a
revitalized neighborhood and waterfront.
BY LINDA C. LENTZ

O
verlooking a small cove off the East River in the shad-
ow of the Brooklyn Bridge, a group of four- and
five-story former warehouses, built in 1869 and 1885,
respectively, had been languishing for over half a
century, vacant and disused. Now, nearly 150 years
since their construction, the Empire Stores, as they
were called, are thriving again as an integral part of
New York’s Dumbo neighborhood and the waterfront development in
Brooklyn Bridge Park (record, January 2011). A thoughtful intervention
by Studio V and S9 Architecture not only maintains the integrity of the
existing structures—designated New York State landmarks in 1978—it
knits them into a single entity, transforming the 350,000-square-
foot timber and masonry facility (once largely used for warehousing
P H O T O G R A P H Y: © I M AG E N S U B L I M I N A L (O P P O S I T E ) ; B R O O K LY N H I S T O R I C A L S O C I E T Y ( B O T T O M )

coffee) into a lively blend of commercial and public spaces that includes
a 100,000-square-foot roof addition, 50,000 square feet of green roofs,
and a 7,000-square-foot extension of the park that climbs to the roof.
The brief from the Brooklyn Bridge Park Corporation (BBPC)—the
city’s not-for-profit organization that oversees the park’s planning, con-
struction, and operation—mandated an ambitious mixed-use program
that would engage the community and provide revenue for the park.
(Empire Stores is one of a select group of developments within Brooklyn

GOLDEN ARCHES The existing building, captured in 1924

(right) as workers loaded it with coffee and other goods, was
reactivated into a lively mixed-use development, which retains
its historic character while inviting visitors and tenants to enter
its new courtyard through open arches on the esplanade.
86 ARCHITECTURAL RECORD FEBRUARY 2019 BUILDING TYPE STUDY RENOVATION, RESTORATION, ADAPTIVE REUSE

3 7
7 7 7

7
9
7

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THIRD-FLOOR PLAN SIXTH-FLOOR PLAN
20 M. 20 M.

A 10

5
7
9
9

6 6
6 6 4

A 0 60 FT
0 60 FT.
GROUND-FLOOR PLAN SEVENTH-FLOOR PLAN
20 M.

7 9

1 STREETENTRANCE 6 RETAIL
9
2 PUBLICLOBBY 7 OFFICESPACE

3 COURTYARD 8 MECHANICAL
7
4 LOADINGDOCK 9 DUMBOHOUSE
7
5 DINING 10 BROOKLYNBRIDGEPARK
3 2

0 20 FT.
SECTION A - A
6 M.
 EMPIRE STORES BROOKLYN, NEW YORK STUDIO V AND S9 ARCHITECTURE 87

UPWARD MOBILITY Located on a prominent site in

Brooklyn Bridge Park (opposite), the $160 million project
offers views of Manhattan and the famous bridge. Stairs
and catwalks (right) cantilever from existing schist walls,
sliced open to improve flow. New glass curtain walls fill
in the gaps and reveal activities within.

Bridge Park that, in lieu of taxes, contributes

about 90 percent of the park’s annual operating
costs of $12 million plus.) The project must also
conform with New York State’s Historic
Preservation Office (SHPO) guidelines.
The challenges involved in achieving these
goals were formidable. In 2013, when former
mayor Michael Bloomberg announced that
developer Midtown Equities, in partnership
with HK Organization and Rockwood Capital,
won the bid to convert and expand Empire
Stores, the building was near collapse, from
decades of neglect, compounded by the ravages
of Hurricane Sandy a year earlier.
“It was a diamond in the rough,” recalls Jack
Cayre, president of Midtown Equities and a
Brooklyn native who had long admired the
complex. The seven contiguous structures that
make up Empire Stores were supported by a
tight wood-column grid and separated by
load-bearing solid schist walls, a typical meth-
od of fire prevention. The seven-wythe-thick
brick facades that surrounded them were
punctuated by more than 400 arched openings
with no glass, just heavy steel shutters to
protect the interiors from the elements.
“This thing was built to take a huge
amount of load,” says Silman structural engi-
neer Pat Arnett. “We found the capacity to be
250 pounds per square foot or higher.” And it
was built to last, with its dense masonry walls
and redundancy of timber columns (though
many had collapsed over time). “The building
is so robust,” says Arnett, “you could knock a
lot of the columns out and it still would stand.”
P H O T O G R A P H Y: © I M AG E N S U B L I M I N A L (O P P O S I T E ) ; R A I M U N D KO C H

Such stability would prove invaluable in the

reconstruction of the building. The original
timber piles had rotted away, and it needed a
new foundation. To do this, the engineers had
to shore up the structure, which they did by
boring holes 4 feet on center through the base
of the schist walls, then inserting steel beams
through them. This enabled the crew to drive
new helical piles below the structure and pour
a 3-foot-thick mat foundation underneath the reveal the making of the building.” The design masonry wall to create a diagonal passage,
beams. A gravel bed on top of the mat, and retains the rigorous facade, in accordance with which connects the activity of the street with
beneath the concrete ground floor, conceals the landmark requirements, as well as the timber the revitalized waterfront. The resulting public
beams and mitigates water infiltration. Other columns and beams, and much of the stone. lobby offers dining and shopping opportunities
strategies for dealing with rising tides include Yet radical measures were necessary within its and flows into a four-story outdoor courtyard
water-resistant materials for the ground floor, shell: to improve circulation; increase finan- carved out of the building within the original
mechanical systems located above the flood- cial viability by adding two and a half stories walls and encircled by a glazed curtain wall.
plain on top of the loading dock, and a of space; and introduce 21st-century systems. Here, discreetly tucked behind the facade’s
deployable flood fence around the building. One of Valgora’s most significant strategies brick arches, the architects erected a sequence
The structure is so amazing, says Studio V was to crack through the building’s vast 450- of Piranesian stairs, catwalks, and bridges that
principal Jay Valgora, that “we wanted to by 190-foot footprint and slice open a central lead up to a Brooklyn Historical Society mu-
88 ARCHITECTURAL RECORD FEBRUARY 2019 BUILDING TYPE STUDY RENOVATION, RESTORATION, ADAPTIVE REUSE

seum on the second level and the landscaped rooftop

park, where plans for a beer garden are in the works.
On the way up, visitors can peer through sections
of glazing to see the extent of the restoration in vari-
ous offices, where areas of schist have been blown out
and the arches enclosed by a clever window system,
which maintains the look of the historic curved open-
ing by framing the glass on the wall behind it, not
within it like traditional windows’.
To enhance the building’s revenue potential, the
BBPC approved the rooftop addition, which raises the
building’s height to seven stories. Its appropriateness
within the surrounding cityscape was key, says S9
Architecture’s Navid Maqami, as was its setback. Like
the curtain wall’s, the design is based on an industrial
aesthetic, with an obsidian-hued steel-and-concrete
structure that appealed to local community advo-
cates, SHPO, and the city’s Landmarks Preservation
Commission, which had an advisory role.
Since the first occupant arrived in the fall of 2016—
the headquarters and a street-level store for West
Elm—Empire Stores has become extremely popular,
attracting tenants like Shinola, United Technologies,
Wasserman Media, and Soho House, the London-based
venture, which opened a restaurant on the park be-
low and installed Dumbo House, one of its clubs, on
the upper floors, with a terrace and pool deck.
The building has also been luring locals and tour-
ists for its hip, evocative vibe and spectacular views of
the Manhattan skyline. Even on a recent brisk winter
morning, Dumbo House was packed with freelancers
working, while visitors climbed to the terraces out-
side. “It’s a theatrical experience,” says Maqami.
“People even come up to take wedding pictures.” n

P H O T O G R A P H Y: © I M AG E N S U B L I M I N A L ( T O P A N D O P P O S I T E ) ; PAT R I C K D O N A H U E ( B O T T O M )
credits
ARCHITECTS: Studio V Architecture — Jay Valgora, principal; S9
Architecture — Navid Maqami, John Clifford, Sital Patel, principals
ASSOCIATE ARCHITECT: Perkins Eastman
ENGINEERS: Silman (structural); Mottola Rini (m/e/p)
CONSULTANTS: Future Green Studios (landscape design);
Tillotson Design Associates (lighting design); Higgins Quasebarth &
Partners (historic); Spiezle Architecture Group (sustainability)
GENERAL CONTRACTOR: Veracity Partners
CLIENT: Midtown Equities, HK Organization, Rockwell Capital
SIZE: 450,000 square feet
CONSTRUCTION COST: $160 million
COMPLETION DATE: October 2017

SOURCES
CURTAIN WALL: KPA Studio
METAL PANELS: Kingspan
WINDOWS AND DOORS: YKK AP; B&B Iron Works
GLASS: Vitro Architectural Glass
TIME TRIP The architects retained one bay of timber columns to support the facade on the courtyard BUILT-UP ROOF: Siplast
(top), creating unique interior corridors that serve as lounge and meeting space for West Elm. The
PAINT: Benjamin Moore
company’s office (above) features exposed structure and unique windows with an internal frame. Visitors
can use the stair or a glazed elevator to access the rooftop extension of Brooklyn Bridge Park (opposite). HARDWARE: Yale; Norton; Rockwood
EMPIRE STORES BROOKLYN, NEW YORK STUDIO V AND S9 ARCHITECTURE 89
90 ARCHITECTURAL RECORD FEBRUARY 2019 BUILDING TYPE STUDY RENOVATION, RESTORATION, ADAPTIVE REUSE

Visual Culture, Arts, and Media (VCAM) Building

Haverford, Pennsylvania | MSR Design

Inside Job
The interior of a century-old gymnasium is
transformed into a dynamic center for the arts.
BY JOSEPHINE MINUTILLO
PHOTOGRAPHY BY LARA SWIMMER

B
uilt in 1900, the gymnasium at Haverford College holds a prized
location across from Founders Hall on the main quadrangle of the
small liberal-arts school’s wooded campus, eight miles northwest of
Philadelphia. Like many of the earlier buildings at the now nonsec-
tarian institution, founded in 1833 by the Society of Friends, the
beautiful stone structure reflects Quaker architectural principles of
utility, balance, and simplicity. Its recent transformation into an arts
hub reflects a complementary principle: first, do no harm.
Dressed in a rubblestone pattern of the local Wissahickon schist, which was
repointed in the renovation, the three-story building features two protruding
wings originally containing offices, an alumni lounge, and an attic filled with a
treasure trove of century-old sports memorabilia and equipment discovered just
prior to construction. A lower level had locker rooms and a swimming pool. The
soaring central volume was used for any number of physical activities, including
Swedish Gymnastics, popular on college campuses at the time the building was
completed. Curiously—though not unheard of in older buildings—a suspended
running track circles that main space, 12 feet above its floor.
Yet despite its noble presence and prominent position, the building met with a
lamentable fate. As the gamut of athletic and sporting activities moved to mod-
ern facilities farther south on campus, the little edifice, known for years as Ryan
Gym, was abandoned, becoming nothing more than an unkempt hangout for
students. With a nascent plan for a new interdisciplinary arts curriculum to take
 91

CINEMASCOPE The building’s exterior remains largely the

same, except for a newly accessible porch at the front
(opposite). The new insertion includes a variety of spaces; its
cantilevering upper level offers both a view into the object-
study room and a surface for projecting films (this page).
92 ARCHITECTURAL RECORD FEBRUARY 2019 BUILDING TYPE STUDY RENOVATION, RESTORATION, ADAPTIVE REUSE

2 1 10 16
10 14
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2 2 2 2 2
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13 8 15
11 7

