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 Lead Design Firm: HNTB New York Engineering and Architecture PC
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Photo: Skanska USA

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à Gogo
The design of urban infrastructure affects city life as
much as the design of its buildings. That’s why replacing
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Read more about it in Metals in Construction online.
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 2 GRAND PRIZE

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07 2019
NEWS
21 MIT BUILDING BOOM BRINGS NEW PROJECTS TO
CAMPUS By James McCown
24 TOP 300 FIRMS: GENSLER LEADS FOR EIGHTH
CONSECUTIVE YEAR By Miriam Sitz
26 AMERICAN MUSEUM OF NATURAL HISTORY
BREAKS GROUND ON JEANNE GANG–DESIGNED
EXPANSION By Miriam Sitz
28 REVERED CHICAGO ARCHITECT STANLEY
TIGERMAN DIES AT 88 By Cathleen McGuigan and
Suzanne Stephens
DEPARTMENTS
18 EDITOR’S LETTER: COME FLY WITH ME
30 TRIBUTE: I.M. PEI By Henry N. Cobb
35 HOUSE OF THE MONTH: A STEVEN HOLL
BEACH HOUSE REIMAGINED By Sarah Amelar
41 LANDSCAPE: A TRIBUTE TO ROBERTO BURLE
MARX AT THE NYBG By Alex Klimoski
45 GUESS THE ARCHITECT
52 IN FOCUS: A BOOKSTORE-CAFÉ IN MEXICO CITY
By Beth Broome
55 CLOSE-UP: ALEXANDER JERMYN’S
STOREFRONT HEALTH CLINICS By David Sokol
61 PRODUCTS: HEALTH CARE By Kelly Beamon
64 PRODUCTS: PAINTS & FINISHES By Kelly Beamon
BOOKS
47 THE ABSENT HAND: REIMAGINING OUR AMERICAN
LANDSCAPE BY SUZANNAH LESSARD
Reviewed by James S. Russell, FAIA
48 WRIGHT AND NEW YORK: THE MAKING OF
AMERICA’S ARCHITECT BY ANTHONY ALOFSIN
Reviewed by Norman Weinstein
AIRPORTS OF THE FUTURE
69 OVERVIEW
74 JEWEL CHANGI AIRPORT, SINGAPORE SAFDIE
ARCHITECTS By Joann Gonchar, FAIA
82 BEIJING DAXING INTERNATIONAL AIRPORT, CHINA
ZAHA HADID ARCHITECTS By Alex Klimoski
88 ELMIRA CORNING REGIONAL AIRPORT,
NEW YORK FENNICK MCCREDIE ARCHITECTURE
By James S. Russell, FAIA
93 SIX NEW AVIATION PROJECTS By Kara Mavros
96 LOOKING BACK AT THE TWA FLIGHT CENTER
BUILDING TYPE STUDY 1,008
HEALTH CARE
99 INTRODUCTION
100 SAMSON PAVILION AT THE CLEVELAND CLINIC,
OHIO FOSTER + PARTNERS By James Gauer
106 HARALDSPLASS HOSPITAL, NORWAY C.F. MØLLER
By Josephine Minutillo
112 UC GARDNER NEUROSCIENCE INSTITUTE,
CINCINNATI PERKINS+WILL By Alex Klimoski
118 BLUE RIDGE ORTHODONTICS, NORTH
CAROLINA CLARK NEXSEN By Miriam Sitz
150 DATES & EVENTS
156 SNAPSHOT: BUGA WOOD PAVILION IN GERMANY
By Kara Mavros
THIS PAGE: BRAZILIAN MODERN: THE LIVING ART OF ROBERTO
BURLE MARX AT THE NEW YORK BOTANICAL GARDEN, NEW
YORK, BY RAYMOND JUNGLES. PHOTO BY CURTICE TAYLOR.
COVER: BEIJING DAXING INTERNATIONAL AIRPORT, CHINA,
BY ZAHA HADID ARCHITECTS. PHOTO © XINHUA/ALAMY.
See expanded coverage of Projects and Building Type Studies as well as
Web-only features at architecturalrecord.com.
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IN THIS ISSUE

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16 ARCHITECTURAL RECORD JULY 2019

for the RECORD

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

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 ) : © DAV I D B E R R I D G E ; A R C H I T E C T U R A L R E C O R D ( 2) ; C O U R T E S Y B R O O K LY N D E S I G N S ; A I A N Y
VIVA LAS VEGAS
Record held its annual Advertising
Excellence Awards in Las Vegas
during the 2019 AIA Conference
in early June. Publisher Alex
Bachrach (far right) led a panel
discussion with some of this year’s
jurors (from left to right): Wyatt
Frantom of Gensler; Krista Becker
of ZGF Architects; Takashi Yanai of
EYRC Architects; and Danielle Yip,
VISITING VERSAILLES representing Barbara Bestor.
Editor in chief Cathleen McGuigan (right) and deputy editor Suzanne
Stephens (left) caught up with French architect Odile Decq (center)
at the 2019 Pritzker Architecture Prize ceremony, which took place
at the Château de Versailles in France on May 24.

ON THE WATERFRONT
During the annual Brooklyn Designs showcase in mid-May, features editor
Josephine Minutillo (pictured) led a discussion at the Brooklyn Navy Yard
with SHoP associate principal Angelica Baccon and OMA New York partner
Jason Long about residential developments along New York’s East River.
PASS THE TORCH
On May 21, senior editor Joann Gonchar (second from right) moderated a panel at the Center for
Architecture in New York as part of the AIANY’s TORCH Mentorship Program, speaking with
(from left to right) Frank Greene, Frances Halsband, Katherine Chia, and Andrew Bernheimer.

Follow us on Twitter @ArchRecord Join our group and follow our company page on LinkedIn
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18 ARCHITECTURAL RECORD JULY 2019
editor’s letter

Come Fly with Me

Architects tackle the daunting challenges of
improving travel in the airport of the future.
Frequent Flying is a fact of modern life for most of us. In the last
few weeks, I flew to Paris for a memorable Pritzker Prize ceremony at
Versailles, honoring architect Arata Isozaki. Not long after, I flew to the
national AIA conference, where I could have booked the “Versailles-
style Napoleon suite” at the Paris Las Vegas, complete with a miniature
Eiffel Tower out front. Go figure.
On the way there, I stopped at the new TWA Hotel at JFK airport in
New York. The hotel’s sleek, small rooms are housed in a pair of plain
seven-story glass-fronted structures, set like parentheses on each side
of Eero Saarinen’s TWA Flight Center. That sculpturally evocative, once-
threatened building (it was landmarked in 1994) has been beautifully
restored by Beyer Blinder Belle and repurposed as a lobby and lounge
for the hotel. A new Jean-Georges Vongerichten restaurant is located on
the mezzanine where a Parisian café once whetted the appetites of
international travelers for the cuisine that awaited them in France.
Saarinen’s deliciously curvy space is the sexiest interior in America
—its floors a mosaic of tiny round, white Japanese tiles that swoop up
to create seating; the upholstery and accents in classic TWA red. With
every move, the architect wanted to express excitement about the
future of air travel (and, remember, he and his team did all this And in the pages ahead, we take a look at three airports that
without a computer). But aviation was changing so quickly that the exemplify such forces for the future. Jewel Changi, an audacious glass-
terminal was soon obsolete. Between 1955, the year before Saarinen got domed structure at the Singapore airport, designed by Moshe Safdie,
the commission, and 1962, when it opened, passenger traffic at the with landscape by PWP, is an enormous leisure amenity with a forest,
airport, then called Idlewild, had more than tripled. Aircraft technol- garden, waterfall, and retail that is attracting not only passengers in
ogy, of course, rapidly changed too. The design had been presented by transit but locals as well (page 74). South of Beijing, the new Daxing
the time the first commercial jetliner, the Boeing 707, was introduced Airport by Zaha Hadid Architects, slated to open this fall, is intended to
in 1958. The terminal’s relatively small scale was overwhelmed by the take pressure off Beijing’s Capital Airport, with four runways instead of
volume of travelers and size of planes, and finally it closed for good in three, and an intramodal transit system to get passengers in and out
2001—and just as well, for it’s hard to imagine where they would have more efficiently. Its star-shaped form creates a maximum number of
put the ugly equipment for a TSA checkpoint after 9/11. gates, while shortening the distance its anticipated 72 million annual
The inadaptability of the TWA Flight Center remains a cautionary travelers (by 2025) would have to trek to their flights. At the other end
example to airport architects today, who face challenges far more of the scale, the Elmira Corning Regional Airport in upstate New York,
complex. As terminals grow ever vaster to accommodate more passen- by architects Fennick McCredie, incorporates design elements that are
gers and more flights—and security is paramount—how can designers almost domestic—comfy couches and chairs, and a calming view out to
deftly anticipate the future? And how can architecture improve what is a grove of trees from a curved route that leads passengers to security.
generally a dismal experience for air travelers? In this issue, record (With only four gates, it is part of a trend in smaller airports to accom-
editors, led by Joann Gonchar, FAIA, explore the imperatives behind modate larger planes, which mean greater savings per seat for the
the next generation of global airports (page 72). The forces governing airlines.)
these designs go beyond speed and efficiency to include catering to the Was air travel ever the dream adventure that the ad men and some
passenger: better wayfinding; shortening the distance from check-in to visionaries, including Saarinen, once imagined? Probably not. The
gate; employing biophilia and other strategies to create a more calming airport of the future may not bring back the romance, but maybe can
atmosphere; adapting to changing modes of transportation to the restore half the fun of getting there. P H O T O G R A P H Y: © M I C H E L A R N AU D

airport in the era of Lyft and Uber. (Uber is beginning to offer helicop-
ter ride-sharing from Manhattan to JFK, in advance of its launch in the
next few years of its planned Uber Elevate, a VTOL—vertical takeoff and
landing—aerial taxi system.) Cathleen McGuigan, Editor in Chief
 ®

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ARCHITECTURAL RECORD JULY 2019
news 21

D A I LY U P D AT E S
architecturalrecord.com/news
twitter.com/archrecord

Doing your best to make yourself available, doing your best to not take as much credit
as you maybe should when things go well . . . You set the tone for how people are going to work with you.
—Ryan Coogler, director of Black Panther, sharing leadership strategies at the 2019 AIA Conference in Las Vegas.

Building Boom Brings New Crop of Major Architects to MIT

BY JAMES MCCOWN

In the first decade of the 2000s, Massachu­

setts Institute of Technology (MIT) went on a
building spree unlike any in its history. Acting
as architectural impresario, the then dean of
the university’s School of Architecture +
Planning, the late William J. Mitchell, brought
in architects like Frank Gehry, Fumihiko
Maki, Charles Correa, and Steven Holl, who
designed lavish signature buildings through­
out the triangular campus in Cambridge,
Massachusetts, all with the enthusiastic bless­
ing of MIT’s then president Charles M. Vest.
The cost of the program was immense. In
addition, there was a lawsuit by MIT against
Gehry’s firm for cost overruns, schedule delays,
and leakage at the Ray and Maria Stata Center—
all of which seemed to make the institute wary
of hiring star architects. The MIT News Office
says the suit was settled “amicably” in 2010.
“After that building boom, there was a fear
on campus of an architect acting as a lone
ranger, not adhering to budgets or engaging the The MIT Museum by Höweler + Yoon occupies the bottom four floors of a mixed-use tower by Weiss/Manfredi (above).
community,” says Nader Tehrani, who was head
of MIT’s architecture department from 2010 to On the Kendall Square side, a pair of towers design. Eric Höweler, cofounder of the practice,
2014. (Tehrani is now dean of the Irwin S. Cha­ currently under construction on Main Street says that the space will “bring out the quirki­
nin School of Architecture at Cooper Union, in will form the new “eastern gateway” to the ness that MIT is about. It will be a teaching
New York.) campus. One, by Tehrani’s Boston­based firm museum—‘hands on,’ not ‘hands off.’ ” With an
Now MIT is in the midst of another building NADAAA, in collaboration with Perkins+Will adjoining bookstore and café, the project
R E N D E R I N G S : C O U R T E S Y W E I S S / M A N F R E D I ( T O P ) ; N A DA A A ( B O T T O M )

boom—but this one is different. It is more con­
textual, more aligned to the institute’s goal of
melding with its Cambridge surroundings,
whether Kendall Square to the east or Central
Square to the west.
NADAAA designed graduate-student housing in collabora-
tion with Perkins+Will.
as architect of record, is a 28­story, 454­unit
graduate­student residence with daring canti­
levers and views of the Charles River. The
structure will also include retail, offices, a
childcare center, a 200­seat forum for public
events, and the new MIT admissions office.
On the opposite side of the Kendall Square
T subway station, New York–based Weiss/
Manfredi has designed a 17­story tower for
academic and commercial office space, with
fritted glass pleats forming subtle cantilevers.
“Some buildings can be a little quieter,” says
firm cofounder Michael Manfredi, noting the
involvement of MIT’s current architecture
dean, Hashim Sarkis, who “laid out a set of
urban conditions rather than encouraging
singular architectural bravura.”
The building’s four­story orthogonal glass
base will house the MIT Museum—the interi­
ors of which Boston firm Höweler + Yoon will
seems poised to add some much needed vi­
brancy to Kendall Square street life. The
NADAAA and Weiss/Manfredi buildings are
expected to open in fall 2020, the museum in
May 2021.
MIT has two forthcoming projects on the
western edge of campus that look to be stand­
outs, one residential, one academic.
Just down Vassar Street from Steven Holl’s
Simmons Hall and not far from Alvar Aalto’s
Baker House, a new 450­bed undergraduate
dormitory by Los Angeles–based Michael
Maltzan Architecture aims to continue a tradi­
tion of innovative residential design at MIT.
“Our building is the next step from Aalto and
Holl,” says Michael Maltzan, design principal.
The project will feature “cluster neighbor­
hoods” to foster student camaraderie, and, in a
nod to the “deep culture of creation that exists
at MIT,” says Maltzan, a transparent maker­

Visit our online section, architecturalrecord.com/news.

22 ARCHITECTURAL RECORD JULY 2019
perspective news
Michael Maltzan Architecture designed a new under-
graduate dormitory (above). Diller Scofidio + Renfro is
reimagining a historic warehouse (left) for the School of
Architecture + Planning’s new headquarters.
space at street level. The dorm will be occupied
by fall 2020.
The academic space on this west campus
side will be a new home for the School of
Architecture + Planning. New York–based
Diller Scofidio + Renfro (DSR) is leading the
redesign of the historic Metropolitan
Warehouse, at the corner of Massachusetts
Avenue and Vassar Street. “The Met,” as it is
called, is a substantial redbrick building com­
plete with a crenelated roof edge. “We’re
interested in taking this building that looks
like a fortress and make it appear to be a
design school of the future,” says Ben Gilmar­
I M AG E S : C O U R T E S Y M I C H A E L M A LT Z A N A R C H I T E C T U R E ( T O P ) ; © B RYC E V I C K M A R K ,
tin, a partner with DSR.
Dean Sarkis is excited that the reconceived
building—which is still in the design phase,
with no set completion date—will “give us
visibility and send a message that we are the
most ‘in the vanguard’ architecture school in
the world.”
Noting the “increasingly blurred line be­
tween the campus and the city,” associate
provost Krystyn Van Vliet hopes the projects
on both sides of MIT will foster “a healthier,
more dynamic interaction” between the insti­
M I T D E PA R T M E N T O F FAC I L I T I E S ( B O T T O M )
tute and its neighbors.
For his part, Sarkis seems content with a
lower­key role than that of his predecessor,
Mitchell. “I’m here to facilitate the conversa­
tion,” he says. “I make sure that buildings on
MIT’s campus have harmony and consistency.”
With so many new voices added to the
architectural conversation on campus, the
dean’s role seems more like that of conductor
than impresario, striking just the right chords
and finding harmony in architectural diver­
sity. Or maybe just a good urban planner. ■
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24 ARCHITECTURAL RECORD JULY 2019
perspective news

Top 300 Firms: Gensler Remains First
BY MIRIAM SITZ
For the eighth year running, Gensler has
topped architectural record’s Top 300 Firms
list. The annual list, compiled by record’s sister
publication Engineering News-Record (ENR), ranks
companies by their architectural revenue from
the prior year, as reported to ENR by firms that
choose to participate.
Gensler, which works in over 100 countries,
saw total architectural revenue grow by more
than $156 million from 2017 to 2018, an increase
of 13 percent. Domestically, revenue increased
by 14 percent, while internationally it grew by
7 percent. One of the company’s key strategies
is to “be local while remaining a global firm,”
lives and breathes the Gensler culture”—with a
local leader who has networks and contextual
knowledge. “This is what helps us tailor the
team specifically for each client, and to be near
the client.” Cohen says the company is seeing
particular growth in Asia, Europe (an office in
Munich opened in December 2018), and both
coasts of the U.S.
Jacobs ranked third, up by $163 million (38
percent) in total architectural revenue in
2018—the greatest increase on our list.
HOK remained in their 2018 spot of sixth,
with total architectural revenue growing by 2
percent from 2017. The company saw a 48 per-
ing volume,” chairman and CEO Bill Hellmuth
tells record. “We’re like the pistons of an en-
gine. If it’s up over here, it’s down over there.”
With 24 offices around the world, the firm is
seeing significant activity in their health-care,
science, and tech portfolios, including several
large hospital projects forthcoming in Asia.
NELSON, which has 25 offices worldwide,
ranked 17 this year, as compared to 45 last
year, after experiencing a dramatic jump—196
percent—in total architectural revenue, from
$65 million in 2017 to $192 million in 2018. Jim
Harkin, a senior vice president and principal,
tells record that the company has aggres-
sively expanded, acquiring 15 firms in the last
five years, and recently launched a brand-
strategy service. “This expertise has allowed
us to provide a more holistic approach for our

co-CEO Andy Cohen tells record. “Every office
has grown organically from strong local roots,”
he says, explaining that when the firm opens a
new branch, they pair a veteran—someone “who
cent increase in international architectural
revenue (up $36 million), but a slight dip in
domestic architectural revenue. “Our aim as a
firm is to keep a constant and slightly increas-
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, R I G H T ) : © M A R K H E R B O T H ; N I C L E H O U X ; G A R R E T T R O W L A N D ; A I Q I N G ; H U F T O N + C R O W ; C O U R T E S Y G E N S L E R
architecture clients,” he says.
See the chart below for a ranking of the Top
25 firms, plus photographs of several new and
notable projects. ■

TOP 25 U.S. ARCHITECTURE FIRMS OF 2019

Companies are ranked by revenue (in millions of dollars) for architectural
services performed in 2018. These data also appear in ENR’s Top 500 Design
Firms list, which, unlike our ranking, also includes firms that do engineering
exclusively. Find the full Top 300 Firms list on architecturalrecord.com.

RANK TYPE TOTAL

OF ARCHITECTURAL
2019 2018 FIRM, U.S. HEADQUARTERS FIRM REVENUE
1 1 Gensler San Francisco A $1,353.96
Gensler Office
Los Angeles | Gensler 2 2 Perkins+Will Chicago A $607.96 Gardner Neuroscience Institute
3 4 Jacobs Dallas EAC $594.62 Cincinnati | Perkins+Will

4 7 HDR Omaha EA $499.10

5 3 AECOM Los Angeles EAC $435.20
6 6 HOK St. Louis AE $416.26
7 5 HKS Dallas A $400.18
8 9 Stantec Irvine, California EAL $321.07
9 8 IBI Group Toronto A $317.17
10 10 Skidmore, Owings & Merrill New York AE $277.70
11 12 Perkins Eastman New York A $261.63
12 11 CallisonRTKL Highlands Ranch, Colorado EA $242.00
Tottenham Hotspur Stadium
London | Populous
13 14 CannonDesign New York AE $233.40
14 19 Populous Kansas City, Missouri A $208.70
15 21 DLR Group Minneapolis AE $205.00 Private Office
Chicago | Alvisi Kirimoto and
16 17 Leo A Daly Omaha AE $202.00 CannonDesign

17 45 NELSON Minneapolis A $192.00

18 13 Corgan Dallas A $191.59
19 18 ZGF Architects Portland, Oregon EC $189.56
20 16 Kohn Pedersen Fox Associates New York A $183.30
21 15 NBBJ Seattle A $181.94
22 20 SmithGroup Detroit AE $162.15
23 24 Gresham Smith Nashville AE $113.07
24 63 Page Austin, Texas AE $109.00
25 22 HGA Minneapolis AE $107.83
SOHO Gubei
Shanghai | Kohn Pedersen Fox Key to firm types
Expensify Office
A Architect AP Architect Planner AEC Architect Engineer Contractor Portland, Oregon | ZGF Architects
AE Architect Engineer EAL Engineer Architect Landscape (not all combinations listed)
26 ARCHITECTURAL RECORD JULY 2019
perspective news

Jeanne Gang–Designed Expansion Breaks Ground at

the American Museum of Natural History
BY MIRIAM SITZ

Almost seven yeArs after the American tion of Studio Gang, the museum found the
Museum of Natural History (AMNH) in New ideal collaborator. “In addition to being a
York engaged Chicago-based Studio Gang to brilliant woman and fantastic architect,” says
design an expansion, the Richard Gilder Futter, “Jeanne brings an exceptional sensi-
Center for Science, Education, and Innovation tivity to both the built world and natural
broke ground on June 12, signaling the start of world.”
construction expected to last three years. The Gang and her team ruminated on erosion,
230,000-square-foot, $383 million project by tectonics, and other geologic processes while
architect Jeanne Gang will add a library, the- developing a vision for the building, using
ater, and new spaces for exhibitions and high-tech and analog methods to play with
education, and it will better connect different form. For instance, the architect tells record,
areas of the existing museum. In addition, a “During one very cold winter in Chicago when
new multistory “Collections Core” will house we were modeling the space, we took a giant
some 4 million specimens in a visible storage block of ice and melted it with hot water.”
area, allowing visitors to take in the breadth of That helped inspire the cavernous, fluid spaces
the institution’s collection and witness scien- of the interior architecture.
tific work taking place in real time. The final design, reflecting such natural
“There’s an urgency to the public having a influences, requires an innovative structure.
much deeper understanding of science and To achieve those curving interior spaces,
scientific issues that are really driving our seemingly hollowed out by nature and time,
The Museum will seek LEED Gold certification for the
times,” says AMNH president Ellen V. Futter, the architects designed shapes for reinforcing
Gilder Center, which, like other structures on-site, is clad in
speaking to record by phone. With the selec- bars that will be covered with shotcrete. A Milford pink granite.