6 6 9
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5 5
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NEW 1 ENTRY PORCH 5 LOUNGE 9 EQUIPMENT STORAGE 13 SCREENING ROOM

2 OFFICE 6 ATRIUM 10 CREATE SPACE 14 MECHANICAL

3 SEMINAR ROOM 7 GALLERY 11 “MAKERSPACE” 15 FILM PRODUCTION

4 KITCHEN 8 FILM/MEDIA EDIT 12 CNC 16 ARTIST RESIDENCY

OLD NEW
Restored cupola

Exposed roof
truss system

Three-story arts and

media box, including:
object study/media
production classroom

Film/media editing studio,

equipment checkout

Screening room

Faculty offices

Original entry on
Founders Green credits
Removed portion of ARCHITECT: MSR Design SOURCES
Repurposed running gym floor and added stairs
track for circulation ENGINEERS: Bruce E. Brooks & Associates MASONRY: Zavorski Masonry Restoration
Reinstalled/reoriented
Portion of gym floor (m/e/p); Keast & Hood (structural); Nave SLATE SHINGLES: Greenstone Slate
gym floor boards
left in place
Newell (civil) ACOUSTICAL CEILINGS AND
Filled-in
swimming pool CONSULTANTS: Keystone Preservation SUSPENSION GRID: USG, Owens Corning
Group (preservation); LaSalle Engineering METAL DOORS: Assa Abloy
(code, fire protection); Gallina Design
WOOD DOORS: VT Industries
(lighting); Threshold Acoustics (acoustics,
CUSTOM WOODWORK: Glick
Restored AV); WC Consulting (specifications)
building shell TILE: Appiani, Ann Sacks
GENERAL CONTRACTOR: Whiting Turner
FELTED WALL COVERINGS: Wolf Gordon
CLIENT: Haverford College
AUDITORIUM SEATING: Sedia Systems
SIZE: 25,000 square feet
New entry/connection SHELVING: Alias
to lower campus COST: $15.5 million (total); $13 million
FURNITURE: Knoll, Allermuir, Vitra, Tolix,
(construction) Emeco, Muuto, Leland, Andreu World,
AXONOMETRIC DRAWING COMPLETION DATE: October 2017 Haworth, Herman Miller, Artless, Rypen
VCAM HAVERFORD, PENNSYLVANIA MSR DESIGN 93

MULTISTORY Windows on the rear facade that had

been covered are now revealed (opposite). Multiple
vantage points offer opportunities for seeing activity
throughout the building (right). The lower-level
“makerspace” sits atop the filled-in pool, its walls
covered in tiles extracted from the pool’s sides (bottom).

over the building, the college brought MSR

Design on board six years ago to help with
programming for what would become the
Visual Culture, Arts, and Media (VCAM) build-
ing. The Minneapolis-based firm—known for
adaptive-reuse projects such as the transforma-
tion of shipbuilding facilities in Philadelphia’s
Navy Yard into a corporate campus for Urban
Outfitters—was eventually hired to execute
the design.
Initial plans for an addition were scrapped
for budgetary reasons. “In hindsight, that was
the best thing that happened for the project,”
recalls project manager Dagmara Larsen. So
MSR chose a tack similar to the one it used in
repurposing a Venturi, Scott Brown and
Associates building into a new home for Drexel
University’s College of Media Arts and Design.
There, MSR maintained the colorful mosaic
facade but radically altered the interior. Here,
the firm also left the exterior largely intact,
restoring the slate shingle roof and copper
cupola, and made its big move inside, creating
a multilevel insertion—a self-contained vessel,
in a sense—within the central volume.
The gym’s wood floor was almost entirely
removed to make way for the new construc-
tion, but its planks—many covered with
basketball court markings—were saved and
playfully rearranged as the ceiling for the
lower-level “makerspace,” for instance.
The rather straightforward 5,130-square-
foot insertion contains a screening room on its
lower level; a film-editing lab and equipment
storage above that; and a large room for film
production and object study next to offices at
the top, with elevators to connect them all.
But it’s the way those spaces in the new
block interact with the rest of the building that
makes the project sing. While at first there was
some doubt about maintaining that idiosyn-
cratic suspended track, it prevailed. Reinforced,
and its surface made even, it is a highlight of
the project, serving as circulation around the
upper level, where faculty offices now line the
north side of the building. It also doubles as a
viewing platform when films are screened
against the west wall of the insertion’s upper-
most level. In fact, one can see clear up to those
screenings, and into the film-production/object-
study room, through its large window, from
the lower level—and that’s the point.
While visual access to all the different
rooms was key for the cross-disciplinary nature
of the activities taking place inside, acoustic
94 ARCHITECTURAL RECORD FEBRUARY 2019 BUILDING TYPE STUDY RENOVATION, RESTORATION, ADAPTIVE REUSE

OLD SCHOOL Glazed faculty offices line the north side

of the elevated track (left). The former alumni lounge
now serves as a seminar room (bottom).

separation was just as critical. White baffles

were installed on the underside of the roof.
Storm windows were added over original
glazing. Graphic felt coverings beside those
openings also absorb sound, and slide over the
windows to block daylight for screenings.
Lots of elements serve double duty within
this limited envelope, or were repurposed. The
makerspace, positioned just over the now
filled-in pool (it was previously only decked
over), is also the loading dock. Original lockers
now form the base of a large desk at the entry
to the storage room. The insertion’s top floor
has become a popular space for symposia
across departments, since the college has
limited similarly sized spaces for gatherings.
Haverford’s 216-acre campus has the distinc-
tion of being an arboretum. This project not
only restored the building but improved the
historic grounds. Unsightly squash courts
behind the building were removed, creating
space for a new green and allowing more direct
north–south circulation across campus
through VCAM. When a fire escape was moved,
great care was taken in positioning its footings
to avoid tree roots.
There were some on campus who mourned
the loss of the building’s shabby, ad hoc for-
mer self. The new VCAM, however, with its
community kitchen and 24/7 access, has be-
come a campus hub. MSR’s thoughtful
intervention maintains a level of that old
Quaker sobriety but adds a touch of warmth—
all without sacrificing the quirk. n
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96 ARCHITECTURAL RECORD FEBRUARY 2019
Shaking Things Up
Engineers push buildings to higher levels of earthquake performance.
By Joann Gonchar, FAIA
Resilience is the ability to bounce back after
a disturbance or interruption, or the capacity
to withstand, recover from, or adapt to stress,
misfortune, or change. By now, design teams
are at least accustomed to considering this
concept and a building’s response to such haz-
ards as flooding, intense wind, and drought.
You might assume that for one threat in
particular—earthquakes—modern codes as-
sure resilience, essentially guaranteeing that
recently built structures can be quickly reoc-
cupied, or at least readily repaired. It sounds
totally reasonable—right? But that is not the
case. Codes were devised to protect lives, not
property, so they do little to limit the kind of
SEISMIC DESIGN
destruction that might make a building unin-
habitable for an extended period of time or
even necessitate demolition. In fact, recent
studies often quoted in engineering circles
estimate that code-compliant buildings could
suffer two years of downtime after a signifi-
cant quake. “By design, codes focus only on
safety, and therefore tolerate lots of damage,”
says David Mar, partner at Berkeley, California-
based Mar Structural Design.
But while engineers are still prioritizing
human safety, they are also working to raise
the bar, thanks to better simulation tools and
the maturation, over the past two or three
decades, of performance-based design, an
alternative to the prescriptive, code-based
approach. “As a general notion, performance-
based design can allow project teams to
choose a performance level for any event or
hazard, with resilience as the most ambitious
goal,” says Jon Heintz, the executive director
of the Applied Technology Council (ATC), a
nonprofit that promotes engineering research.
This focus on enhanced performance is a
global trend. Seismic resilience might not be
necessary for all buildings, but it is certainly
relevant for those that represent a significant
investment, house critical business activities,
provide essential services, or are important
community or cultural assets. One such recent
 97

CHRISTCHURCH CENTRAL LIBRARY

EXPLODED AXONOMETRIC

project is Turanga, the new central library in The new central library
(above) in Christchurch,
I M AG E S : © A DA M M Ø R K (O P P O S I T E , A N D B O T T O M , R I G H T ) ; C O U R T E S Y S C H M I D T

Christchurch, New Zealand, which opened last

New Zealand, is one of
year and included stringent structural and several anchor projects in
seismic criteria as part of its bidding require- the redevelopment of the
ments. Its performance goals are not city’s downtown (right)
surprising: the $63 million, 106,000-square- following a string of
earthquakes in 2010 and
foot library, designed by the New Zealand- 2011. Much of its five-story
based firm Architectus with Danish architects rectangular volume is
Schmidt Hammer Lassen, is considered one of surrounded by a perforated
several anchor projects vital to the redevelop- golden veil, omitted in
places to reveal terraces
ment of Christchurch after a series of major and allow views to the
temblors hit the region in 2010 and 2011. surrounding landscape.
Ultimately, 70 percent of the city’s downtown
was demolished due to extensive damage,
though very few buildings had actually
H A M M E R L A S S E N ( T O P, R I G H T )