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similarly curved facade, clad in Milford pink
granite (a material used elsewhere on the
museum’s campus), will be punctuated with
expansive glazing, conveying a sense of poros­
ity and flow.
With many large openings offering glimps­
es of the various exhibition spaces, the new
building’s light­filled and airy central hall will
emphasize the connectedness of scientific
disciplines while sparking curiosity in visitors.
“You can look up and say, ‘I want to go see that
next.’ It encourages you to make a discovery,”
says Gang. And the overall plan dramatically
improves circulation; gone are the many dead
ends of the old exhibition halls. By making “a
R E N D E R I N G S : © S T U D I O G A N G (O P P O S I T E ) ; M I R
few very simple edits” to the existing wings,
Gang’s design allows visitors to move through
the campus in a loop, rather than having to
backtrack. “The physical structure will be
thrilling to look at but also emblematic of the
journey of discovery—the meandering people
do when they wander through a museum,”
says Futter.
Three structures that are part of the com­
plex are coming down in order to pull the
new building farther back into its site, mini­
mizing encroachment on the adjacent
Theodore Roosevelt Park. (The museum’s
The sun-drenched atrium of the Gilder Center, embraced
by curving forms, clarifies circulation and unites the
disparate wings of the museum.
27
expansion plans prompted opposition from
some community groups, and even a lawsuit,
which was dismissed in late 2018.) Futter
notes that the project, which will extend into
the green space by one­quarter acre, also
features an improved landscape design by
Reed Hilderbrand, including new trees and
plantings, seating, and gathering areas, and a
wider entrance from Columbus Avenue.
“We’ve done all of this in a way that is very
much in keeping with the ethos and sensibili­
ties of the park,” she says.
Despite the size of the expansion, its scale
on the exterior is relatively modest, while the
most striking feature of the design is the
central atrium. “Many people have said it’s
impossible to do an iconic or monumental
void,” says Gang, “but this project challenges
the idea of an object building.”
From Futter’s perspective, the Gilder Center
will be far more than an object; it will be a
monument to knowledge. “Right now, in a
world where there are a lot of science deniers,
where there are people having difficulty dis­
tinguishing fact and truth from untruth, our
collection is evidence that we can show the
public. It is one of the most important records
of life on earth.” ■
28 ARCHITECTURAL RECORD JULY 2019
Farewell, Mr. Chicago
BY CATHLEEN MCGUIGAN AND SUZANNE STEPHENS
stanley tigerman, the revered and irreverent
unofficial chief of Chicago architects, died June 3,
2019, at 88. Stanley (never Stan!) emerged as a
fledgling Postmodernist with a group of archi­
tects dubbed the Chicago Seven in the 1970s,
reacting against the pervasive Mies­inspired
modernism of their hometown. Though
Tigerman earned his B.Arch. and M.Arch. at Yale,
he returned to Chicago immediately after getting
his final degree. Yet he remained so loyal to his
alma mater that, in his later years, when his
chronic pulmonary condition prevented him
from flying, he would take the train all the way
to New Haven to attend final reviews.
His personality was embedded in his archi­
tecture—much of it playful and much of it
reflecting his deep humanism. He designed an
animal rescue center with a facade that includ­
ed what looked like dog ears, and a house
shaped like a hot dog. But he also created the
Illinois Holocaust Museum and Education
Center in Skokie (2009) and a new facility for
the Pacific Garden Mission, a men’s homeless
shelter in Chicago (2007)—both of which he
described as exemplifying hope. In 1982, join­
ing with his wife and partner, Margaret
McCurry, he changed the firm to Tigerman
McCurry Architects.
But as much as his architecture, Tigerman
the man will be remembered as a provocateur
who gained national stature for his writing,
lecturing, and participation—with characteristi­
cally unbridled remarks—in conferences and
debates. In the late 1970s, the Chicago Seven
Stanley Tigerman’s collage Titanic depicts Crown Hall by Mies van der
Rohe tilting and sinking into Lake Michigan.
perspectivenews
Stanley Tigerman posed with his model of the Pacific
Garden Mission in Chicago in 2006.
(soon to swell to 11 members) enlivened the
architectural scene by initiating exhibitions
and publications, as well as forums. In addi­
tion, Tigerman and crew brought new life to
the ailing Chicago Architectural Club, and in
1980 organized the show devoted to reimagin­
ing the Chicago Tribune Competition of 1923. By
then, there was little dispute that Tigerman
had helped loosen Mies’s mantle.
The architect, who titled one of his collec­
tions of critical essays Schlepping Through
Ambivalence, applied his razor­sharp wit to such
designs as a tea and coffee set for Alessi in 1983,
currently on display at the Cité de l’architecture
et du Patrimoine in Paris. More famous is his
collage Titanic, which shows Mies’s Crown Hall
sinking into Lake Michigan.
In 1993, long before a younger
generation of architects turned to
working for underserved communi­
ties, Tigerman founded Archeworks
with Eva Maddox, to engage students
in design for the public interest.
And he was always a strong
advocate for younger architects,
particularly the rising generation of
Chicagoans today, including Jeanne
Gang and John Ronan. As his long­
time friend Robert A.M. Stern says,
“Stanley was central to the renewal
of Chicago’s status as a center of
architectural discourse, something
that it had not enjoyed since the era
of Sullivan and Wright. To his dying
day, he saw to it that the debate was
an inclusive one, welcoming archi­
tects of diverse convictions from
both coasts to the numerous
symposia and lecture series that he
masterminded.” ■
noted
IIT and CUNY Name New
Architecture Deans
The Illinois Institute of Technology announced
June 10 that architect and educator Reed Kroloff
will serve as dean of the College of Architecture.
Four days earlier, the City University of New York
appointed artist, academic, and writer Lesley
Lokko as dean of its Bernard and Anne Spitzer
School of Architecture.
AIA Members Pass Climate
Resolution at Conference
At the June 5 business meeting of the 2019 AIA
Conference in Las Vegas, delegates voted in
overwhelming support of urgent and sustained
climate action. The resolution calls for a
concentrated effort to reduce carbon emissions
and transform practice to improve resilience.
Cooper Hewitt Announces 2019
National Design Award Winners
In early June, the Smithsonian Design Museum in
New York named the winners of its annual honors
program, including Thomas Phifer, IwamotoScott
Architecture, and SCAPE, recognized for architec­
ture, interior design, and landscape architecture,
respectively. Awards will be conferred at a cere­
mony on October 17.
High Line Spur Opens in New York
The newest section of the elevated pedestrian park
P H O T O G R A P H Y: © W I L L I A M Z B A R E N ( T O P ) ; C O U R T E S Y T H E A R T I N S T I T U T E O F C H I C AG O ( B O T T O M )
in Manhattan opened on June 5. Designed by
James Corner Field Operations with Diller Scofidio
+ Renfro and Piet Oudolf, the Spur is the final
segment of the original rail structure to be trans­
70
formed into public space.
60
59 58 63 60
56
50
53 54 54
50 50
40
M J J A S O N D J F M A M
2018 2019
INQUIRIES BILLINGS
Billings Grow Modestly in May
The Architectural Billings Index showed modest
growth in May, according to the AIA’s latest data,
despite experiencing a slight dip from 50.5 in April
to 50.2. (Scores over 50 indicate an increase in firm
billings.) New work inquiries and new design
contracts also continued to grow, but at a slightly
slower clip this month, with values of 56.2 and 50.9.
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30 ARCHITECTURAL RECORD JULY 2019
My Years with I.M. Pei
BY HENRY N. COBB
I rejoIce, even at this moment of sadness,
in a close fellowship that immeasurably
enriched my life across seven decades. A few
random thoughts come to mind as I remember
my mentor, colleague, and friend.
Complementing and enhancing his excep­
tional gifts as a designer, I.M. Pei displayed an
astonishing capacity to absorb Western cul­
tures while remaining deeply connected to
that of his native land. This capacity, com­
bined with his innate curiosity and unfailing
charm, transformed even the most mundane
conversation into an often wide­ranging explo­
ration not just of architecture but of the arts
broadly interpreted—including even the culi­
nary and the oenological—and of the diverse
cultures from which they spring.
It should not be forgotten—for this was
indeed a portent of things to come—that Pei’s
1946 thesis project in Walter Gropius’s master
class at Harvard was a direct if subtle chal­
lenge to the radically ahistorical pedagogy of
the Modern movement as practiced by the
founder of the Bauhaus. Pei proposed that a
museum of Chinese art in Shanghai should
incorporate references to the very ancient
culture therein to be celebrated, and that
effective instruments for this were to be found
not only in built form but also in nature. To
each of these propositions, a skeptical Gropius
replied, “Prove it!” and in the end acknowl­
edged that Pei had done so.
Pei’s 12­year stint (1948–60) in the employ of
the developer William Zeckendorf Sr. has
sometimes been portrayed as a wasteful if not
counterproductive episode, delaying his pur­
suit of those cultural building projects that
most attracted him and that would later make
perspective tribute
him world­famous. While it is true that Pei
himself would have preferred that this episode
end sooner, a review of built works completed
during the 1950s shows conclusively that these
projects laid the essential groundwork—techni­
cal, managerial, and conceptual—for his
subsequent practice. Indeed, the bold adven­
tures in cast­in­place concrete that propelled
him to the forefront of his profession in the
decade of the ’60s—the National Center for
Atmospheric Research in Boulder, Colorado;
the art museums in Des Moines and in
Syracuse, New York—would have been neither
conceivable nor achievable without the techni­
cal expertise and staff resources that had
been created during the previous decade in
response to the challenge of designing budget­
constrained middle­income housing. And the
passage of time has confirmed that these early
works were no throwaway projects: Kips Bay
Plaza in New York and Society Hill Towers in
Philadelphia, for example, are today widely
recognized as significant landmarks in post­
war American architecture.
As the foregoing suggests, Pei’s creativity
and resourcefulness were evidenced not only
in his built works but also in the apparatus
undergirding his practice, wherein he assem­
bled an exceptionally capable team of dedi­
cated colleagues whose diverse skills were
integrated and invigorated by his leadership.
In offering a toast at a luncheon marking Pei’s
50th birthday on April 26, 1967, I reflected on
the source of this distinctive esprit de corps:
“There is a proverb, I.M., that has come down
to us from the antiquity of your homeland and
that seems to me pertinent to this occasion. A
wise man said, ‘Excellence does not remain
I.M. Pei salutes during construction of the Louvre addition
in Paris in 1986 (above); Henry Cobb is shown with I.M. Pei
in October 2018 (bottom, left); the National Center for
Atmospheric Research in Boulder, CO, opened in 1967.
alone; it is sure to attract neighbors.’ Your
friends around the table here can surely un­
derstand the full meaning of this truth,
because we have all, over the years of our
association with you, enjoyed the splendid
adventure of being neighbors to excellence. Of
course, it must be said of you now, as the su­
perbly accomplished practitioner of a universal
P H O T O G R A P H Y: © T H I E R RY O R B A N / S YG M A V I A G E T T Y I M AG E S ( T O P ) ; C O U R T E S Y H E N RY N . C O B B ( B O T T O M , L E F T ) ;
art, that the world is your neighbor, and that
we who salute you here are but surrogates for
a vast throng of friends and admirers whose
good wishes are always with you. Nonetheless,
because we were among your earliest neigh­
bors, and more important because we have for
you that special affection which is the reward
for having worked together toward high goals,
we claim the privilege now of drinking a toast
to the continued health and prosperity of our
mutual friend, Mr. I.M. Pei.”
Henry N. Cobb is a partner of Pei Cobb Freed &
Partners
EZRA STOLLER/ESTO (BOT TOM , RIGHT )
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perspectivehouse of the month 35

HUTKER ARCHITECTS HAS RECONSTITUTED THE ORIGINAL 1987 STEVEN

HOLL DESIGN OF A MARTHA’S VINEYARD HOUSE. BY SARAH AMELAR
P H O T O G R A P H Y: © E R I C R O T H ( T O P, A N D B O T T O M , R I G H T ) ; PAU L WA R C H O L ( B O T T O M , L E F T )

In 1987, Steven Holl completed the Berkowitz­
Odgis House, high on the dunes in Martha’s
Vineyard, overlooking the Atlantic Ocean. The
wooden building’s slender rectangular form—
outwardly expressing its balloon­frame
structure—took inspiration from Herman
Melville’s description in Moby-Dick of the shel­
ters regional Native Americans created from
whale bones and animal hides. The house
touched lightly on this fragile landscape,
hovering on stilt­like piers over the undulant,
sandy terrain. The design—whose linear
exoskeleton, particularly along the veranda,
invited a poetic play of shadow—also respond­
ed to stringent building codes requiring
significant setbacks from wetlands and limit­
ing the house’s visibility from the beach.
The widely celebrated building received a
Progressive Architecture citation and a National
AIA Honor Award—yet, by 2013, the 26­year­old
structure had been demolished. Now in its
place is a new house, by locally based Hutker
Architects (HA), that pays homage to Holl’s
forms and ideas without literally recreating
the original. What happened?
As HA principals Gregory Ehrman and
Philip Regan tell it, they’d long admired the
house, even as it changed hands and slowly
deteriorated over time. In 2011, their clients
fell in love with its site—six acres in Aquinnah,
In reconstructing the Steven Holl–designed house, Hutker
Architects pared down the filigree of wood trim and
railings of the main floor’s west facade and deck railings
(top). The original design (above, left) rested on stilts; now
a lower level has been added. The living room and deck
still open toward the view (above).
bordering protected conservancy land—but
wanted to demolish Holl’s modest, 1,600­
square­foot, three­bedroom house and build
anew. No landmark protections were in place.
“So we did everything we could to ultimately
convince them,” recalls Regan, “that the archi­
tecture was significant—well worth restoring
—and they should renovate instead.”
The new owners, however, wanted double
 36 ARCHITECTURAL RECORD JULY 2019
perspectivehouse of the month
By inserting a second bedroom level on the ground under
the main floor, Hutker Architects was able to amplify the
spaces significantly (left). By setting back the lower floor
5 feet from the exterior volume, the architects hope to
keep the linearity and delicacy of the original framework.

the square footage, among other modifica-

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

5
Amped up to 3,560 square feet, the house
acquired a main-level master suite, three bed-
11
rooms downstairs, updated building systems,
1
and a reconfigured kitchen and bathrooms
1
with up-to-date fixtures and finishes. Gone are
0 10 FT. Holl’s distinctive
0 wood railings, whose diagonal
10 FT.
. 0 10 FT. LOWER LEVEL MAIN LEVEL
MAIN LEVEL
3 M. 3 M. patterns cast complex3 M. shadows. Now cable rails
Continued on page 38
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38 ARCHITECTURAL RECORD JULY 2019
perspectivehouse of the month
Hutker Architects left open the space under the
triangular projection from the main floor (left) to
enhance the vista of the ocean.
replace those more intricate ones, which
Regan says were hard to maintain, needed
some modifications to meet code, and, per­
haps most of all, displeased the new owner
At the same time, HA took care to stealth­
ily bury the new freestanding garage in a
hillside. And, instead of completely maxing
out the buildable square footage (which
grandfathered zoning limited to the origi­
nal envelope, since the house would not
have been permitted in its current location
today), the architects set back the lower
level’s western face by 5 feet, leaving the
exoskeleton relatively unencumbered.
But a structure with a solid, built­out base
no longer perches birdlike over the dunes.
As Holl puts it, “There’s a sculptural aspect
that gets destroyed if you try to do what
they did. It becomes a different house.”
Nonetheless, having seen it in photos, he
feels it “still relates to the spirit of the site,
some ghost of that comes through, in a
pretty strong way.” And for him, “that’s
better than ripping it all down and doing a
Cape Cod, or whatever’s usually done there.
Contact your local Ruskin representative,
or visit ruskin.com for more information.
It’s still linear, wood construction. And from
the approach, it’s almost like the original—
though I wouldn’t say that’s true from any
other angle.”
Nonetheless, he ponders whether the
existing structure was deemed unsalvage­
able as a pretext “so they could tear it down
and build something bigger.” The intention­
ally modest Berkowitz­Odgis House cost
$275,000 in 1987 (about $618,600 in today’s
dollars), but the stakes have changed.
According to public records, the property
(with the partly built house) sold for $2.1
million to the current owners—who now list
the finished work as a vacation rental for
$30,000 per week.
“It’s a different world,” says Holl. But
rather than bemoan the loss of the house, he
cites a story about Louis Sullivan. “In the last
decade of his life, when Sullivan learned of
P H O T O G R A P H Y: © E R I C R O T H
the destruction of one of his buildings, he
responded: ‘If you live long enough, you’ll
see all your buildings destroyed . . . It’s only
the idea that really counts.’ ” And in that
spirit, Holl graciously concludes, “The house
by Hutker carries ideas from our original
design—and, in the end, that’s what’s most
important.” ■
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perspective landscape 41

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

BRINGING BRAZIL TO THE BRONX. BY ALEX KLIMOSKI

This summer, a luxuriant Brazilian jungle has made its way

to, of all places, the concrete jungle. At the New York
Botanical Garden (NYBG) in the Bronx, the serendipitously
named landscape architect Raymond Jungles has created a
verdant nirvana that celebrates the work of Roberto Burle
Marx (1909–94), the Brazilian painter, botanist, and master
sculptor of flora. The temporary display garden summons the
organic, asymmetric forms, twists and turns, and electrify-
ing colors that define Burle Marx’s landscape designs, which
range from public parks, such as the 1951 Parque Jaqueria in
Recife, to the grounds for government buildings, including
the seminal 1942 Ministry of Education and Health Building
in Rio de Janeiro, by Lúcio Costa, Oscar Niemeyer, and other
prominent Modernist architects.
There may be no one better suited to design the exhibit
than the Miami-based Jungles, who spent time with Burle
P H O T O G R A P H Y: © C U R T I C E TAY L O R

Marx in the late 1980s and early ’90s at the artist’s estate,
known as the Sítio, in a small village west of Rio de Janeiro.
There, over the course of four decades, Burle Marx built his
house, several pavilions and greenhouses, and nurtured his
plant collection of more than 3,500 species. Burle Marx has
remained a constant source of inspiration for Jungles, whose
projects—the grounds around the Grove at Grand Bay, by
Bjarke Ingels Group (record, October 2017), and at Faena A winding pathway guides visitors through the garden, which features Brazilian palm specimens and
House Condominiums in Miami, by Foster + Partners, for other tropical flora (top). A replica of a sculptural wall designed by Burle Marx serves as the exhibit’s
instance—build upon the biodiversity and sinuous shapes focal point and water feature (above).
42 ARCHITECTURAL RECORD JULY 2019
perspective landscape
characteristic of Burle Marx’s work. “I wouldn’t be me with­
out Roberto,” says the landscape architect.
For the garden exhibition, Jungles designed a serpentine
black­and­white walkway, reminiscent of Burle Marx’s 1970
Copacabana Beachfront in Rio de Janeiro, that guides visitors
through intimate shaded alcoves and dynamic open gather­
ing spaces surrounded by tropical flora. “Sculpting space is
more important than creating sculpture,” says Jungles.
Throughout, the layering of plants and the meandering path­
way work together to create moments of surprise and allure.
“Roberto loved drama,” he adds.
The garden’s diverse plant palette—from the NYBG, as well
as from Jungles’s collection in Florida—comprises some of
Burle Marx’s favorites species, such as the towering Copernicia
Baileyana palm native to Cuba, and the Madagascan triangle

Burle Marx was a prolific visual artist, creating many works at his estate near Rio de Janeiro (above). A
sketch (below) by exhibit designer Raymond Jungles (bottom, right) shows an interplay of color, form,
and texture. The tropical garden features open areas and small nooks (bottom, left).
I M AG E S : © C L AU S M E Y E R / T Y B A ( T O P ) ; C O U R T E S Y R AY M O N D J U N G L E S ( M I D D L E ) ; C U R T I C E TAY L O R ( B O T T O M , L E F T ) ; A R C H I T E C T U R A L R E C O R D ( B O T T O M , R I G H T )
palm, whose leaves sprout upwards and out like a water foun­
tain. Smaller plants along the walkway—such as the bright
pink­speckled coleus, a hallmark of Burle Marx’s earlier gar­
dens from the 1940s and ’50s—add texture and visual contrast.
The show’s crescendo is a sculptural relief wall, a replica of
one Burle Marx designed in 1983 for the Safra Bank in São
Paulo. Water trickles down the curved forms carved out of its
concrete surface and collects in a small, amoeba­shaped pond.
As Jungles notes, “No Burle Marx garden was complete with­
out water.” From many vantage points, plants frame views to
the water; even if you can’t see it, the sound of its ripples
makes its presence known.
Inside the NYBG library, a gallery dedicated to Burle Marx’s
paintings and textiles showcases his range as a visual artist.
The abstract, two­dimensional artworks echo the colors,
coils, and orthogonal lines of his landscapes, and help to give
a fuller understanding of Burle Marx as not just a landscape
designer but a modern­day Renaissance man (he also was a
trained opera singer). On view through September 29, Brazil-
ian Modern: The Living Art of Roberto Burle Marx is, according to
Jungles, the perfect embodiment of its subject. “I tried to
make it as Burle Marx as can be,” he says. “It’s an homage to
my mentor.” ■
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ARCHITECTURAL RECORD JULY 2019
The Nuance of Place
The Absent Hand: Reimagining Our American Landscape, by Suzannah Lessard. Counterpoint,
305 pages, $26.
Reviewed by James S. Russell, FAIA
This book of thought­
provoking essays queries
the nature of place,
asking landscapes to
reveal their meanings.
Suzannah Lessard begins
in Rensselaerville, a
remote village not far
from Albany, New York,
that you reach by de­
scending a forested ridge
into an intimate valley.
The first sign of town is
an elegant 19th­century
church spire poking
through the treetops; it’s
like entering Brigadoon.
Her elegant prose unveils
contradictions behind
the beauty, where
neglect and abandon­
ment lap at the edges of the carefully tended
historic village.
Lessard, author of The Architect of Desire (on
Stanford White’s tragic story), tries to set
aside her own predilections (against suburbia,
for example), which she admits is something
of a fool’s errand, as she develops themes that
include authenticity and its corporate exploi­
tation and our fascination with the ruined
and discarded.
She does not revel in the nostalgia for a
golden past, as essayists of the landscape
often do. She is skeptical and, with a keen
eye, she goes well beyond the rote analyses
implied by such well­worn terms as “context”
and “precedent.”
One essay begins with her casual decision
to attend a small Memorial Day ceremony in
Rensselaerville, where she lives part time.
That leads to a consideration of the evolving
meaning of the holiday: while it originally
commemorated those of the North who died
in the Civil War, it has conveniently erased
slavery as the reason the war was fought. In
another essay, she visits Gettysburg,
Pennsylvania, where the National Park
Service interpretation sanitizes the war’s
history just as Jim Crow laws eradicated the
gains of Reconstruction for blacks in the
South. The setting is so delightful, she finds,
that it is next to impossible to conjure the
horrors of the battles that introduced indus­
perspectivebooks
trial­scale death to
combat.
As Lessard looks at
other places where the
design arts are used to
beautify troubled pasts,
she concludes “the need
for romance—the useful­
ness of romance—is over.”
The Greek Revival ante­
bellum mansions of
Natchez, Mississippi, were
paid for in the blood of
slaves. But the frail econo­
my of the now biracial city
seems to require catering
to tourists’ Gone with the
Wind preconceptions
instead of telling the
deeper, more tragic sto­
ries: a less damning
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not fooled for long by the apparent stasis of
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accommodating five or more apartments
have become palatial single­family homes,
displacing hundreds on a single block. She
offers no glib solutions; she realizes that she,
who lives on her own nice two floors of a
brownstone, is an agent of change as well as a
student of urban dynamism.
There are contradictory forces that divide
people like her from her full­time country
friends, whose destiny is tied to farming
(which is increasingly less viable). Her neigh­
bors could subdivide their land, spoiling her
contemplative view, or assure their future by
selling to fracking companies, a fate she
adamantly, if guiltily, opposes.
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perspectivebooks
Architectural Record
City of Dreams is always a click away.
Wright and New York: The Making of America’s Architect, by Anthony Alofsin.
Yale University Press, 343 pages, $35.
Reviewed by Norman Weinstein