collapsed.
Local engineering firm Lewis Bradford
Consulting Engineers developed what they
term a “low-damage” seismic solution for
Turanga. In addition to safeguarding the occu-
pants, the strategy is intended to protect the
structure, the fabric of the building, and its
contents. A folded, perforated metal veil sur-
rounds much of the library’s five-story rec-
98 ARCHITECTURAL RECORD FEBRUARY 2019
tangular volume, but is selectively omitted in
some sections to reveal terraces and allow
views to the surrounding landscape. Under­
neath this skin, at the building’s perimeter, is
a largely conventional steel moment­resisting
frame providing approximately 30 percent of
the structure’s earthquake­load resistance.
Most of the seismic work, however, will be
done by three “rocking wall” cores that allow
the building to sway and then return to its
original position.
These vertical cores consist of 82­foot­tall
post­tensioned, site­cast concrete walls with
high force­to­volume extrusion dampers link­
ing the walls’ bases to the foundation and
The Christchurch library’s structural system comprises a largely conventional steel moment
frame and three “rocking wall” cores (right). The cores (top, right), which recenter the building
after a quake, include 82-foot-tall post-tensioned, site-cast concrete walls (above).
SEISMIC DESIGN
U­shaped flexural plates (UFP) that connect the
core walls to corner columns. The UFP energy­
dissipation devices are considered sacrificial,
since they could be damaged in a very large
quake—one with a 1,000­year return period.
However, all of the damage should be confined
to these elements, which have bolted connec­
tions, enabling their replacement, explains
Tim Shannon, Lewis Bradford’s technical
director.
In addition to enhanced seismic perfor­
mance, the scheme was desirable from
an architectural standpoint, says Morten
Schmidt, Schmidt Hammer Lassen cofounder.
The strategy limited the need for lateral brac­
2
CHRISTCHURCH CENTRAL LIBRARY
CORE AXONOMETRIC
CHRISTCHURCH CENTRAL LIBRARY
STRUCTURAL-SYSTEM AXONOMETRIC
es, allowing the architects to create flexible
floor plates and open the center of the build­
ing to a skylit atrium. “Braces would have been
a barrier and constraint, but we managed to
get rid of them,” he says.
In recent years, tools and standards have
emerged to assist engineers in understanding
the trade­offs and risks implicit in seismic­
design decisions. One example is FEMA P­58, a
performance­based analysis methodology
developed by the ATC and funded by the
Federal Emergency Management Agency. It
provides quantitative descriptions of damage
for both existing and new buildings, consider­
ing structural components as well as nonstruc­
1 TILT-UP
CONCRETE WALL
2 POST-TENSIONING
1
3 CORNER COLUMN
4 U-SHAPED
FLEXURAL PLATE
5 SUPPLEMENTARY
3
4 DAMPING DEVICE
I M AG E S : C O U R T E S Y L E W I S B R A D F O R D C O N S U LT I N G E N G I N E E R S
100 ARCHITECTURAL RECORD FEBRUARY 2019
Moderate Major
Earthquake Earthquake
20% chance 10% chance
in 50 years in 50 years
NEW BUILDINGS
Protective
System
Enhanced
Code
Basic Code
OLDER BUILDINGS
Basic
Retrofit
Unretrofitted
OPTIONS FOR EATHQUAKE-RESISTANT DESIGN, FEMA P-58-7, BUILDING THE PERFORMANCE YOU NEED, A GUIDE TO STATE-OF-THE-ART TOOLS FOR SEISMIC DESIGN AND ASSESSMENT
The analysis tool FEMA P-58 can be used by project teams
to understand the trade-offs and risks implicit in seismic-
design decisions for both new and existing buildings. It can
help them develop quantitative descriptions of initial
investment, potential damage, repair costs, and downtime.
tural elements, including facades, finishes,
and mechanical systems. It helps project teams
estimate the repair costs and the amount of
time a building might be uninhabitable as a
consequence of design choices. It even can
help determine the amount of greenhouse
gases that would be generated as the result of
necessary repairs. The aim is to “couple struc-
tural behavior with losses,” says Mar, who is
one of many engineers who has served as a
consultant on the P-58 effort. First released in
2012, a P-58 update will be published in the
first quarter of this year. It will include a new
set of design guidelines and, for the first time,
a section targeting clients, developers, and
other non-engineering decision-makers.
Along with evaluation tools like P-58, LEED-
like frameworks to rank building performance
in the face of seismic threats have also been
emerging, including one created by the non-
profit U.S. Resiliency Council (USRC), and
another developed by the engineering firm
Arup, known as the Resilience-based Earth-
quake Design Initiative (REDi). While both the
USRC and Arup are working to expand their
respective programs to encompass other haz-
SEISMIC DESIGN
CONSEQUENCES UNDER MAJOR EARTHQUAKE
Extreme
Earthquake Casualty Chance of
2% chance Risks Post-EQ Placard
in 50 years
ards, such as flooding and high winds, the
current versions of both systems are still
focused on seismic design and are intended to
help teams achieve beyond-code performance.
While Arup’s REDi targets high-profile new-
construction projects, the USRC’s system is
geared for a range of existing as well as new
structures. To date, the nonprofit’s certified
projects include the seismic retrofit of a
nondescript retail building in San Gabriel,
California, and an elaborate, recently dedi-
cated Mormon temple in Concepción, Chile.
“The program is aimed at a broad swath of
owners,” says Evan Reis, the organization’s
executive director.
One project seeking USRC certification is
Casa Adelante, now under construction in San
Francisco’s Mission District. When complete
late this year, it will provide 93 apartments
for low-income seniors in a neighborhood that
the building’s architect, Susie Coliver, princi-
pal of Herman Coliver Locus, describes as
“ground zero for gentrification.” The approxi-
mately $40 million nine-story project is
aiming for USRC Gold (the second-highest
level of certification), which means that, in
addition to protecting occupants against
major injury, Casa Adelante should sustain
damage amounting to less than 10 percent of
its replacement cost, with minimal disruption
to operations. The building includes 19 units
Expected Building Initial Building Repair Carbon Impacts
Downtime Cost of Repairs
Cost
days
days to weeks
weeks to months
months to a year
a year or more
for the formerly homeless, making its en-
hanced performance goal particularly
appropriate, points out Coliver. “After a quake,
there would be few options for affordable
housing for these seniors,” she says. “There is
so little of it anyway.”
The project’s seismic resilience has been
accomplished primarily with elements found
in many Bay Area multiunit residential build-
ings, including reinforced-concrete floor
plates, columns, and shear walls. But at Casa
Adelante, these largely conventional compo-
nents have been tuned through sophisticated
computer simulations. “Their dynamics have
been considered all together, as a system,
to make some parts stronger and others weak-
er,” explains Mar, the project’s structural
engineer. The idea is that the building will
realign itself after an earthquake’s shaking,
behaving in a manner similar to the new
library in Christchurch.
The only somewhat exotic components at
Casa Adelante are a set of four dampers spe-
cially manufactured in New Zealand and
designed with the help of Geoffrey Rodgers, an
engineer and professor at the University of
Canterbury in Christchurch, who also had a
hand in Turanga. The dampers, necessary
because the shear walls are located close to the
building’s exterior, sit between a mat slab and
the foundation’s piers, permitting the slab to

CASA ADELANTE, PERSPECTIVE
I M AG E S : © F E M A (O P P O S I T E ) ; C O U R T E S Y H E R M A N C O L I V E R L O C U S ( T H I S PAG E )
Casa Adelante (top), under construction in San Francisco’s
Mission District, will provide 93 apartments for low-
income seniors. It is aiming for USRC Gold certification,
with a seismic system that includes dampers (above)
developed for the project in New Zealand.
lift but then be pulled back. Because Rodgers
donated his time and convinced other collabo-
rators involved in creating the devices to do
the same, the project’s nonprofit developers
are paying only $4,000 for each damper. This
marginal cost would have been considerably
higher had all the fees normally associated
with design and fabrication been included.
Keeping added expenses low while improv-
ing performance is one of the main aims of
the larger seismic-resilience endeavor. “Our
mission is to substantially reduce risk with
very little premium—between 0 and 5 per-
cent,” says Ibrahim Almufti, an associate
principal in the San Francisco office of Arup
and one of the primary authors of REDi. He
says that many clients are unaware of the
potential consequences of meeting only the
prescriptive requirements of the building
code, citing his firm’s experience as structural
and geotechnical engineer at 181 Fremont, a
56-story office and condominium tower de-
signed by Heller Manus and completed last
year, directly adjacent to San Francisco’s
Salesforce Transit Center. The building’s own-
ers were surprised to learn that if typical
seismic-performance objectives were pursued
101
the tower might be unusable for two years
after a major quake. They therefore opted for a
beyond-code approach, targeting REDi Gold,
the program’s second-highest level of certifica-
tion, which includes immediate reoccupancy
after a 475-year earthquake, with limited
disruption to functionality.
The tower’s seismic strategy comprises a
dual system of a perimeter moment frame and
composite megacolumns and a steel mega-
brace, all rising from a foundation that
includes piles socketed into bedrock, more
than 200 feet below the street. Earthquake-
resistance is dependent almost entirely on
these perimeter elements, since the slender-
ness of 181 Fremont—with a base that is only
120 by 90 feet—did not permit a structural core
in the office portion, which occupies the lower
37 floors. But above, in the residential levels,
there is a secondary system, with a core rein-
forced with buckling restrained braces. The
tower is designed to uplift slightly, about an
inch, in a large quake—one known as a maxi-
mum considered earthquake, or MCE, defined
by code as a seismic event that has a 2 percent
chance of occurring in 50 years. Each megacol-
umn includes a shear key, which was devised
102 ARCHITECTURAL RECORD FEBRUARY 2019 SEISMIC DESIGN

181 FREMONT, DAMPER DETAIL

year quake.
The tower’s sophisticated engineering solu-
tions, and those employed at Casa Adelante
and Turanga, should help the structures and
their occupants quickly recover from a major
earthquake. If such beyond-code projects
become commonplace, more owners can ex-
pect buildings that not only safeguard human
life but are genuinely resilient. n

Continuing Education
To earn one AIA learning unit
(LU), including one hour of
health, safety, and welfare (HSW)
San Francisco’s 181 Fremont, which sits adjacent to the
currently closed Salesforce Transit Center and its rooftop credit, read “Shaking Things Up,”

garden (above), has composite megacolumns and a steel
megabrace (right) to help it perform in an earthquake.
Dampers are integrated into the megabrace (far right).
to allow forces to be transmitted to the founda-
tion without the tower moving side to side,
explains Almufti.
At the very top of the building, engineers
were able to omit a tuned mass damper (TMD)
that had been included in an earlier scheme.
Such devices are often incorporated into the
crown of slender towers to reduce the sway
and acceleration caused by wind, which can
make occupants uncomfortable. But at 181
Fremont, Arup instead used viscous dampers,
incorporating them into the perimeter mega
braces. This approach freed up valuable real
estate, allowing for an additional residential
penthouse, while also benefiting seismic per-
formance, since the devices mitigate both
wind and earthquake forces. The approach
also allowed engineers to reduce the struc-
ture’s weight and stiffness, which in turn
further reduced seismic loading, explains
181 FREMONT, PERIMETER-BRACING DIAGRAM
decrease the size of the steel sections, as well
as the overall seismic demand,” he says.
As part of their work on 181 Fremont, the
engineers also considered nonstructural
elements, since repairing or replacing such
components can be costly and delay reoccu-
pancy. For instance, a full-scale, three-story
facade mockup was used to confirm air- and
I M AG E S : © S T E V E P R O E H L ( T O P, L E F T ) ; C O U R T E S Y A R U P ( M I D D L E , A N D T O P, R I G H T )
review the supplemental material found at
architecturalrecord.com, 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 your credit will be automatically
reported to the AIA. Additional information
regarding credit-reporting and continuing-
education requirements can be found at
continuingeducation.bnpmedia.com.
Learning Objectives
1 Distinguish the performance objectives of
code-compliant seismic design from those of
resilient seismic design.
2 Describe tools and standards that project
teams can use to understand the trade-offs and
risks implicit in seismic-design decisions.
3 Explain how nonstructural components can
contribute to or detract from seismic resilience.
4 Describe the seismic-design strategies and
systems deployed in the three projects profiled.
AIA/CES Course #K1902A

Almufti. The damper system “allowed us to watertightness after the shaking of a 475-
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 ARCHITECTURAL RECORD FEBRUARY 2019 105

RECORD
KITCHEN
& BATH
106 Argentona Apartment, Barcelona, by YLAB
109 Heard Residence, Ohio, by MacPherson
112 Santa Barbara Ranch, California, by Anacapa
115 Products
P H O T O G R A P H Y: C O U R T E S Y Y L A B A R Q U I T E C T O S

ARGENTONA APARTMENT,
BARCELONA, YLAB ARQUITECTOS
106 ARCHITECTURAL RECORD FEBRUARY 2019 RECORD KITCHEN & BATH
Argentona Apartment
Barcelona
YLAB Arquitectos
The NorwegiaN couple who own a weekend retreat on Carrer
d’Argentona, in Barcelona’s fashionable Gracia district, needed its
tiny kitchen to be unusually flexible, to accommodate their transient
lifestyle.
Since the 970-square-foot apartment is not their primary residence,
they wanted the option of concealing the kitchen—to avoid collecting
dust when the unit is unoccupied, and for entertaining. Because they
seldom cook, they also didn’t want appliances to overwhelm the space.
The solution was to build a special enclosure.
“We had to propose something that worked best with the habits of
these particular people,” says YLAB principal Yolanda Yuste López.
The couple also wanted something that didn’t necessarily look like a
kitchen. “But it had to have all the storage and functions of a proper
kitchen. So we made a compromise,” López says, referring to the
L-shaped plan she built, which is defined by floor-to-ceiling oak cabi-
nets and sliding doors.
One of López’s challenges was to accommodate the couple’s desire to
separately compartmentalize the room’s functions. She designated
large, discrete cabinets for cooking, dishwashing, wine and bar, and a
breakfast nook. Each holds the appropriate appliances, outlets, and
storage for its purpose. And when a particular zone is not in use, its
 107

HIDE AND SEEK The combined living and dining area features oak cabinets
that store and conceal kitchenware and appliances.

doors can be slid closed. Together with the closets that the
P H O T O G R A P H Y: C O U R T E S Y Y L A B

architect added to the home office, these custom oak floor-to-

ARQUITECTOS BARCELONA

ceiling units occupy 140 square feet of the apartment.