Anthony Alofsin’s new book on Wright’s tumul-

tuous relationship to New York City is the third one
centering on a connection that Wright himself
might have thought unworthy. “A great monument
to the power of money and greed” Wright called
the city, but several Wright scholars have ques-
tioned his dismissals. Herbert Muschamp’s Man
About Town: Frank Lloyd Wright in New York City (1983)
treated Wright’s energetic antipathy toward
Gotham from 1926 to 1933 as an inspirational force
shaping Wright’s theories of urban planning. Jane King Hession and Debra
Pickrel’s Frank Lloyd Wright in New York: The Plaza Years, 1954–1959 (2007)
offered a detailed chronicle of Wright’s life in New York and his one-week-a-
month residence at the posh Plaza Hotel during the Guggenheim Museum’s
construction. Alofsin’s book differs from these earlier studies by asserting
that Wright’s time in New York between 1925 and 1933 was “the turning
point of his career and established the persona that the world would come
to know.” This is quite a claim about a city for which the architect had
expressed lifelong contempt. That assertion also lessens attention to other
cities where Wright found inspiration: Chicago, Berlin, Tokyo, and Los
Angeles. So how does Alofsin develop his case?
Since the Guggenheim was Wright’s only fully realized Manhattan
project, Alofsin considers two unbuilt Wright projects for the city as hav-
ing paramount career-defining importance. These were commissioned by
Reverend William Norman Guthrie of St. Mark’s Church in-the-Bowery:
one, named for the church, evolved into an 18-story glass skyscraper in
1929 with a pinwheel plan (record, January 1930). The other was a modern
cathedral that drew Wright into designing a colossal steel house of wor-
ship reflecting the common ideals of world religions (1926). Both grandiose
schemes spawned key architectural forms, Alofsin argues, which Wright
integrated decades later into the Price Tower in Bartlesville, Oklahoma
(1956), and Beth Shalom synagogue in Elkins Park, Pennsylvania (1959). To
deepen an appreciation of Wright’s indebtedness to New York’s notable
personalities, the author offers a touching portrait of the iconoclastic
Guthrie, who showed Wright “that the city was a place for dreams and
ambition, a platform and battleground for artistic vision.”
If the theme of New York as the penultimate dream incubator for
Wright seems engaging, you may find Alofsin’s book revelatory. If you
view Wright’s architectural designs as a consequence of his interplaying
myriad imagined and actual urban and rural environments, then Alofsin’s
perspective may seem stultifyingly narrow. No actual city anywhere
thrilled Wright as deeply as his own utopian “Broadacre City.” New York
particularly triggered Wright’s wrath since its high-density skyscraper
profile was so contrary to Broadacre’s uncrowded pastoral skyline.
That Wright enjoyed conversing with city power brokers like agency
macher Robert Moses, gloried in meeting entertainment stars (and possible
clients) Arthur Miller and Marilyn Monroe, appreciated contact with long-
time artistic colleague Isamu Noguchi, and luxuriated in swank amenities
the city offered like the 21 Club seems uncontestable. But to transform
Have you connected?
Wright’s appreciation for the city’s material, social, and cultural riches into
a tale of the city’s “making” of his true character and mission neglects
Wright’s unwavering visionary dedication to a city yet to be forged. ■

Norman Weinstein writes and consults on architecture and design.

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52 ARCHITECTURAL RECORD JULY 2019 IN FOCUS

Book Fare
A new literary café in Mexico City fast
becomes a community gathering spot.
BY BETH BROOME
PHOTOGRAPHY BY JAIME NAVARRO
In the early 1990s, following his graduation from Rice University’s
School of Architecture and a stint at Ricardo Bofill’s office in Barcelona,
Eduardo Aizenman returned to Mexico City, which still had not recov­
ered from the devastation of the 1985 earthquake. Wanting to create
community, breathe new life into the city, and just have a place to hang
out, Aizenman and his friends conceived a bookstore­café (or
Cafebrería) in the historic Condesa neighborhood, which had been
particularly hard hit. The move helped fuel a local renaissance and,
over the years, the partners brought their Cafebrería El Péndulo
concept to various precincts, with Aizenman designing unique
bookstore­cafés for each location.
The partners have recently opened their seventh—and first ground­
up—outlet in the San Ángel neighborhood, along the busy Avenida
 53

Revolución 1500, wedged between a theater complex and a gov­

ernment building. Beyond an unassuming, boxy metal and
pine­plank exterior lies a striking 26­foot­high interior laced with
retail, dining, and lounge seating scattered across its various
levels. “The challenge,” Aizenman says, “was, how do you make
this big, 10,500­square­foot box and give it human scale?” The
theater next door provided cues. “There was this idea of stages,
different levels of platforms where you could see and others could
see you,” he says. “We wanted to make a big hangar­like space
where things would happen.” Indeed, on a recent rainy evening,
El Péndulo buzzed with activity as the young clientele browsed
the shelves, chatted over drinks, and worked on their laptops.
Besides its range of programming, the building actively en­
gages visitors with its variety of options—stairs, bridges, and
balconies—for moving horizontally and vertically through the
space. The interior is arranged around two axes: one from the big
urban street to the garden at the back and the other from the
theater to a high wall of books. At the center is an 80­year­old
palm wrapped in a louvered chimney­like enclosure that pops
through the roof, helping pull heat up and out of the building,
which, save for the kitchen, does not have mechanical ventilation.
Materials help make the large room less imposing. Aizenman
used pine for the ceiling slats and shelves and oak paneling to
bring a warmth to the steel and glass, for example. And pro­
grammed spaces are indicated with different floor coverings:
local black stone for the entry and main retail level, wood for
the dining area, and resilient flooring for the lounge and bar.
Lighting also helps define zones, with long LEDs embedded in
the slat ceiling, pendants and floor lamps for the dining and
the lounge areas, and LED wash and spot lighting for the
bookshelves.
In its newest iteration, El Péndulo continues its mission of
turning a retail space into an experiential cultural hub—
an approach that’s now very much in vogue. “It’s a bit like
WeWork,” says Aizenman laughing, “but we don’t charge.” ■

PATH BREAKING
Visitors use a variety of
stairs, bridges, and
balconies to traverse the
cavernous room, which is
divided into zones for a
range of activities.
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ARCHITECTURAL RECORD JULY 2019 CLOSE-UP 55

Forward
Thinking
Alexander Jermyn designs
storefront clinics for high-
tech healthcare.
BY DAVID SOKOL
PHOTOGRAPHY BY JEREMY BITTERMANN

While neW fitness trackers and other health-

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

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

in the face of finding a doctor’s office at the end of a long,
fluorescent­lit corridor and waiting for half an hour,” Jermyn
says of the arrival sequence, reflecting on the 28­seat waiting
area that he had designed for a rural California health clinic
just prior to winning the Forward gig.
The architect devised a system of faceted oak millwork as
a means of enclosing the lobby’s variously scaled user inter­
One of Forward’s two can communicate with providers, view their own medical faces and uniting them as one experience. Using dramatic, P H O T O G R A P H Y: © W O N H O ( L E F T )
Los Angeles branches records, check the real­time data coming in from exercise knife­edged shapes, the prismatic geometry further permit­
is located inside a
shopping mall (above). trackers, and schedule in­person appointments with as little ted him to wrap that surface around inconveniently placed
The company opened as one day’s lead time. Two or three doctors occupy each columns in Forward’s inaugural storefront, in a historic San
its first storefront in Forward site, and, when patients do meet with doctors in Francisco mid­rise. The insertion can also create coves that
San Francisco (top,
person, they proceed from iPad check­in to the walk­in scan­ conceal lighting or engender a feeling of privacy around the
right). In the lobby of
each site, walk-in ner, which takes vitals and immediately conveys them to the body scanner.
“body scanners” take app. The lobby includes minimal seating because, as com­ Moving into the members­only spaces of each site, the
patients’ vitals (above pany founder and CEO Adrian Aoun explains, Forward’s material palette communicates consistency. Jermyn says that
and bottom, right).
digital infrastructure is so finely coordinated that a member specifying white oak for exam rooms’ door and cabinetry

panels conveys the client’s attention to detail,
adding, “It was challenging to find materials
that were appropriate for a medical space but
at the same time impart a certain level of
warmth.” As in the lobby, individual treatment
rooms contain technological aids; for instance,
a mega­touchscreen populates each room, so
that patient and provider can interpret app
data together.
Alongside its high­tech interventions, the
Forward design also allows for more analog
innovations. Each office includes a lab, so that
basic blood panels can be processed on­site,
with results beamed to the member’s exam­
room touchscreen eight minutes later. Each
in­house lab is adjacent to a bathroom, as well,
so that members can transfer urine samples
via discreet passthroughs. Because Forward
focuses on serving urban areas, all the com­
pany’s branches are located within existing
buildings. As Jermyn explains, “We do elabo­
rate gymnastics to make these spaces work,”
taking into consideration a building’s column
grids, sight lines for members, and staff work­
flow paths.
Since Forward’s physical launch in San
Francisco in January 2017, the designers have
had an average of 15 weeks to prepare each new
57
The San Francisco location occupies the
street-level space of a historic building.
branch, in footprints ranging from
1,800 in Los Angeles to 4,500
square feet in Washington, D.C.,
the newest location. Although the
design must be adapted to site­
specific conditions as different as
an urban skyscraper and a
Southern California mall, archi­
tect and client have been refining
the overall vision with each roll­
out. They have veered away from
corner locations that force circula­
tion to the perimeter, for example,
and they are turning front doors
into portal­like volumes, where
preservation rules allow, that
extend beyond the building envelope. company is planning additional rollouts to
Aoun, the head of the company (and an follow suit. Jermyn, for one, couldn’t be more
alum of Sidewalk Labs), says his team is si­ excited about continuing the work. “In previ­
multaneously working on medical upgrades, ous health­care projects, we have run into
such as development of a new cardiac ultra­ constraint after constraint from the medical
sound and a scope that tracks skin’s changes establishment, ingrained in economics
over time. “Our premise,” Aoun says of the and setup. With Forward, we have had the
continual improvement, “is a complete over­ opportunity to start fresh and question every­
haul of the health­care experience,” and the thing.” ■
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ARCHITECTURAL RECORD JULY 2019
products health care 61

Patients, Please
More human-centered and flexible than ever, innovative materials
are taking cues from hospitality and workplace trends.
By Kelly Beamon

Celliant by Designtex
An innovative fiber technology, which
when worn or touched is said to reflect
infrared energy back for improved circula­
tion and energy, Celliant is enjoying
widening use. After Designtex was one of
two manufacturers to debut the responsive
textiles at last year’s NeoCon, the company
is now making those fabrics available.
Developed by Hologenix, Celliant contains
13 thermo­reactive minerals reported to
deliver therapeutic benefits through prod­
ucts such as sheets, mattresses, and
upholstery.
designtex.com

Upholstered Settee 8733

A data port in the armrest and path­lighting LEDs around
the base of the seat make this settee ideal for assisted living
and hospital settings. Designers can specify the seat
(30" high x 52" wide x 26.5" deep) in a range of contract­
friendly fabrics.
samuelsonfurniture.com

Tedlar Wallcoverings Cadiant Dynamic Skylight

Certified by Underwriters What appears to be a skylight is actually a
Laboratories (UL) to meet strin­ luminaire that mimics one. The Cadiant
gent requirements for low Dynamic Skylight provides many benefits of
chemical emissions and healthier daylighting to patient rooms when cost or
indoor air quality, the durable, logistics override installing the real thing. The
digitally printed wallcovering by fixture’s color­changing LEDs create a multidi­
DuPont Electronics and Imaging mensional effect that’s controlled with a
is also stain­ and mold­resistant touchscreen and can be programmed to simu­
and easy to clean. The line is late dawn, dusk, and the gradual east­to­west
certified Greenguard Gold. movement of sunlight in between—in real
tedlarwallcoverings.dupont.com time, when set to a particular location. A deep
8" recess conceals tunable white LEDs and
mimics the movement of actual daylight.
creelighting.com
62 ARCHITECTURAL RECORD JULY 2019
products health care
Microsoft Surface
Hub 2S and Steelcase
Roam
To allow greater control
over how and where teams
collaborate, Microsoft
developed its new Hub 2S
all-in-one computer and
touchscreen to work with
Steelcase’s portable Roam.
The stand incorporates
a tray for the device’s
rechargeable battery and
cables.
steelcase.com

Optima Air
Among the latest hand dryers from Sloan, Optima Air features a
slimmer, quieter profile, a 14-second drying time, and a 95% cost
savings compared with paper towels. An optional noise-reduction
nozzle can cut sound levels by 9 decibels. AntiMicrobial Wall
Guards to prevent excess water on the wall are also available.
Finishes include Polished Chrome, Brushed Nickel, Polished White,
Matte White, and Graphite.
sloan.com