Although the results look clean and simple, López had to
work around several existing constraints. The first priority
was to relocate the kitchen from an anterior wall next to the
entry where there was no daylight. The apartment, on the
second floor of an early 20th-century residential building, was
heavily partitioned with load-bearing brick walls. The design
team removed these and supported the structure with steel
108 ARCHITECTURAL RECORD FEBRUARY 2019 RECORD KITCHEN & BATH

REFLECT AND REFRACT White lacquered walls and cream-colored natural stone
floors multiply daylight, illuminating the windowless anterior rooms (left and above). The
1 ENTRY bathroom can be accessed from the kitchen via sliding oak doors (above).
5 VESTIBULE

P H O T O G R A P H Y: C O U R T E S Y Y L A B A R Q U I T E C T O S B A R C E L O N A
2 LIVING/DINING
2 piers and lintels. The only source of daylight was punched windows
3 3 GALLERY
along a south-facing wall overlooking a courtyard, but the light was
4 HOME OFFICE blocked by an interior wall running almost the whole width of the
1
5 BEDROOM apartment to make a long, narrow gallery. So López and her team
4
replaced it with fully glazed doors that fold out of the way, while in-
stalling enormous windows on the exterior, essentially removing the
masonry facade except for structural columns. Light now pours not
0 10 FT.
FLOOR PLAN only into the gallery but most of the apartment.
3 M.
The combined kitchen and living areas run alongside this solarium,
which, when its doors are open, extends the social space. White-
credits
lacquered cladding and warm-toned Capri sandstone floors reflect
ARCHITECT: YLAB Arquitectos Barcelona SOURCES
daylight to illuminate the interior.
— Yolanda Yuste López, Tobias Laarmann, FLOORS: Levantina
The apartment has a polished and fresh aesthetic, the capability to
principals WALLS: Neolith adapt to its inhabitants’ needs, and significant space for gathering with
SIZE: 970 square feet CUSTOM WOOD FURNISHINGS: Blum family and friends. “It breaks down the classical functions of an apart-
COMPLETION DATE: May 2018 LIGHTING: Delta Light; Santa & Cole ment to make everything more fluid,” López says, “so that the owners
FAUCETS: Vola can do what they want, however they want to do it.” Alex Klimoski
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110 ARCHITECTURAL RECORD FEBRUARY 2019 RECORD KITCHEN & BATH

Heard Residence
Perrysburg, Ohio
MacPherson Architects / 2MA
Few materials signify contemporary design the way glass does, espe-
cially when it’s used to delineate space inside a 144-year-old house. P H O T O G R A P H Y: © RYA N S O U T H E R N

That idea of a sharp contrast is what drove MacPherson Architects /

2MA’s solution when a couple, who own a Victorian residence in his-
toric Perrysburg, Ohio, asked the firm for an interior more in tune with
21st-century living.
Principal Kate MacPherson planned a multiphase renovation that
would include preserving the house’s 1875 exterior. A top priority was
making the second-floor master suite a cozy retreat for the empty-nest-
ers, complete with a spalike master bath, while the rest of the work was
going on. “The next phases involve exterior renovations, which must be
 111

7
5

3
2

4 6

9
1

0 10 FT.
SECOND-FLOOR PLAN
3 M.

1 MASTER BEDROOM
2 MASTER BATH
3 CLOSET
4 MECHANICAL ROOM
5 GYM
6 BEDROOM
7 SUNROOM
8 ROOF DECK
9 BATHROOM

GLAZING OVER
Glass entry doors and a
pocket door screening a
closet in the master bath
(opposite and right) add
contemporary drama, in
contrast to the Victorian
details of the 1875 exterior
(insert opposite). In
recesses above doors, the
architects added LEDs,
which illuminate the
openings and highlight the
profiles of base moldings.
112 ARCHITECTURAL RECORD
credits
ARCHITECT: MacPherson
Architects/2MA — Kate B.
MacPherson, partner in charge;
Jaimie L. Deye, associate project
manager
GENERAL CONTRACTOR:
Roman Construction
CLIENT: Alex and Sandra Jane Heard
SIZE: 5,000 square feet
COST: withheld
COMPLETION DATE: October 2018
FEBRUARY 2019 RECORD KITCHEN & BATH
SOURCES
GLASS DOORS & PARTITIONS:
Oldcastle BuildingEnvelope; Walker
Textures (low-iron velour)
LIGHTING: Seagull (LED tape); Juno
(downlights); Legrand Adorne (controls)
BATH FIXTURES: Duravit
FAUCETS: Hansgrohe
DOOR HARDWARE: C.R. Lawrence
(hinges); Dorma (sliding system)
SOLID SURFACING: DuPont Corian
RADIANT HEAT: Uponor; Schluter
OLD MEETS NEW Plumbing was run through existing chases in the wood-frame
structure. Subfloor levels were aligned to ensure a seamless continuity with new
flooring, including hydronic radiant heat in the bathroom (left).
approved by the district’s board. But in many ways they don’t
care so much what’s inside,” MacPherson says.
That, and the fact that the owners are her longtime friends,
allowed the architect the freedom to insert modern materials
while retaining many of the Victorian details, such as elaborate
molding. As the first phase of the plan, the 485-square-foot mas-
ter suite (including a 125-square-foot bath) established a new
design language for the future work throughout the house, with
glass as the key element.
Although wood and Corian were considered, ½-inch-thick
velour-etched tempered glass, used for both hinged and pocket
doors as well as for partitions, worked best to create the unclut-
tered, bright space the couple wanted.
Hinged double doors of glass open to the bathroom off the
second-floor landing. Just inside them, along a short corridor
leading to the tub and double vanities, a glass pocket door conceals
a walk-in closet. A second pocket door to one side of the tub can be
slid back to reveal the bedroom, while fixed etched-glass panels
enclose the toilet and shower along the opposite side of the room.
“The idea of glass doors frightens some people, but because
they’re tempered, polished, and thick, they will hold up over
time,” MacPherson says. Creating the pocket doors required
additional steps. The architects designed their recessed slots as
prefabricated units; the walls were built out by roughly 4 inches,
resulting in partitions that are 8 or 11 inches thick. The slots are
deep enough for LEDs and vents for the bathroom’s exhaust
system along the top; this required some reframing and rein-
forcement to support the 10-foot, 6-inch door panels. Meanwhile,
to create a smooth, zero-threshold pocket, MacPherson also
leveled the floors.
The benefits are already evident, she says, describing the ethe-
real effect when the etched doors are closed. “It’s almost as if the
door itself is light-giving. They add a whole new dimension to the
space.”
In the shower, the material palette expands to include solid-
surface walls. In contrast to the original plaster walls, which
feature prominent baseboard moldings and rounded edges, these
seamless walls have crisp corners and no decorative trim. A
wall-hung toilet and a single trough-style sink fitted with two
taps present a similarly clean line.
By placing a freestanding tub in the room’s bay window,
MacPherson linked the glass treatments to the building envelope.
Instead of blinds or curtains, she applied a translucent velour
film to the lower lites of the double-hungs, allowing them to
filter maximum daylight and a view of the sky and treetops. To
insulate against the Ohio winters, the architect installed radiant
floor heating, which supplements radiators along the baseboard
between the tub and windows.
“The openness provides a more spacious visual flow and the P H O T O G R A P H Y: © RYA N S O U T H E R N
practical benefits of a more easily maintained environment,”
MacPherson says.
As for the etched glass elsewhere in the house: an additional
6-foot slider will be installed to close off the kitchen; a 36-foot-
long, 12-foot-high wall of operable glass windows will provide
access and views to a backyard terrace; and floor-to-ceiling glass
will enclose the second-floor landing. “It’s like putting together
the story of a stylistic interjection in a Victorian house.”
Leslie Clagett
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114 ARCHITECTURAL RECORD FEBRUARY 2019 RECORD KITCHEN & BATH
Greene Ranch
Santa Barbara, California
Anacapa Architecture
When the owner of an unremarkable 1,100-square-foot 1950s ranch
house commissioned Anacapa Architecture to replace it with a new
2,450-square-foot dwelling with an open plan, she described the kinds
of materials and finishes she wanted indoors. Principal Dan Weber
used these strong palette choices as a jumping-off point for his archi-
tecture and interiors. This is especially evident in the kitchen and
bathrooms, which are key to his design.
Besides doubling the house’s footprint, Weber and his team bal-
anced the slatted ipé panels and white stucco of the exterior by using
the same wood in the kitchen’s clean, white environment. From the
street, the combined living/dining/kitchen area is visible through a
large window, neatly framed by the house’s cladding. Used for its
durability as well as its visual appeal, the street-facing ipé wall turns a
corner inside the entry vestibule and reappears as striking millwork
to conceal the bottom-mount, built-in refrigerator-freezer in the kitch-
en. The white custom cabinetry in the rest of the space offers plenty of
storage to keep it clutter-free. The pristine palette underscores the
link between the stucco and the white-painted millwork, the bianco
bello marble-top island and white-tile backsplash.
In the evening, one can switch on a series of downlights and a dra-
matic brass chandelier that hovers above the island. “The owner had a
very clear vision for the design: she wanted a bright, minimalist
space,” says Weber. “The island is the central gathering place for rich
social interaction that revolves around meal preparation.” It holds the
sink, dishwasher, storage, and concealed trash bins. The client selected
the marble for the countertop.
Weber carried the elegant palette into a nearby guest bath, suspend-
ing pendant versions of the kitchen chandelier above a walnut vanity
complemented by brass faucets, hardware, and a mirror edged in the
same metallic finish.
The open plan of the kitchen-living wing extends to the master
suite. Here, a full-height wall forms the bed’s headboard, but the room
is devoid of doors at either side. These two thresholds lead into the
master bath, which features polished-concrete floors with radiant
heating and large-format gray tiles. The fixtures in this room include
 115

3 4

6 5

0 16 FT.
FLOOR PLAN
5 M.