Living Systems
Shaw’s new collection of
nylon carpet tiles features
a biophilic design that
evokes nature. Recom-
mended for use in
assisted-living facilities,
the 9" x 36" Living
Systems tiles combine
patterns, textures, and
colors with the specific
goal of reducing stress,
and have earned a Cradle
to Cradle Silver
Certification. The manu-
facturer’s familiar AdjusTable System
modular format also Häfele’s single-column workstation system,
simplifies installation AdjusTable, can be installed in limited space to add
and maintenance. nurses stations with worktops anywhere they’re
shawfloors.com necessary. It adjusts from a height of 25⅞" to 44⅞",
holds 250 pounds, and is operated by an easy-to-use
single switch. An array of work-surface materials is
available.
hafele.com
BUILDINGENVELOPESYSTFORMSHADOWLINETEXTURED
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products paints & finishes

Spartacote Flex XPL

This resinous floor coating is
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Protect and Preserve
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applications on concrete floors,
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cals, abrasions and UV rays, Base Wood Finish
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traffic and in 24 hours for use be effective with a single coat
by vehicles. and has a faster­than­average
laticrete.com
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TPO Fleece Back FR
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Among the latest interior
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These low­VOC water­based topcoats for metal more evenly and in less
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The NeverFade system is finishes, as well as flat,
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 ARCHITECTURAL RECORD JULY 2019 69

Airports of the Future

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

Terminals Poised for Takeoff

BY JOANN GONCHAR, FAIA

except for people who have their own jets, most would agree that the romance of
air travel faded long ago. But that isn’t stopping those who want to be on the move.
Worldwide, aviation numbers are expected to double to 8.2 billion passengers per
year by 2037, say estimates by the International Air Transport Association. Airports
everywhere are racing to ramp up capacity, with $737.3 billion­worth of projects in
planning, design, or construction globally, according to one industry­analysis firm.
More than many countries, the United States is suffering from outmoded avia­
tion infrastructure, with the average terminal building more than 40 years old.
According to T.J. Schulz, president of the Airport Construction Council, at least
$70 billion is being spent over five years, beginning in 2017, modernizing 50
medium and large U.S. airports. The lion’s share of this sum is going toward termi­
nals—their revamping, expansion, or construction.
For architects, the focus is not merely on moving travelers from curbside to gate
as smoothly as possible but trying to improve the ambience of travel. “It’s not all
about speed and efficiency,” says Ryan Fetters, a senior associate in Gensler’s San
Francisco office. In a joint venture with Kuth Ranieri Architects, Gensler is part of a
design­build team for the landside of the $2.4 billion Harvey Milk Terminal 1 under
construction at San Francisco International Airport (SFO). The team describes the
I M AG E : © S O M | AT C H A I N

KEMPEGOWDA INTERNATIONAL AIRPORT

TERMINAL 2, BENGALURU INDIA, SOM
70 ARCHITECTURAL RECORD JULY 2019 AIRPORTS OF THE FUTURE
facility as transparent and daylight­filled, with
features such as intuitive navigation, site­
specific art, and generous areas for passengers
to reorganize their belongings after going
through security.
Many architects are trying to elevate the
passenger experience by injecting airports
with local flavor. “We try to capture the spirit
of the place, even if it isn’t a top goal of the
client,” says Laura Ettelman, managing part­
ner in the New York office of SOM. Among her
firm’s current projects is the 2.4 million­
square­foot Terminal 2 at Kempegowda
International Airport in Bengaluru, India,
organized around a series of indoor and out­
door green spaces. The scheme, inspired by the
tech hub’s history as a garden city, takes ad­
vantage of its benign climate and will offer a
“rich, sensory experience,” she says.
For architects dealing with a multitude of
complex functional requirements and rapidly
advancing technology, terminals are buildings
that can quickly become outmoded, says
Ettelman’s colleague Derek Moore, SOM
aviation­practice leader. He points to Eero
Saarinen’s TWA Flight Center at New York’s
John F. Kennedy International Airport as the
“poster child” of this obsolescence problem.
Enclosed by a dramatic, winglike thin­shell
roof, the building, which was conceived before
I M AG E S : © H O K A N D W S P ; G E N S L E R / K U T H R A N I E R I
the introduction of the first commercial jet,
was out of date almost as soon as it opened in
1962 (see page 96).
Since TWA, aircraft have of course
continued to evolve, though sometimes in
unexpected ways. The latest example is the
phaseout of the Airbus A380 announced by the
J O I N T V E N T U R E (O P P O S I T E )
manufacturer in February. Sales of the super­
jumbo jet, designed for long­haul travel and
carrying up to 850 passengers, have been
stagnant as airlines opted for smaller planes
that use less fuel per seat. Many of the budget
airlines that serve regional airports, mean­
while, have been flying fewer flights than
before, now with larger aircraft, like the

TERMINAL B, LAGUARDIA AIRPORT In New York,
HOK and WSP have designed a headhouse connected to a
pair of “island” concourses via pedestrian bridges.
Boeing 737 and Airbus A320, for similar rea­
sons of economy.
Disruption in the airline industry can make
a facility outmoded almost overnight. Pitts­
burgh International Airport occupies a 1992
terminal designed as a US Airways hub to
handle up to 32 million passengers per year,
many of them connecting to other flights. But
after US Airways merged with American in
2013, traffic hit a low, and the airport now
operates primarily as an origin and destina­
HARVEY MILK TERMINAL 1, SAN FRANCISCO INTERNATIONAL AIRPORT This 25-gate terminal will feature
several multistory spaces that allow daylight to penetrate its lowest levels.
tion facility, with about 9.5 million passengers
annually. Officials plan to “right size” by build­
ing a smaller terminal, now in schematic
design by a joint venture of Gensler and HDR
in association with Madrid­based luis vidal +
architects. “We currently have ever increasing
maintenance costs and aging infrastructure
that we can’t upgrade,” explains Paul Hoback,
the airport’s chief development officer.
The changes in how people get to the airport
are affecting planning as well. More people are
arriving by ride­share services like Uber and
Lyft, and revenue from parking is falling. Yet,
despite this trend, many airports are still
building garages, primarily to house their
rental­car concessions. One possible future use,
should garages no longer be needed, would be
as service hubs for automated­vehicle fleets,
suggests Chris Donahue, a principal with the
Abstract Group. The firm is a consultant to
Michael Baker International, the company
designing the garage and ground­transporta­
tion center at the new Pittsburgh airport.
Inside terminal buildings, the most conse­
quential development is the ratcheting up of
security. The screening process has become
increasingly invasive and stressful as well as
space­hungry, with snaking queues and bulky
equipment. But new technologies, such as
71
biometric identification, along with artificial
intelligence to help target threats, promise to
make security checks faster—less onerous yet
more thorough. Facial­recognition systems
like the one introduced last December at Delta
Airlines at Atlanta’s Hartsfield Jackson Inter­
national Airport (the world’s busiest, in terms
of annual passengers), should also reduce the
amount of real estate that screening requires,
say proponents.
Other technological trends with operational
and space implications include a growing
reliance on automation and self­service. For
instance, pre­security areas are shrinking now
that passengers routinely check in before arriv­
ing at the airport or via self­service kiosks, and
often tag their own bags. So­called individual
carrier systems (ICS) for baggage handling,
which rely on RFID chips, offer improved track­
ing, speed, and energy efficiency, though they
do not necessarily save space. At SFO’s Harvey
Milk, which will have one of the first installa­
tions of an ICS in the country, accommodating
the machinery’s height requirements “was a bit
of a jigsaw puzzle,” says Richard Spencer, avia­
tion­design director for Woods Bagot. His firm,
along with HKS, ED2 International, and KYA, is
designing the air side of the terminal as part of
a design­build team.
72 ARCHITECTURAL RECORD JULY 2019 AIRPORTS OF THE FUTURE

MARSEILLE AIRPORT An expansion for this

Mediterranean city, designed by Foster + Partners, will
include a terrace overlooking the tarmac and the view
beyond.

Seasoned airport designers caution that,

while these technologies rapidly evolve, “the
story of the next 20 years is likely to be auto­
mation, biometrics, and AI, but no one really
knows,” says Andrew Thomas, a partner at
Grimshaw Architects in London. Thomas, who
led his firm’s team in designing the recently
opened 11 million­square­foot terminal at the
Istanbul New Airport—said to be the world’s
largest—recommends against designing tightly
to current tech requirements. Instead, he advo­
cates for “deep floor plates and a loose fit.”
Building in such flexibility undeniably
makes sense, especially for a greenfield facility
well outside the city center, like the Istanbul
airport. But projects at urban airports with
little wiggle room are trickier. Some, like the
new Terminal B now under way at New York’s
LaGuardia Airport (LGA), require an almost
surgical approach. In order to keep the maxi­
TERMINAL 2, KEMPEGOWDA INTERNATIONAL AIRPORT For Bengaluru, India, SOM has designed a building mum number of gates operational during
organized around a series of indoor and outdoor green spaces. construction, the facility is being built in

PITTSBURGH INTERNATIONAL AIRPORT The subtly undulant roof of the planned new terminal is intended to recall the region’s landscape.
phases, “alongside, around, and over” the
existing 1964 terminal that it is replacing, says
I M AG E S : © F O S T E R + PA R T N E R S (O P P O S I T E , T O P ) ; S O M (O P P O S I T E , B O T T O M ) ;
Peter Ruggiero, design principal in the Chicago
office of HOK. As part of the consortium cho­
sen to design, build, and operate the terminal
through 2050, HOK and WSP have developed a
scheme that has a headhouse connected to a
pair of gate­concourse buildings via pedestrian
bridges. These span over the plane taxi lanes.
C O U R T E S Y P I T T S B U R G H I N T E R N AT I O N A L A I R P O R T
So far, 16 of the planned 35 gates are open,
with completion slated for 2022.
Transparency is a common theme at new
airports, as architects endeavor to make navi­
gation as straightforward as possible and
reduce passenger stress. At LGA’s Terminal B,
travelers will always be able to see and
anticipate the next step in the process, says
Ruggiero. Security will be visible from the
curbside, and once customers pass through the
screening area, the bridges and concourses
will come into view through an expansive
window wall. And for orientation at Harvey
Milk, designers are relying on strategies such
as changes in finishes and manipulation of
ceiling planes to provide subtle prompts. They
also have created a series of multistory spaces
that will allow daylight to penetrate the build­
ing’s lower levels and give occupants a sense of
their location in relation to the outside world.
Of course, many tech­savvy people already rely
on their smartphones for wayfinding, in addi­
tion to using the devices for real­time info
about flight status and the length of security
lines. “But we hope that light and form will
provide the necessary cues,” says Spencer from
Woods Bagot.
Ruggiero points out that gate areas in
aviation lingo are often referred to as “hold
rooms,” which implies incarceration. But he
and other architects say that the current
thinking is to make these spaces into hospi­
tality environments, with varied seating
options, plentiful charging stations, better
lighting, and improved indoor air quality. And,
of course, the gate areas are readily accessible
to retail and food concessions, often highlight­
ing local specialties. Passengers waiting for
flights can take advantage, too, of a widening
73
array of amenities such as yoga rooms, chil­
dren’s play areas, or nap pods. Moshe Safdie’s
Jewel at Changi Airport in Singapore (page 74)
even includes a movie theater.
Arguably, the most surprising amenities
cropping up at airports large and small are
biophilic elements, both open­air spaces and
those that are climate­controlled. SOM’s Kem­
pegowda project is just one example. There is
also the lush valley that is the centerpiece of
Jewel; a terrace that will overlook the tarmac
and the landscape beyond in Foster + Partners’
planned expansion to Marseille Airport; and
the garden framed by the revamped Elmira
Corning Regional Airport (see page 88), by
Fennick McCredie Architecture. All provide an
opportunity for passengers to reconnect with
the natural world before or after spending
hours in a hermetically sealed jet.
The truism that the only constant is change
seems particularly apt for airports. Let’s hope
that the trend toward air terminals with im­
mersive green, soothing environments turns
out to be one that endures. ■
74 ARCHITECTURAL RECORD JULY 2019 AIRPORTS OF THE FUTURE