1 ENTRANCE
2 KITCHEN
3 MASTER BEDROOM
4 MASTER BATH
5 GUEST BEDROOM
6 GUEST BATH

COOK OUT
A sliding glass wall on one
side of the house (opposite)
spans 36 feet, connecting
the kitchen to the outdoors.
Custom appliance doors of
ipé conceal the refrigerator-
freezer and pantry, and tie
in with the facade. The
guest bath (top, right)
features the same subway
tile and brass fittings as the
P H O T O G R A P H Y: © E R I N F E I N B L AT T

kitchen. The house’s east-

facing wall frames a view of
its matched kitchen.
116 ARCHITECTURAL RECORD FEBRUARY 2019 RECORD KITCHEN & BATH

COOL CONTRAST A skylit corridor (left) leads to the master suite. In the master bath (above),
walnut and brass fittings punctuate the gray-tiled walls and concrete floor.

a tub; an open shower shielded by a single glass panel on one side; an en-
closed toilet; and a custom double vanity fabricated by the same cabinet-
maker who worked on the kitchen. While the vanity was constructed with
walnut, the same brass fittings and luminaires punctuate the calm gray
space. Timber slats lining the shower floor and a custom bench are com-
posed of the recurring ipé that ties the indoor and outdoor spaces of the
house together in many details.
The minimalist design and carefully curated palette work in concert to
present a visually serene and uncluttered home, from every nook to the
main attraction that is the kitchen. Sheila Kim

credits
ARCHITECT: Anacapa — Dan Weber, principal SOURCES
architect; Geoff April, Jose Sanchez, design CUSTOM CABINETRY: Lotus Cabinetry
team HARDWARE: Buster & Punch; Colonial Bronze P H O T O G R A P H Y: © E R I N F E I N B L AT T

STRUCTURAL ENGINEER: SLIDING GLASS DOORS:

Ashley & Vance Engineering Western Window Systems
GENERAL CONTRACTOR: LIGHTING & MIRRORS: RH Modern
Beach Front Construction FITTINGS: Kohler
CLIENT: Heather Greene
SIZE: 2,450 square feet
COST: withheld
COMPLETION DATE: December 2017
ARCHITECTURAL RECORD FEBRUARY 2019
products kitchen & bath 117

Circular Lamp
Counter Intelligence Dutch firm Studio WM
has designed an organic-
Unexpected finishes and subtle high-tech features looking LED pendant
mark these innovative product offerings. users can control with an
app. Made of anodized
By Kelly Beamon powder-coated aluminum
and spanning 21¾" in
diameter, the fixture is
available in bronze, brass,
and black finishes. Users
can control brightness
and color temperature
with a phone or tablet.
menu.as

CX492 and CX482

With a surface that gets installed flush with counter-
tops and measures 30" or 36", Gaggenau’s latest
induction cooktop accommodates up to six pots, yet
provides a more seamless profile than previous ver-
sions. The enlarged surface is operated using a
touchscreen display that reflects the shapes, sizes, and
positions of cookware and features a “private chef”
mode that offers 17 heat levels.
gaggenau.com

K7
The height of this cooking island can be adjusted from
29" to 44½" at the touch of a button. The ergonomic
design is by Berlin-based Team 7 and combines work
surfaces for cooking, dining, and entertaining in one
bar, which also incorporates a sink, cooktop, and storage.
team7.at

Undercounter Collection
Refrigerator manufacturer True Residential has
rolled out an undercounter line that includes
refrigerators, refrigerated drawers, wine cabi-
nets, beverage centers, and drink dispensers in a
choice of 36 colors. More than the space-saving
size, hues such as Gold, Copper, Brass, and Cobalt
(shown) help distinguish the condo- and hotel-
friendly units.
true-residential.com
Ombré Vibrant
The graduated finish on Kohler’s new faucet sets extends
design options available for the manufacturer’s
Component and Sensate plumbing collections. Called
Ombré Vibrant, the finish is available in Vibrant Rose
Gold, Polished Nickel, and Titanium, with a physical vapor
deposition (PVD) coating, a treatment that makes it
scratch- and tarnish-resistant.
us.kohler.com
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 EDUCATIONAL-ADVERTISEMENT 119

CONTINUING EDUCATION

CONTINUING EDUCATION
In this section, you’ll find four compelling courses highlighting creative solutions for tomorrow’s buildings brought to you by industry leaders. Read a course, and
then visit our online Continuing Education Center at ce.architecturalrecord.com to take the quiz free of charge to earn credits.
Photo courtesy of Saint-Gobain SageGlass

Photo courtesy of Contacta

p120 p128

Effective Fenestration for Wellness and Designing for People with Hearing Loss
Energy Conservation Sponsored by Contacta
Sponsored by Marvin Windows and Doors, NanaWall Systems, and
Saint-Gobain SageGlass

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Courses may qualify for learning hours through most Canadian provincial architectural associations.
120
CONTINUING EDUCATION
Fenestration can be implemented in buildings
in many different ways to achieve a design
concept balanced with performance require-
ments for natural light, energy use, and
weather resistance.
Effective Fenestration for Wellness and
Energy Conservation
Strategies to connect to the outdoors, control energy
flow, and maintain comfortable interiors
Sponsored by Marvin Windows and Doors, NanaWall Systems, and
Saint-Gobain SageGlass | By Peter J. Arsenault, FAIA, NCARB, LEED AP
P
roviding fenestration in exterior walls
is driven by a variety of factors. In
some cases, it is a primary form giver
in the design of a building and has certainly
been the key to many approaches leading to
award-winning designs. In the interest of pro-
moting well-being and healthy environments,
fenestration has also been seen as an essential
component in that effort. At the same time,
fenestration has been the focus of intense
advancement and development to address the
need for energy conservation in buildings.
In this regard, bringing natural light into a
building can be an energy saver by allowing
artificial lighting to be switched off, as long as
that natural light doesn’t overpower the inte-
rior and create glare or a light level that is too
intense. On the other hand, fenestration can
EDUCATIONAL-ADVERTISEMENT
allow more heat loss than an insulated wall
or too much heat gain from sunlight passing
through the glazing, either of which could
increase the need for energy to heat or cool a
building. Recognizing this array of intercon-
nected variables, manufacturers of fenestra-
tion products offer choices in how these prod-
ucts can be sized, specified, and assembled so
that architects can select and customize their
products to suit the overall design, human
needs, and energy performance requirements
of many different buildings. With all of these
points in mind, this course will look at some
of the driving forces behind incorporating
fenestration into buildings, latest technolo-
gies and products available, and design ap-
proaches to help balance light, connectivity,
and energy conservation.
Photo courtesy of Saint-Gobain SageGlass
CONTINUING EDUCATION
1 AIA LU/HSW
Learning Objectives
After reading this article, you should be able to:
1. Identify and recognize the health, well-being,
and energy aspects of providing natural
daylight into buildings.
2. Assess the advances and options in
manufactured window units related to
increasing daylight, providing a cleaner
appearance, and better performance.
3. Explain the significant design and
performance aspects of opening glass walls
used as fenestration in buildings.
4. Describe the different methods of solar and
daylight control that are possible through the
use of electrochromic glazing.
To receive AIA credit, you are required to
read the entire article and pass the test. Go to
ce.architecturalrecord.com for complete text
and to take the test for free.
AIA COURSE #K1902D
MODERN
PRINCIPLES.
MARVIN
INNOVATION.
Introducing a modern line unlike any other.
For Marvin Modern, we considered every detail,
from product to packaging to installation, resulting
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Discover it at marvin.com/modern.

© 2019 Marvin Windows and Doors. All rights reserved. ® Registered trademark of Marvin Windows and Doors.
122 EFFECTIVE FENESTRATION FOR WELLNESS AND ENERGY CONSERVATION
THE POWER OF LIGHT
Many people are attuned to the cultural senti-
CONTINUING EDUCATION
ment for well-lit spaces, but some scientific
evidence based on research indicates that increased
exposure to light makes people more productive
and improves their sense of well-being, therefore
improving overall wellness.1 Some specific studies
have also looked at particular aspects of the impact
of natural light on people, such as the following.
• Biophilic design: Human beings have moved
relatively quickly from spending most of our
time outdoors to most recently spending up
to 97 percent of our time indoors.8 Nonethe-
less, we still have some psychological and
deep-rooted connections to things in the
natural world that have been traced to the
earliest days of living on terrain like mead-
ows and the savanna.2 Recognizing these
connections has become the impetus behind
an effort known as biophilic design.
• Exposure to light: Exposure to natural light
has been shown to play an important role in
a healthy sleep/wake cycle. More specifically
the rhythmic pattern of dawn, day, dusk, and
night affects our inherent circadian rhythms,
influencing us in physical, mental, and behav-
ioral manners. The rhythms of light and dark-
ness in a person’s environment are recognized
by a type of receptor in our eyes, while the
sun as a light source connects to our internal
clocks, telling us when to wake and sleep.3,4
• Lack of light: Research has shown that a lack
of exposure to light can actually make people
sick. In the 1980s, U.S. software firms discov-
ered one of the most detrimental factors to
engagement and productivity of their employ-
ees was a lack of natural daylight.5 Even worse,
doctors began to diagnose patients who spent
too much time in artificially lit, poorly ven-
tilated spaces with Sick Building Syndrome,
a condition affecting office workers that is
The concept of “designing with light” involves the judicious use of fenestration to provide connections between the indoor parts of a building and
the natural, outdoor world.
attributed to unhealthy or stressful factors
in the working environment.6 This has been
recognized in Japan in a particular way where
skyscrapers and intense urban density led to
the concept of “nissho-ken,” which trans-
lates to “a right to sunlight.” After a string of
“sunshine suits” in the late 1960s and early
1970s, more than 300 Japanese cities adopted
“sunshine hour codes,” specifying penalties
that developers must pay for casting shadows.
“Sunshine is essential to a comfortable life,”
the court opined, “and therefore a citizen’s
right to enjoy sunshine at his home should be
duly protected by law.’”7
In response to the significance of daylight,
then, it becomes incumbent on architects to take
this into account in the interest of designing
buildings that protect and promote the health
and welfare of the people who occupy them.
There are, of course, many different ways to meet
these needs that center on “designing with light.”
MANUFACTURED WINDOWS
Manufactured unit windows are a common
staple of many buildings whether residential,
commercial, or even institutional. As a fabricat-
ed product, they need to have their own physical
integrity for internal support and durability
over time. In the past, that has meant heavy
frame and sash members, usually made out of
wood, which reduced the size of the glazing and
therefore reduced the amount of light entering
through the window.
Modern buildings tend to have more
windows made with narrower frames. This in-
creases the capacity for light to pass through the
windows while also offering better views.
Those views to the exterior allow a direct
connection to the healthy, natural state that peo-
ple experienced when they spent most of their
time outdoors. This speaks to biophilic design,
EDUCATIONAL-ADVERTISEMENT
since it brings the feeling of being in nature into
the built environment. Manny Gonzalez, FAIA,
LEED AP, is principal and director at KTGY, a
Los Angeles-based architecture firm. He is sensi-
tive to this biophilic approach, saying, “The feel-
ing of being in nature stays with you, even while
inside looking at trees, a garden, or patio. Your
mind may not realize it, but your body wants
that feeling of getting back to nature.”
Applying this human longing for con-
nectivity to the outdoor environment is what
Gonzales and others cite as designing around
natural light. “Being able to control the
lighting— whether it’s the natural light that
you have, the UV rays that you get through a
window, visibility, or window coverings—all
those things start tying together when you’re
creating the proper environment,” Gonzalez
adds. “If you do a good job as an architect, the
resident won’t even know that they’re experi-
encing biophilic design. They don’t even think
about it—it just feels good.”
When a building design embraces and en-
hances the benefits of natural sunlight through
deliberate window choices that strengthen
our connection to the outdoors, those much-
desired feelings of well-being are the natural
result. The more exposure to the outdoors and
light, the better we feel because we’re more in
sync with the rhythms of daylight, and there-
fore more in tune with nature. “All of these
things tie into healthy living, the ability to get
the sleep that you need, the wellness everyone
is talking about trying to get,” Gonzalez says.
Window manufacturers recognize this point
and have responded with updated products
that provide minimal sightlines with larger
expanses of glass. This combination helps
provide a seamless, clutter-free appearance that
makes it easier to engage with the outside world
through windows and doors.
Photos courtesy of Marvin Windows and Doors
© 2019 NANA WALL SYSTEMS, INC.