Jewel Changi Airport | Singapore | Safdie Architects
Green Machine
Designers reinvent the airport experience with deft engineering,
unusual geometry, and a vast indoor garden.
BY JOANN GONCHAR, FAIA
PHOTOGRAPHY BY TIM HURSLEY
S
ay the word “airport” and even the most
intrepid road warriors are likely to think of
the headaches associated with air travel,
such as lost luggage, delayed flights, intrusive secu­
rity screenings, and long lines at international entry
points. Travelers are probably not envisioning a ver­
dant landscape with cascading water features or
meandering walking trails. But that is what people
encounter inside Jewel at Singapore’s Changi Airport.
The $1.2 billion structure, designed by Cambridge,
Massachusetts­based Safdie Architects, weaves retail
space, food outlets, and passenger conveniences
together with a flourishing green space of palm and
bamboo trees, canyons, and a 130­foot­tall waterfall—
all within an immense, climate­controlled toroidal
glass enclosure.
The 1.7 million­square­foot Jewel, which sits on the
site of a former surface parking lot and connects to
three of the airport’s four terminals, is the outcome
of a competition that Safdie entered with developer
CRYSTAL PALACE The centerpiece of Jewel’s toroidal glass-and-steel dome is a funnel-shaped oculus from which a “rain vortex” flows
at up to 10,000 gallons per minute (opposite). Tubular pedestrian bridges (above) connect the building to two of Changi’s terminals.
75
CapitaLand. It is part of a set of long­range projects
that aim to increase the airport’s capacity from 65
million to 135 million passengers by 2030, including
a third runway and a terminal designed by Heather­
wick Studio, KPF, and Architects 61. The aspiration
for Jewel was not only to entice more people to travel
through Changi, but also build upon its curious
popularity among Singaporeans as a destination in its
own right—a place readily accessible to the rest of the
island via mass transit, where the nontraveling public
can shop, eat, and spend leisure time. Toward those
goals, the 2014 request for proposals called for a
shopping mall, airport services that included early
check­in facilities and baggage storage, plus an un­
specified “attraction.”
To fulfill this open­ended part of the brief, Moshe
Safdie, the architecture firm’s founder, proposed a
“mythical garden” as the focal point around which
Jewel’s other programmatic elements could be orga­
nized and as a fitting gateway to the famously lush
76 ARCHITECTURAL RECORD JULY 2019 AIRPORTS OF THE FUTURE

9 9

TERMINAL 3 2 2 2 2

JEWEL TERMINAL 1

12 12
TERMINAL 2
6 6

5 5
2 2 2 2
11
9 9 92 9 10
11 2 2 10
2

9 9

0 350 FT. LEVEL-THREE PLAN 0 0 100 FT.

100 FT.
SITE PLAN LEVEL-THREE PLAN
100 M. 30 M.30 M.
8
1

1 GREETER HALL 10 TERMINAL 2 LINK

2 RETAIL 11 TERMINAL 3 LINK 7

2 2 4
3 LOUNGE 12 PEOPLE MOVER TRACKS

4 EARLY CHECK-IN 13 CANOPY PARK A 5 3 A

5 FOREST VALLEY 14 MOVIE THEATER 6

2
6 RAIN VORTEX 15 FOOD HALL
2 2
7 CANYON 16 IMMERSION GARDEN 2
8 TERMINAL 1 17 PARKING
2
9 GATEWAY GARDEN 18 BUS STATION
LEVEL-ONE PLAN 0 100 FT.
30 M.

13 13

2 6 2
2 5 2
18

14
15 16 16

17 17

0 50 FT.
SECTION A-A
15 M.

city­state. Dubbed the “forest valley,” the re­
sulting green space takes the form of an
80­foot­tall stepped elliptical void that is
topped with a “canopy park” with follies such
as a topiary walk, a mirrored maze, and a
glass­bottomed bridge. Encircling the valley on
four levels above grade and two below (with
2,500 subterranean parking spaces below
that), are a shopping mall, a movie theater, a
hotel, and other traveler conveniences. These
amenities are kept separate from the green
space, but the designers sliced slot­like “can­
yons” through the valley bowl, providing
visual connections between the two distinct
environments. Conscious of the disorienting
potential of buildings with round footprints,
the architects have also arranged the cuts to
provide views to the outside, including one
aligned with the air traffic control tower.
The valley and the spaces around it have a
mostly conventional concrete­and­steel struc­
ture. But the toroid, a glass­and­steel grid shell
675 feet across at its widest point, is highly
sophisticated, and largely self­supporting,
except for 14 treelike columns. The shell con­
sists of hollow­section steel beams, 4 inches
wide and of varying depths, connected by
precision steel nodes. The grid shell launches
from a ring beam that encircles Jewel at its
fifth level and marks a transition in the clad­
ding, with mostly aluminum panels below it
and glass above. The roof system spans to the
funnel­shaped oculus, from which the veil of
water called the “rain vortex” falls.
The vortex, designed by the water feature
specialists WET, drops up to 10,000 gallons per
minute down seven stories and is Jewel’s most
popular selfie spot. However, it is not at the
physical center. The waterfall has been posi­
tioned slightly to the south to avoid dousing a
pre­existing tram that transports passengers
between terminals and now traverses Jewel’s
valley every few minutes. That placement
of the vortex resulted in a subtly irregular
doughnut shape for the toroid and meant that
 77

LEDE IN Xeruptaq aut et

audici cupta dollatur? Quibus
ma andest unt latem in non
cor mo beaquat.dolorumento
VIEWdoluptaes
quias SHED Slot-like
nam eturslices through Jewel’s
maxim
“valley”eum,
allowvelic tota
views to neighboring spaces and
doloreptat venia
the exterior, debitiae
helping prevent visitors from
coressi
becomingut. disoriented by the circular form.
78 ARCHITECTURAL RECORD JULY 2019 AIRPORTS OF THE FUTURE

RETAIL WRAP
A shopping mall (right)
encircles the valley on four
levels above grade and two
below. As visitors approach
Jewel from Changi’s
Terminal 1, to which it is
directly connected, the
vendors and the central
green space beyond come
into view (above).
 79

SOLID STEEL
credits
NODE ARCHITECT: Safdie Architects — Moshe Safdie, lead
ALUMINUM ACCESS designer; Jaron Lubin, Charu Kokate, Greg Reaves,
HOLE COVER principals; David Foxe, Seunghyun Kim, Benjy Lee, Dan
HOLLOW SECTION Lee, Peter Morgan, Reihaneh Ramezany, Laura Rushfeldt,
STEEL BEAM
Isaac Safdie, Damon Sidel, Temple Simpson, Lee Hua Tan,
Andrew Tulen, project team
ARCHITECT OF RECORD:
XRSP Architects Planners & Engineers
CONSULTANTS: BuroHappold Engineering (roof
structure and facades); Mott MacDonald Singapore
(m/e/p); Ignesis Consultants (fire); Arup Singapore
(acoustics); Atelier Ten (environmental); WET Design
(water feature); PWP Landscape Architecture, ICN
International Singapore (landscape); Benoy (retail);
Lighting Planners Associates (lighting)
GENERAL CONTRACTOR: Woh Hup
OWNER: Changi Airport Group
SIZE: 1.7 million square feet
COST: $1.2 billion
COMPLETION DATE: April 2019 (Phase I)

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

41 40 39 38
43 42
37 36
35 34
33 32
31 30
29
28
27
26
25
24
23
22
21
20
19
18
17
16

15

LARGEST-PANEL HEIGHTS DETERMINED AS 14

SUBDIVISION OF LARGEST RADIAL: 13

LENGTH OF LONGEST RADIAL L LONGEST 12

MAX PANEL HEIGHT H MAX
NO. OF VERTICAL DIVISIONS N V = L LONGEST /H MAX 21,300 MM 11

10

09
LARGEST-PANEL WIDTHS DETERMINED AS 08
SUBDIVISION OF LONGEST HOOP:
07
CIRCUMFERENCE OF HOOP CLONGEST 06
MAX PANEL WIDTH WMAX
NO. OF HORIZONTAL DIVISIONS N H = C LONGEST /W MAX RING BEAM 05
04

03
2ND STORY
02

01

EVEN
ODD
1,347 MM

NODE SET-OUT — OVERVIEW NODE SET-OUT — DETAIL

BAKING INSTRUCTIONS The doughnut-shaped grid shell consists of hollow-section steel beams connected by precision steel nodes (top). Designers compare the parametric
model of the domed enclosure (above) to a “recipe” for determining the size, shape, and number of its triangular glazing units.
80 ARCHITECTURAL RECORD JULY 2019 AIRPORTS OF THE FUTURE

fresh air at a low velocity from floor­level

vents (many cleverly concealed in architectural
elements, including seating), so that only the
occupied portions of the vast volume are con­
ditioned. The system is one of many features
that helped Jewel earn Gold Plus, the second­
highest certification level under Singapore’s
GreenMark building­rating program.
Since the client deemed that 75 degrees
Fahrenheit and 60 percent humidity were the
optimum conditions for people—considerably
cooler and dryer than Singapore’s climate—
Berkeley, California–based PWP Landscape
Architecture selected Jewel’s trees, shrubs, and
other flora from subtropical zones throughout
the world. Many of the plants were tested
within a “coolhouse” that matched design
conditions as closely as possible and, once
procured, acclimated in nurseries in Singapore
for up to two years before being placed within
Jewel’s irrigated trenches, according to Adam
Greenspan, a PWP design partner.
The landscape approach has proved so
successful, says Lubin, that there are spots
within Jewel where you are completely
shrouded in greenery. Visitors won’t think
they are in an actual forest, he admits. But
SELFIE MAGNET In addition to the Instagrammable rain vortex (opposite), Jewel contains several other folly-like they can forget that they are at the airport—
attractions, including a set of foggy bowls (top) and a series of sculptural, mirrored slides (above). at least momentarily. ■
81
82 ARCHITECTURAL RECORD JULY 2019 AIRPORTS OF THE FUTURE

Beijing Daxing International Airport | China | Zaha Hadid Architects

Cleared for Landing

Once completed, an otherworldly new terminal will alleviate
pressure on the capital city’s existing airport.
BY ALEX KLIMOSKI
P H O T O G R A P H Y: © X I N H UA /A L A M Y S T O C K P H O T O
 83

A
little over a decade after Beijing Capital Airport constructed a
new terminal by Foster + Partners to accommodate an addi­
tional 50 million passengers a year, the capital city is
unveiling a new airport just 30 miles to the south. The 7.5 million­
square­foot Beijing Daxing International Airport, designed by Zaha
Hadid Architects (ZHA), will include four runways (compared to three
at the Capital) and serve 45 million passengers yearly when it opens
this fall; by 2025, that capacity is expected to reach an annual 72 mil­
lion. Built on a greenfield site in a rural area in Hebei province, the
starfish­shaped terminal, with its glowing standing­seam aluminum
roof and cluster of bulbous skylights, appears as an alien spacecraft—
or, for some Chinese, as the auspicious mythological phoenix—when
viewed from above.

STARSHIP Located in a rural area 30 miles south of

Beijing, the terminal has a compact form that minimizes
distances between gates.
84 ARCHITECTURAL RECORD JULY 2019 AIRPORTS OF THE FUTURE

I M AG E S : © C O U R T E S Y Z A H A H A D I D A R C H I T E C T S ( T O P ) ; X I N H UA /A L A M Y S T O C K P H O T O (O P P O S I T E )

0 1000 FT. 0 1000 FT.

LEVEL 4 PLAN LEVEL 3 PLAN
300 M. 300 M.
0 1000 FT. 0 1000 FT.
LEVEL 4 PLAN LEVEL 3 PLAN
300 M.
1 INTERNATIONAL AND FULL-SERVICE 4 IMMIGRATION 8 INTERNATIONAL RETAIL 300 M.