Our HSW systems’ single track sliding glass walls stand up to the toughest weather
and commercial use. With limitless spans and place-anywhere swing doors that convert
to panels and slide away, our systems maximize space—while leaving views
(and creative opportunities) entirely unobstructed. Learn more at nanawall.com/hsw.
124 EFFECTIVE FENESTRATION FOR WELLNESS AND ENERGY CONSERVATION
Photos courtesy of Marvin Windows and Doors
CONTINUING EDUCATION
Windows are available with narrower framing to improve sightlines with cleaner appearances to
maximize the view, receive natural daylight, and provide a sense of wellness to building occupants.
Christine Marvin, director of corporate
strategy and design at Marvin Windows
and Doors, is among the window company
executives who are working to advance this
approach. “People want to feel better and live
healthier lives,” she notes. “Light has a huge
impact on how people feel about their home.”
In regard to the latest window products avail-
able on the market that maximize light and
provide cleaner, more modern looks, she adds,
“This enables homeowners to achieve what they
seek in their home—connection, restoration,
and freeness.”
Among the features that achieve the myriad
design and performance demands of win-
dows, Marvin notes that sightlines can remain
unobstructed with less than 3 inches of framing
visible across window products in prefabricated
and preconfigured components that save on
installation time. Further, improvements in the
frame design help keep interior temperatures
Photos courtesy of NanaWall Sytems
comfortable and address energy conservation as
much as improvements in glazing. Durable ma-
terials including high-density fiberglass speak
to the strength and longevity of the windows,
including their ability to seal against unwanted
air infiltration over time.
OPENING GLASS WALLS
In some building situations, there is a design in-
tent or a user need to provide dramatic flexibil-
ity in the use of fenestration. The fullest extent
of this approach is being able to open or close
large sections of wall areas completely. A prod-
uct that does just that is identified as an opening
glass wall that uses large, door-sized glass panels
that can be readily opened or closed on demand.
Like any other type of building fenestration, this
system does not carry any structural load from
the building but is reliant on being appropriately
attached to the building and operates within a
structurally supported opening.
Opening glass walls provide the opportunity for large,
controllable fenestration that can open up directly
to the outdoors or be closed up tight to provide an
energy-conserving enclosure.
EDUCATIONAL-ADVERTISEMENT
This type of flexible fenestration has been
popularly used in a wide range of building
types, including restaurants, retail, hospitality,
education, sports venues, office buildings,
and even residential projects, both single and
multifamily. In retail settings, for example,
opening up the entrance makes the entire street
front a welcoming door by eliminating barriers.
This creates a seamless transition between the
street or mall and the store, helping to attract
customers inside and increasing sales. When
it is time to close up for the day, the glass wall
continues to showcase the interior and provides
a secure, energy-efficient, transparent facade
that seals tight as a dust-control measure after
hours. Restaurant owners like operable glass
walls because additional seating space can be
readily accessible by opening up the inside
to the outside. This type of system can also
provide comfortable and attractive four-season
outdoor dining by enclosing a covered patio.
In hotels and other hospitality projects,
similar benefits exist in using an opening glass
wall when a large inviting entrance into the
lobby area is created, producing a memorable
first impression. It is also possible to incorpo-
rate beautiful views, hotel landscaping, natu-
ral daylight, and fresh air into the registration,
dining, and guest room areas when the walls
are open. They can even be used as interior
divisions in hotels and restaurants to allow
personnel to quickly and easily incorporate
or close off adjacent retail space, dining areas,
bars, terraces, or meeting rooms. Similarly,
office buildings may include common entry
or gathering areas that seek copious amounts
of natural daylight and connectivity to the
outdoors. Opening glass walls are an ideal
product to use in those cases since they allow
unfettered connections between indoors and
outdoors when opened.
 HARMONY
T H E WO R L D ’ S M O S T
E L E G A N T DY N A M I C G L A S S

HARMONIZING
L I G H T & CO M F O R T
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provides a gradual transition from clear to tinted within a
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sageglass.com/harmony
126 EFFECTIVE FENESTRATION FOR WELLNESS AND ENERGY CONSERVATION
While many benefits of light, air, and con-
nectivity can come about by using opening glass
CONTINUING EDUCATION
walls, the true measure of performance and qual-
ity is how they perform when closed. There are
a number of different manufacturers of opening
glass walls, and they do not all perform the same,
so it is necessary to pay attention to the details
of their fabrication and request independent test
results. The first key performance attribute to
look at is the energy-conservation capability of a
product. When the opening glass wall is closed,
the overall R-value or U-factor of the unit should
be known based on verified testing. The unit
should also be tested for air infiltration with the
capability of using built-in seals and gaskets to as-
sure that air leakage is reduced to meet standards
for energy-efficient design. All of this will not
only help improve the energy performance of
the building, but it will also help the occupants
be more comfortable by keeping the cold on the
outside while maintaining warmth inside—even
right up against the glass and frames.
In addition to energy performance, weather
resistance is needed, as in all fenestration prod-
ucts, to seal out wind, rain, and other weather
conditions. Manufacturers use a variety of
specialized seals and panel designs to provide
humidity and moisture control, with some
reaching a very high level of performance in
this regard. A key component is the design of
the sill that the opening glass wall rests on to
assure that it completely resists wind-driven
water from entering the building. In some
cases, the design needs account for extreme
weather, such as hurricanes, tornadoes, or
other similar extreme weather events. In that
regard, at least one manufacturer uses mov-
ing structural posts to provide unparalleled
strength in units that are approved by Miami-
Dade County with AAMA hurricane ratings.
In addition to the these factors, a perfor-
mance review should include attention to details
such as multipoint locking entry doors that may
be equipped with tamper-resistant locking rods
between panels to ensure they meet or exceed
forced-entry testing for commercial-grade door
panels. It may also include built-in adjustment
and compensation points to ensure continued
ease of operation if any building settling occurs.
When closed, the opening glass walls should
dampen sound transmission for the desired
acoustical performance needed in the building.
Matt Thomas is the marketing manager of
NanaWall Systems and says, “Large openings
are easy to design, but it’s the performance when
closed that matters most. Glass walls must per-
form during all seasons of the year—especially
Electrochromic dynamic glazing can be automatically or manually tinted to achieve different
levels of light and solar heat gain control in response to changing sun conditions.
opening glass walls. Their performance is criti-
cal.” Since virtually all of these products involve
some sort of custom design at the direction of
the architect, Thomas goes on to say, “For us as a
manufacturer, it’s important to supply a product
that enables the architect to fulfill their vision
but also to provide a product that lasts. These
performance points are usually as important to
the architect as the aesthetic appearance since we
provide the product they are specifying on behalf
of their client.” In the end, it is the building owner
and users that benefit most from these opening
glass wall systems in terms of design, connectiv-
ity, light, ventilation, and performance.
DYNAMIC GLAZING
The multiple benefits of natural daylight and
views have been well documented, but there is
another aspect of fenestration design that needs
to be addressed, namely the design challenge
of light balance and control, which is criti-
cal to a successful outcome. In this regard, it
is important to recognize that daylighting has
direct impacts on things beyond the provision of
natural light and views. If the light is too intense
or creates too much of a contrast within a space,
then it will be regarded as uncomfortable glare
that is not welcome by the occupants. The usual
response is to find a way to cover or shade the
offending opening, which will likely contradict
the design intent and functionality of the fen-
estration if it is not part of the original design.
Similarly, the constant exposure of materials and
finishes to sunlight can also cause colors to fade
and materials to break down.
EDUCATIONAL-ADVERTISEMENT
Photo courtesy of Saint-Gobain SageGlass
One of the biggest issues in balancing the
amount of natural light with the building is the fact
that the solar light passing through fenestration also
brings solar heat with it—all year long. That solar
heat may be welcome in cool weather, contribut-
ing to greater occupant comfort while using less
purchased energy for a mechanical heating system.
However, during warm weather or in buildings
that tend to require more cooling than heating,
increased daylighting can bring an unintended pen-
alty of too much solar heating, thus making people
less comfortable, causing more air-conditioning to
run, and consuming more energy—all the opposite
of many original design intentions.
The key to good daylighting design in build-
ings, then, is to find ways to maximize the
positive benefits of daylight and solar gain while
minimizing the negative possibilities of glare,
fading, and energy penalties. Conventional
design approaches to find that balance have
included some very specific strategies, most of
which involve additional building components.
For fenestration located on the east and west
sides of a building, for example, horizontal or
vertical louvers can be applied to the building
either on the internal or external side of the wall.
Continues at ce.architecturalrecord.com
Peter J. Arsenault, FAIA, NCARB, LEED AP,
is a nationally known architect, consultant, con-
tinuing education presenter, and prolific author
advancing building performance through better
design. www.pjaarch.com, www.linkedin.
com/in/pjaarch
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128 EDUCATIONAL-ADVERTISEMENT
CONTINUING EDUCATION
Designers can improve the everyday
experience of people with hearing loss
by equipping public, assembly, and
commercial spaces with a hearing loop.
Designing for People with
Hearing Loss
A closer look at the advantages of specifying a hearing
loop assistive listening system
Sponsored by Contacta | By Jeanette Fitzgerald Pitts
I
magine going to the theater but being
unable to hear the dialogue clearly and
missing the punchlines over and over,
despite constantly adjusting the volume on
your hearing aid. Imagine trying to fill a pre-
scription and struggling to communicate with
the pharmacist about the dosage and timing.
Imagine standing on a subway platform and
not being able to hear the announcements over
the group of rowdy teens a few feet away. This is
the daily experience for millions of Americans
who have hearing loss, and designers can do
something about it.
It is estimated that one out of seven
Americans has some degree of hearing loss.
According to the World Health Organization
(WHO), an estimated 22.1 percent (57.1 million
individuals) in the United States over the age of 12
have experienced hearing loss in at least one ear,
and 13.8 percent of the population (35.5 million)
have lost hearing in both ears. The number of
people with binaural hearing loss (in both ears) is
expected to grow to more than 41 million by 2025.
While many people with hearing loss have
hearing aids, the technology still struggles to
find the signal of interest in a loud room, often
drowning the wearer in ambient noise and caus-
ing incredible frustration. Designers can improve
the experience of people with hearing loss in
the built environment by specifying an assistive
All images courtesy of Contacta
CONTINUING EDUCATION
1 AIA LU/HSW
Learning Objectives
After reading this article, you should be able to:
1. Define the different categories of hearing
loss and the reasons why people with
hearing aids may still struggle to follow
performances in large assembly areas.
2. Describe the three different assistive listening
systems that can be used to make large
venues more hearing accessible.
3. Compare and contrast the performance of
hearing loop systems, FM/RF systems, and IR
systems in terms of usability, sound quality,
user preference, potential interference, ease
of maintenance, and universality.
4. Detail the differences between using a
counter loop system and a speech transfer
system to help aid people with hearing loss
in one-on-one communication scenarios.
To receive AIA credit, you are required to
read the entire article and pass the test. Go to
ce.architecturalrecord.com for complete text
and to take the test for free.
AIA COURSE #K1902B

listening technology that inconspicuously delivers
the lecture, presentation, or dialogue directly to
the person’s hearing aid, minimizing the ambient
noise that can be so distracting. This assistive lis-
tening system enables people with hearing aids to
clearly hear the featured performance and more
easily participate in regular day-to-day activities,
such as making a deposit at the bank or purchas-
ing a ticket at a bus station.
This course will take a deeper dive into the
different systems available to designers to im-
prove hearing accessibility in both large venues
and one-on-one encounters and provide insight
into the dramatically different user experience
that each solution offers individuals with hear-
ing loss. To better understand the various assis-
tive listening devices available and the strengths
and weaknesses of each, it makes sense to start
with a quick overview on the mechanics of hear-
ing loss, a few of the terms used to discuss this
issue, and an explanation of why hearing aids
just aren’t enough.
DEFINING SOUND AND HEARING LOSS
Sound waves are often described with two met-
rics: decibels (dB), which measure the intensity
of the sound, and hertz (Hz), which refer to the
frequency of the sound wave. The human ear
can hear a wide range of frequencies broadcast
at a number of intensities. More specifically,
sounds can be detected by the human ear from
the very low 20 Hz to the very high 20,000 Hz.
People with hearing aids and cochlear implants often struggle to hear announcements or other
important audio signals in areas with a lot of background noise.
Contacta is a leading assisted listening system manufacturer working closely with designers/installers across North America to
provide quality hearing loop, IR, and FM systems in a wide range of venues and one-to-one environments. www.contactainc.com
Low-frequency sounds include the beat of a bass
drum, the blast from a tuba, and the grumble of
thunder, while high-frequency sounds are found in
whistles, chirping birds, and the squeals of a child.
As it relates to the level of sound, a person’s
hearing threshold describes the level of sound that
can be detected by that person’s ear. The hearing
threshold of a normal, healthy ear is 0 dB across
the full range of 20–20,000 Hz. A soft whisper is
often measured at 30 dB, while an ordinary con-
versation is carried on at around 60 dB and a loud
radio produces sound at about 80 dB.
When a person has hearing loss, he or she may
have a higher hearing threshold, meaning that
sound levels must be louder to be detected by that
person’s ear. Mild hearing loss is categorized as a
condition where the quietest sounds a person can
hear is between 25 and 40 dB. For people with
moderate hearing loss, the hearing threshold is even
higher, between 40 and 70 dB. People with moder-
ate hearing loss can have difficulty keeping up with
conversations if not using some type of hearing aid.
A Closer Look at How Hearing Aids Work
Hearing aids are designed to help a person hear
by making sounds louder. The basic design for a
hearing aid consists of a microphone, amplifier,
battery, and speaker. The microphone picks up
the sounds from the person’s immediate environ-
ment, the amplifier converts the sound wave into
electrical signals that are adjusted based upon the
unique needs and preferences of the wearer, and
EDUCATIONAL-ADVERTISEMENT 129
then the amplified and altered signals are convert-
ed back into sound waves and delivered to the ear
CONTINUING EDUCATION
through the speaker.
Unfortunately, one of the shortcomings of hear-
ing aids that regularly frustrates the people who
use them is their struggle to filter out extraneous
noise. Hearing aids lack the ear’s natural ability to
identify the signals that a person wants to focus
on and dismiss background noise. A hearing aid
amplifies all the noise it detects in the surrounding
area, both the important signals and the ambient
ones, and that creates a lot of different noises for
a person with hearing loss to wade through. As a
result, a person wearing a hearing aid will still miss
key parts of a lecture, directions, or other impor-
tant information because the hearing aid detects
and amplifies those signals as well as the conversa-
tion occurring a few feet away, the footfalls on the
concrete, the rustling bag of chips, and the whir-
ring of the HVAC unit.
Background noise and distance from the speaker
often create barriers to comprehension for people
with hearing loss, even if they are wearing a hearing
aid or have a cochlear implant. Even with making all
the noises louder, people with hearing loss can still
have significant problems understanding speech,
exert high levels of effort to comprehend and deci-
pher what they are hearing, and experience poor or
unnatural sound quality. “The ability to understand
speech in the presence of noise is often degraded in
people with hearing loss,” explains Andrew King,
auditory neuroscientist at the University of Oxford
in England. “It’s the single biggest challenge of some-
one with a cochlear implant.”1
In order to help people with hearing loss more
easily comprehend and participate in what is going
on around them, they need to increase the signal-
to-noise ratio (SNR) in their environment. SNR
compares the level of signal strength to the level of
background noise. It is generally expressed in dB.
Higher SNR values indicate that the audio signal
is louder than the surrounding noise, meaning the
signal will be clearer and easier to understand.
In the article “Hearing Loops: The Preferred
Assistive Listening Technology” published in the
Journal of the Audio Engineering Society in April
2015, the authors wrote, “Research has indicated
that hard-of-hearing listeners may require an
increase in signal-to-noise ratio of more than 10
dB, some as high as 25 dB, to achieve the same
word recognition as a normal-hearing person in
the same situation.
Continues at ce.architecturalrecord.com
Jeanette Fitzgerald Pitts has written more than 50
continuing education articles for Architectural Record
covering a wide range of products and practices.
130 EDUCATIONAL-ADVERTISEMENT
CONTINUING EDUCATION

Photo courtesy of Formica Group

In a health-care setting, surfaces need
to be cleanable, durable, microbial
resistant, and imbued with a healing and
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families, and staff.

Health-Care Surfaces: CONTINUING EDUCATION

Photo courtesy of XXXXXXX

Marrying Function with Design 1 AIA LU/HSW

Learning Objectives
After reading this article, you should be able to:
How cutting-edge surfacing products create hygiene, 1. Examine the challenging environments inside
a health-care facility with attention to the
durability, and beauty in hospitals, health-care facilities, need for durability and cleanability as well as
advanced antimicrobial qualities.
and pediatrician offices 2. Discuss the move away from visually sterile
health-care environments toward attractive and
Sponsored by Formica Group | By Kathy Price-Robinson comforting design.
3. List various stations in a health-care facility

I
n every health-care facility, several wars
are being waged. First and foremost is the
battle against disease, executed by science,
medicine, and human efforts. But another
battle is simultaneously being waged, and
that is a battle between sterility and design.
It’s true that a glistening white environment
of sterile hard surfaces may look laboratory
clean. But such an aesthetic ignores the very
real human need for comfort and beauty in
the healing process. The antiseptic aesthetic
might radiate confidence in the cleanliness
of the facility, but such starkness devoid of
warmth can cause anxiety in patients, their
families, and even the staff. The goal for the
designer of a health-care facility should be
specification of surface products that fulfill
four criteria: cleanability, durability, micro-
bial resistance, and healing aesthetic.
Continues at ce.architecturalrecord.com
Kathy Price-Robinson is an award-winning hous-
ing and construction writer. Her series on home
remodeling ran 12 years in the Los Angeles Times.
She has profiled more than 500 projects and devel-
oped more than 100 continuing education courses.
www.linkedin.com/in/kathypricerobinson
and the ideal coordinated surface product
specifications for durability, cleanability,
harmony, beauty, and microbial resistance.
4. Explain testing, standards, and certifications that
ensure hard-surfacing products are safe and
appropriate for demanding health-care settings.
5. Review several case studies that demonstrate
various surfaces within health-care facilities that
marry form with function.
To receive AIA credit, you are required to
read the entire article and pass the test. Go to
ce.architecturalrecord.com for complete text
and to take the test for free.
AIA COURSE #K1902C

Formica Group is a leading provider of branded, designed surfacing solutions for commercial and residential customers worldwide. As
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This course will provide an overview of wood-
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Continues at ce.architecturalrecord.com
131
Photos courtesy of Geolam
CONTINUING EDUCATION
CONTINUING EDUCATION
1 AIA LU/HSW
1 GBCI CE HOUR
Learning Objectives
After reading this article, you should be able to:
1. Understand sustainable wood-plastic
composite, its characteristics and types, and
how it differs from traditional wood.
2. Explain the manufacturing process involved
in producing sustainable wood-plastic
composite.
3. Describe the appropriate applications and
main benefits of sustainable wood-plastic
composite in trim and cladding applications.
4. Discuss the sustainable features and benefits
in both the manufacturing process and life
cycle of sustainable wood-plastic composite
when specified for cladding and trim
applications.
5. Define the surface-burning characteristics
of wood-plastic composite products, and
explain how they can be specified to achieve
code compliance.
To receive AIA credit, you are required to
read the entire article and pass the test. Go to
ce.architecturalrecord.com for complete text
and to take the test for free.
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132
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ARCHITECTURAL RECORD FEBRUARY 2019
New and Upcoming
Exhibitions
Dimensions of Citizenship: Architecture
and Belonging from the Body to the
Cosmos
Chicago
February 15–April 27, 2019
The official U.S. entry at the recently con­
cluded 16th International Architecture
Exhibition of the Venice Biennale will be on
view for the first time in the United States.
Devoted to exploring the notion of citi­
zenship today and the potential role of
architecture and design in creating spaces
for it, Dimensions of Citizenship comprises
seven unique installations, each created
by a team of architects and designers. At
Wrightwood 659. For more information, visit
wrightwood659.org.
The Whole World a Bauhaus
Elmhurst, Illinois
February 16–April 21, 2019
In celebration of Bauhaus100, the centenary
anniversary of Germany’s influential
dates&events
Bauhaus school of art and design, this travel­
ing exhibition will display a range of work
from masters including Mies van der Rohe,
Walter Gropius, and Marcel Breuer. The show
will be split into eight themes, with each also
highlighting Bauhaus student projects, the
school’s impact on the international avant­
garde, and how students and instructors
sought to rethink their world. At the Elm­
hurst Art Museum. For more information, see
elmhurstartmuseum.org.
Derrick Adams: Interior Life
New York
February 26–April 20, 2019
Inspired by a tenet of Catholic theology that
describes “a life which seeks God in every­
thing,” this exhibition is a meditation on the
intimate spaces of one’s mind and home, each
an analog for the other. It includes new por­
traits on paper from the artist’s ongoing
“Deconstruction Worker” series, which is
installed on custom wallpaper depicting
imaginary domestic environments. At Luxem­
bourg & Dayan’s New York gallery. For more,
visit luxembourgdayan.com.
133
Patchwork: The Architecture of Jadwiga
Grabowska-Hawrylak
New York
February 28–May 18, 2019
The exhibition will present the work of one of
the most important Polish architects of the
20th century. Through models, films, and
photographs, visitors will learn about Grabow­
ska­Hawrylak’s studies in the 1940’s and her
involvement in almost all stages of the recon­
struction and creation of Wrocław, in what
will be the first comprehensive presentation
outside Poland of her work. At the Center for
Architecture. Visit centerforarchitecture.org.
HOOPS
Washington, D.C.
March 9, 2019–January 5, 2020
This exhibition will present photographer Bill
Bamberger’s images of private and community
basketball courts, around the United States
and abroad. A selection of photographs will
take viewers from the deserts of Arizona and
Mexico to the playgrounds of South Africa. At
the National Building Museum. Visit nbm.org.
134 ARCHITECTURAL RECORD FEBRUARY 2019
Ongoing Exhibitions
Edward Burne-Jones
London
Through February 24, 2019
The exhibition charts the rise of the Pre-
Raphaelite artist’s path from outside the
British art world to being a leading figure of
fin de siècle Europe. More than 150 works in
different media are on display. At Tate Britain.
Visit tate.org.uk.
Elemental: Alejandro Aravena So Far
Humlebæk, Denmark
Through March 3, 2019
The second in a series devoted to a single
architect or firm, this show offers a look at
the working process of Pritzker Prize–win-
ner Alejandro Aravena’s firm, Elemen-
tal Studio. At the Louisiana Museum of
Modern Art. Visit louisiana.dk/en.
Ai Weiwei: Life Cycle
Los Angeles
Through March 3, 2019
Chinese artist Ai Weiwei’s first major institu-
tional solo show in this city features new and
previously unseen sculptural work made in
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dates&events
response to the global refugee crisis. The
title installation, Life Cycle, using the tradi-
tional Chinese medium of kites, depicts the
inflatable boats refugees use to cross the
Mediterranean Sea. At the Marciano Art
Foundation. For more information, see
marcianoartfoundation.org.
Dior: From Paris to the World
Denver
Through March 3, 2019
This exhibit surveys 70 years of the House
of Dior’s legacy and its global influence. A
selection of more than 200 dresses, as well as
accessories, traces the history of the haute
couture fashion house, its founder, and the
subsequent artistic directors who carried
Dior’s vision into the 21st century. At the
Denver Art Museum. For more information,
visit denverartmuseum.org.
Faraway So Close: A Journey to the
Architecture of Kashef Chowdhury/
URBANA, Bangladesh
Berlin
Through March 6, 2019
This exhibition documents the work of the
Aga Khan Award–winning architect, who
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notably designed the Friendship Centre in
northern Bangladesh. More than a dozen
buildings and projects are presented via mod-
els, photographs, film footage, and plans. At
the Aedes Architecture Forum. For more
information, visit aedes-arc.de.
Paul Rudolph: The Hong Kong Journey
New York
Through March 9, 2019
Through a series of drawings, sketches, and
renderings not previously shown to the pub-
lic, this exhibition at the Center for Archi-
tecture focuses on the American architect’s
three significant projects in Hong Kong. See
paulrudolphheritagefoundation.org.
In Practice: Other Objects
New York
Through March 25, 2019
This exhibit presents works by 11 artists and
artist teams that probe the slippages and
interplay between objecthood and person-
hood. From personal belongings to material
evidence, sites of memory, and revisionist
fantasies, the artists highlight curious and
ecstatic moments in which a body becomes a
thing or a thing stands in for a body. At

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dates&events
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visit sculpture-center.org.
Design and the Just City in NYC
New York
Through March 30, 2019
The exhibition asks viewers whether de-
sign can help correct urban injustice in
cities. It features research from the
Harvard Graduate School of Design’s Just
City Lab and examines five case studies in
New York, using an assessment tool that
includes 50 indicators and values that
contribute to realizing the “Just City.” An
interactive map invites visitors to plot a
collective manifesto for the Just City in
New York. At the Center for Architecture.
See centerforarchitecture.org.
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The Sea Ranch: Architecture,
Environment, and Idealism
San Francisco
Through April 28, 2019
The exhibition brings together original
sketches and drawings from the designers
of this Modernist development on the
Northern California coast. Archival im-
ages, current photographs, and a full-scale
architectural replica are also on display. At
the San Francisco Museum of Modern Art.
For more information, visit sfmoma.org.
Hugh Kaptur: Organic Desert
Architecture
Palm Springs, California
Through June 17, 2019
The exhibition explores the visionary
designer’s body of work and places him in
the context of his Desert Modern peers,
through archival drawings, models, sketch-
es, slides, period photographs, and ephem-
era. At the Palm Springs Art Museum. For
more information, visit psmuseum.org.
Secret Cities: The Architecture and
Planning of the Manhattan Project
Washington, D.C.
Through July 28, 2019
The exhibition delves into the innovative
design and construction of three cities
born out of the Manhattan Project, tracing
their precedents in the Bauhaus and other
early modern schools of architectural photos: Alex Upton
thought. The show looks at daily life with- ¨
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 dates&events
Prisoner of Love
Chicago
Through October 27, 2019
The exhibition, which examines the heights and depths of human
experience by capturing the intensities of love, fear, and grief,
features artist Arthur Jafa’s A Love Is the Message, the Message Is Death,
a film that celebrates the African-American experience in the 20th
and 21st centuries. The work is set to the gospel-infused song
“Ultralight Beam” by rapper Kanye West. At the Museum of
Contemporary Art Chicago. See mcachicago.org.

Lectures, Conferences,
and Symposia
Stockholm Design Week
Stockholm
February 4–10, 2019
Architects, designers, buyers, and influencers will come together
for a week of events centered on Scandinavian design at various
venues across Sweden’s capital. See stockholmdesignweek.com.

Kitchen & Bath Industry Show

Las Vegas
February 19–21, 2019
The kitchen-and-bath trade show will feature new designs from
over 600 leading brands. It will also give attendees and exhibitors
the opportunity to network, exchange ideas, and build their busi-

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DesignIntelligence Quarterly.

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nesses. At the Las Vegas Convention Center. For more information,
go to kbis.com.

Architecture & Design Film Festival

Washington, D.C. SMARTER DESIGN MEETS PEACE OF MIND
February 21–24, 2019
The nation’s largest film festival devoted to architecture and design USG Durock™ Brand Infinity Drain® Shower System
will screen films that explore design’s connection to issues of social
justice, diversity, technology, and equity through the life and work
of practitioners like Frank Gehry, Mies van der Rohe, Renzo Piano,
and Francis Keré. At the National Building Museum. More informa­
tion at adfilmfest.com.

Spotlight on Design: Allied Works Architecture

Washington, D.C. Linear Drain
March 7, 2019
Brad Cloepfil, Allied Works’ founding principal, will shed light on
the firm’s current work, which includes the new National Veterans
Memorial and Museum in Columbus, Ohio. At the National Building
Museum. More information at nbm.org.

Teddy Cruz and Fonna Forman

Los Angeles
April 3, 2019
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The principals of San Diego–based Estudio Teddy Cruz + Fonna
Forman will discuss their work—much of which involves investigat­
ing issues of informal urbanization, civic infrastructure, and public
culture in Latin America—at the University of Southern California’s
School of Architecture. More information at arch.usc.edu.

Mundaneum XIII-International re_UNION on Architecture:

Pan Americas
New York
April 4–5, 2019
The conference will focus on current social, environmental, urban,
cultural, and architectural issues in Latin America. Twelve presti­
gious Latin American architects and urbanists will lecture,
including Mónica Bertolino, Guillermo Garita, Orlando García,
architecture critic Fredy Massad, and Columbia University professor Waterproof Wall
of architecture Pedro Rivera. At the City College of New York Bern­
ard and Anne Spitzer School of Architecture. More information at
ssa.ccny.cuny.edu.

Living Future Õ19

Seattle
April 30–May 3, 2019
This conference on regenerative design will bring together leading
green thinkers and practitioners so they can share their insights on
building socially just, culturally rich, and ecologically restorative
communities. Over 1,100 from around the world are expected to Accessories
attend. See unconference.living­future.org.

Competitions Developed by USG and Infnity Drain, the USG Durock™

Urban Zoo Coworking Design Challenge
Registration deadline: February 8, 2019
This competition asks participants to design an identity for interiors
in a chain of workspaces that will launch in Latvia’s capital.
Submitted proposals must be adaptable to multiple locations. For
more information, see urbanzoochallenge.beebreeders.com.
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dates&events

Architectural League Prize for Young
Architects + Designers
Deadline: February 11, 2019
Young architects and designers are invited to
submit work to the annual Architectural
League Prize competition. This year’s theme
is “Just,” inviting competitors to explore the
tensions between just so materials and a call
to act justly. For more information, go to
archleague.org/competition/lp19.
2019 World Landscape Architecture
Awards
Deadline: March 1, 2019
This annual awards program honors land-
scape architects around the world for their
outstanding work. Members of landscape-
architecture organizations or those who
have studied landscape architecture at a
university are eligible to enter. Any client
or organization that wishes to enter a proj-
ect must have written permission from the
landscape architect or design firm. Projects
must be built, between 2015 and 2018, or
may be a concept. For more information,
visit worldlandscapearchitect.com.
Sir John Soane’s Museum Foundation
Graduate Fellowship
Deadline: March 1, 2019
Students in graduate-degree programs in art
history, architecture, interior design, and the
decorative arts are invited to apply for the
fellowship, which awards $6,000 and funds
a research residency at the Soane Museum
that is related to the work of the English ar-
chitect or his museum. Fellows will work in
concert with staff and curators to utilize the
existing collections. For more information, go
to soanefoundation.com/fellowship.
International Finsa Award for Architects &
Designers 2019
Registration deadline: March 1, 2019
This awards program aims to encourage and
challenge architecture students to explore the
use of wood and other ecological and recy-
clable materials in construction. This year’s
edition asks applicants to design a temporary
structure that can house practical art activi-
ties for a local community in England. For
more information, visit ifa.finsa.com.
California Mass Timber Building
Competition
Deadline: March 18, 2019
Applicants are encouraged to present viable
and repeatable mass timber solutions for com-
mercial or multifamily projects in California.
A total of $500,000 in grants will be distrib-
uted between two or more winning project
teams. The grants will fund activities that
include cost studies, permitting fees, and
information-exchange sessions with code
officials. More information at govops.ca.gov.
Lyceum Fellowship: A Sanctuary
Deadline: March 22, 2019
Founded in 1985, the awards program’s mis-
sion is to advance the profession of architec-
ture by engaging students in design and travel.
Prize money is targeted for travel grants dur-
ing their academic study years. This year,
candidates are asked to design a place of ref-
uge and protection. More information at
lyceum-fellowship.org.
E-mail information two months in advance to
areditor@bnpmedia.com.

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Architectural Record - AEC BuildTech 42, 104 modular Arts 45

Armstrong World Industries CV2, 1 MOZ Designs 28

ASI Group 29 NanaWall Systems 123

B-K Lighting 46 National Terrazzo & Mosaic Association 33

Cascade Coil 34 Petersen Aluminum 40

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Contacta 128, 129 Reef Industries 134

Doug Mockett & Company, Inc. 37 RH Tamlyn & Sons 53

Publisher is not responsible for errors and omissions in advertiser index. R Regional AD
140 ARCHITECTURAL RECORD FEBRUARY 2019
snapshot PROJECT
LOCATION
IDEA EXCHANGE POST OFFICE
CAMBRIDGE, ONTARIO
ARCHITECT RDHA

On the Grand river in Cambridge, Ontario, a glimmering glass addition

by Toronto-based firm RDHA brings a flamboyant edge to the former Galt
Post Office, an early 19th-century heritage building that had sat vacant for
nearly a decade. Seeing an opportunity to revive the structure, the city’s
public library system acquired the site, with plans to create a place dedi-
cated to “makerspaces,” as opposed to a conventional book facility. To
accommodate an ambitious program—which includes video- and sound-
recording studios, a black-box theater, and rooms with equipment such as
woodwork and metalwork machines, laser cutters, and smart tables—the
architects had to create 20,000 square feet of space. But the site had many
P H O T O G R A P H Y: © R D H A / S A N JAY C H AU H A N

constraints, due largely to its location against a flood wall, so the team
inserted two volumes that cantilever out over the water. Clad in glass,
fritted with patterns alluding to decorative elements of the historic post
office, the addition provides views onto the old building as well as the river
below. Although the resulting “library” lacks books, what it offers is an
invaluable service: endless possibilities to create. Alex Klimoski
Steel reduces waste and features a material recovery rate Steel is the most The American
greater than 98%! Structural steel features an incredibly resilient material, Institute of Steel
sustainable manufacturing process. Consider these facts: designed to last, Construction
whether it’s exposed provides
The structural steel making process boasts to fire, blast, or the environmental
a 95% water recycling rate with no external ravages of time. And product declarations
discharges, resulting in a net consumption when a steel building (EPDs) for fabricated
of only 70 gallons per ton. reaches the end of hot-rolled structural
its life, the steel is sections, fabricated
Steel is the most recycled material in the
recycled and retains all steel plate and
world. Domestic mills recycle more than 70
of its fantastic physical fabricated hollow
million tons of scrap each year and structural
characteristics. Today’s structural sections.
steel has a 93% recycled content!
beams and columns These EPDs cover
are nearly 40% the product life
Steel production productivity levels are
stronger and offer cycle from cradle to
up by a factor of 24 and labor hours have
greater constructability fabricator gate and
been reduced from 12 to just 0.5 per ton.
benefits! are available at
Steel’s carbon footprint is down 37%, www.aisc.org/epd.
energy use has decreased 32%, and
greenhouse gas emissions have
dropped by 45%.

Are you
Earth-friendly? www.aisc.org/earthfriendly

Smarter. Stronger. Steel.

American Institute of Steel Construction
312.670.2400 | www.aisc.org
 6447 Sarum Duotex
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