DROP-OFF 5 HIGH-FREQUENCY DOMESTIC DROP-OFF 9 DOMESTIC RETAIL (LEVEL 2)

2 CHECK-IN ISLANDS 6 AUTOMATED BAGGAGE-DROP POINTS 10 RAILWAY PLAZA
3 INTERNATIONAL SECURITY 7 DOMESTIC SECURITY

THE CENTER HOLDS Steel megacolumns surround a central courtyard, where domestic
retail and amenities are located. A mezzanine guides international travelers to passport
control. A rendering (opposite) shows how the multilayered core enables visual
connections to other levels.
The new airport is a driving force of an economic­development plan to
integrate Beijing with the surrounding regions of Hebei and Tianjin,
creating a megalopolis that will alleviate congestion and pollution in the
capital. Daxing is seen as a crucial multimodal transportation hub, even­
tually connecting a network of high­speed rail and improved intercity
railways and hundreds of upgraded expressways throughout the three
regions, which already have 130 million people.
The steel structure has a highly efficient six­pier radial form that
minimizes distances between check­ins and gates. By vertically stack­
ing the international and domestic levels around a central multilevel
retail atrium, the layout facilitates direct routes for passengers, espe­
cially for those with connecting flights (all 150 aircraft bays are no
farther than a third of a mile from the central area). “With the star­
shaped form, and moving walkways along each spoke, we can achieve
minimum connection times,” says Cristiano Ceccato, who leads ZHA’s
aviation projects. “If I only have 30 minutes to get on my connecting
85
flight, I know I can make it, because the airport supports me in that way.”
Critical to the terminal’s design was to foster smart technology for
ubiquitous function. Catering to China’s highly tech­savvy population,
Daxing will feature a completely automated departures mezzanine
dedicated to high­frequency domestic travelers, with self­check­in and
self­tagging baggage systems that will move passengers expeditiously
to security using only their smartphones. “A lot of airports have sepa­
rate VIP fast tracks, but those amount to small areas within the
departure level. This is different,” says Ceccato. “The Chinese have a
completely new level of confidence in this technological revolution and
have literally poured it into concrete as a separate floor.” At the air­
port’s north pier, departing passengers can enter the express
mezzanine, or go through the full­service check­in at the level above,
where international travelers pass along a bridge across the core that
also leads to immigration; domestic travelers are led down to the retail
floor to get to the air side. Throughout the interior, fluid, sweeping
forms are meant to evoke rolling landscapes or lines of calligraphy.
The terminal’s highly flexible design is made possible by eight grace­
ful parabolic megacolumns that curve down from the vaulted­dome
ceiling to the ground, supporting the central atrium and the long­
86 ARCHITECTURAL RECORD JULY 2019 AIRPORTS OF THE FUTURE

SUPPORT GROUP A cluster of curved steel columns

underpins the long-spanned aluminum-clad roof. Skylights
atop each pillar flood the interior with natural light.

spanned roof, and allowing for a vast, open

floor plate. These curved structural masts, each
topped by a convex 350­foot­diameter skylight,
funnel natural light into different areas of the
terminal, where retail pods throughout the
international and domestic shopping levels can
be easily reconfigured. “Over time, shopping
requirements and behaviors will change, and,
when they do, you will never actually need to
rip out the guts,” says Ceccato. “The columns
will be unaffected by this.”
Daxing is an exemplar of how airports are
evolving into more complex nodes of intercon­
nectivity—of people, machines, information,
transportation, and cities. The project has
already catalyzed nearby urban development;
as Ceccato suggests, people could take the
soon­to­be­completed high­speed rail to
Daxing and then the bus to work nearby with­
out ever setting foot in the terminal.
The airport is expected to open in late
September, and work on the next phase—
an annex to include an additional runway (not
designed by ZHA)—has already begun. By
2040, Daxing is expected to serve more than
100 million passengers a year, approaching the
traffic volumes of Hartsfield­Jackson Atlanta
International Airport, which was ranked the
busiest in the world for the 21st year in a row.
With the Beijing Capital airport at number
two behind Atlanta, the opening of Daxing
will make China the busiest aviation market
in the world by 2022. “The sheer number of
people that the airport will support is stagger­
ing,” says Ceccato. “This will not just be a
gateway for Beijing—it really will become a
gateway to the country.” ■

credits
ARCHITECT: Zaha Hadid Architects — Zaha Hadid, Patrik
Schumacher, lead designers; Cristiano Ceccato, Charles
Walker, project directors; Shao-wei Huang, Lydia Kim,
project architects; Paulo Flores, project designer
ASSOCIATE ARCHITECTS: Aéroports de Paris
Ingénierie (ADPi)
ENGINEERS: BuroHappold (superstructure, m/e/p); Mott
Macdonald (substructure)
CONSULTANTS: Pascall + Watson (aviation planners);
Arcadis (commercial planners); LogPlan (aviation
systems)
GENERAL CONTRACTOR: Beijing Urban Construction
Group
CLIENT: Beijing New Airport Command Headquarters/
Beijing Capital International Airport
SIZE: 7.5 million square feet
COMPLETION DATE: September 2019
P H O T O G R A P H Y: © X I N H UA /A L A M Y S T O C K P H O T O ( T H I S PAG E A N D O P P O S I T E )
87
88 ARCHITECTURAL RECORD JULY 2019 AIRPORTS OF THE FUTURE

Elmira Corning Regional Airport | Horseheads, New York
Fennick McCredie Architecture
Stress Test
A small terminal’s garden helps counter travel anxiety.
BY JAMES S. RUSSELL, FAIA
PHOTOGRAPHY BY WILLIAM HORNE
T
hough lofty, daylight­splashed ticket­
ing halls are common in airport
architecture, Deborah Fennick and
her partner Jonathan McCredie took a differ­
ent approach in the redesign of the four­gate
Elmira Corning Regional Airport in upstate
New York. They focused instead on the most
anxiety­provoking aspect of flying: the
security­screening checkpoint, often buried in
the terminal if not an afterthought altogether.
The $61.5 million expansion was driven
primarily to accommodate larger aircraft—
and the traffic they generate—used by
ultra­low­fare carriers that are growing in
non­metropolitan markets. Central to the
stress­relieving approach taken by Boston­
based Fennick McCredie Architecture is an
outdoor green space that separates the steel­
TOP FLIGHT To bring tranquility to the airport experience, the team imagined a lush garden (left) that separates the
landside ticketing and baggage pavilion (above) from the new air-side concourse behind it.
89
framed landside ticketing and baggage
pavilion—which they gut­renovated—from the
larger, new replacement air­side concourse.
The 18,700­square­foot garden, designed by
landscape architects Hargreaves Associates,
should quickly grow into a tiny forest.
A wall of glass beyond the ticketing area
draws the eye to this outdoor space, and a
rounded corner signals the presence of a gen­
tly sloped, glass­walled ramp that curves its
way through the garden, accommodating
queueing for security as well as the checkpoint
itself.
This “walk through the woods,” as McCredie
put it on a recent visit, is a vast improvement
over the usual grim march back and forth
through a maze of switchbacking tensile barri­
ers—a screening prelude that seems designed
90 ARCHITECTURAL RECORD JULY 2019 AIRPORTS OF THE FUTURE

UP AND AWAY Travelers use a glass-walled ramp that

curves through the garden (above) and proceeds to the
security checkpoint (left).

to amplify stress over whether the agent will

insist on a body search, the baby will start to
scream, or the plane will be missed. Travelers
can also access the outdoor area—to hang out
at café tables or take a stroll. One side of the
garden is reserved for people who have not
been screened; separated by the glass­walled
ramp, the other side is open only to those who
have passed through security.
Along the air­side gate concourse, curved
glass walls round the corners of biomorphic
lounges that project into the garden. In con­
trast to the usual rigid rows of departure
seating, casually arranged couches and mov­

1 MAIN ENTRANCE
2 TICKETING LOBBY
3 TICKETING LOUNGE
11
11
4 CAFÉ
11
11
5 RESTAURANT
9
9
6 SECURITY SCREENING
9
9
7 CONCOURSE 9
9
6
6
8 GATE LOUNGE
8
8 8
8 8
8
9 COURTYARD
PREEXISTING BUILDING 7
10 BAGGAGE CLAIM PREEXISTING BUILDING
NEW 7
NEW
11 BACK OF HOUSE 0 50 FT.
FT.
MAIN-FLOOR PLAN
PLAN 0 50
12 OFFICES MAIN-FLOOR 15 M.
M.
15
 91

TIGHT CONNECTION The garden provides places to

relax before boarding (right). Gates are visible from the
lounges, allaying anxiety about missing planes (bottom).

able chairs invite passengers to relax. Gates

are visible from these lounges, further allay­
ing anxiety about missing planes. There are
gate­side seats as well, but the view across the
airfield is impeded by jetways and other
servicing paraphernalia because, as is typical
of small airports, the building is a single level
and sits low to the ground.
Even with staged construction, to keep the
airport open, the project was completed just
26 months from the time Fennick McCredie
was awarded the design in September 2016.
Both McCredie and the New York State
Department of Transportation (DOT) credit
Governor Andrew Cuomo, who has made
speeding major capital projects to completion
a priority (including the multibillion­dollar
reconstruction of New York’s LaGuardia
Airport, which also is moving quickly). “The
governor’s office strove to expedite every
aspect of the project,” says Walid Albert,
DOT’s chief engineer. “We completed reviews
quickly. We didn’t let anything sit in an in­
basket if someone was not around.” Adds
McCredie, “The governor’s office was very
hands­on, down to the paint colors. They did
not second­guess or go back to first principles,
which was really helpful for the execution.
No one slept much.”
92 ARCHITECTURAL RECORD JULY 2019
RIGHT AT HOME In place of the usual fixed seating, upholstered furnishings lend lounges a calming, domestic feel.
Anyone can appreciate Fennick McCredie’s
close attention to the experience of moving
from curb to plane, given the prevailing view
that cargo is often treated better than passen-
gers in today’s swarming airports and on
cramped planes. McCredie, whose 50-person
office specializes in aviation projects, says
security enhancements since 9/11 have taken
airport architecture from being “a celebra-
tion of flight to focusing entirely on the
efficient processing of passengers.” It is the
firm’s goal to reverse this trend through a
focus on alleviating the stresses endemic to
air travel today.
It’s especially important to bring a measure
of calm and dignity to smaller markets, he
says, because many customers—especially
families and seniors—who don’t fly much, are
intimidated by airports. These travelers also
tend to be price sensitive, which has brought
ultra-low-fare airlines to places like Elmira
Corning. Because these companies can afford
to serve these locations only if they use bigger,
AIRPORTS OF THE FUTURE
fuel- efficient planes like the Boeing 737 and
Airbus A320, the airport had to grow from
55,000 square feet to 88,000 in part to accom-
modate them. Traffic boomed to 278,000
passengers in 2018, an 11 percent increase in
one year. Modest additional growth is expect-
ed, but the greater impact on the facility
design was allowing for the big-plane peaks,
which drove the addition of jet bridges and
the enlargement of the departure lounges and
screening area.
Airports the size of Elmira Corning never
used to see planes with more than 60 seats.
Responding to the new economics of aviation
as well as security requirements is key to
successful design. “These are among the big-
gest changes in airline travel,” says McCredie.
“Small airports have to catch up.” ■
James S. Russell, FAIA, was a longtime editor at
architectural record. He wrote The Agile
City: Building Well-Being and Wealth in an Era
of Climate Change.
credits
ARCHITECT: Fennick McCredie Architecture — Jonathan
McCredie, Deborah Fennick, principals; Aleks Berger, Matt
Bermon, Scott Brodsky, Kimberly Cullen, Blake Coren,
Meaghan Earner, Nancy Felts, Agnes Jacob, Tim Nolan,
Eric Pereira, Sharon Reynolds, Penn Ruderman, team
CONSULTANTS: McFarland Johnson (civil, structural,
m/e/p/fp); Hargreaves Jones Landscape Architecture
CLIENT: Elmira Corning Regional Airport
OWNER: Chemung County, NY
SIZE: 89,150 gross square feet
PROJECT COST: $61.5 million
COMPLETION DATE: October 2018
SOURCES
RAINSCREEN: Knight Wall Systems
CURTAIN WALL: Kawneer
COILING DRAPERY: Cascade Architectural Fabricoil
GLASS ENTRANCES: C.R. Laurence
GLAZING: Guardian, Viracon, Wasco
RESILIENT FLOORING: Armstrong
FURNISHINGS: Herman Miller, OFS, Geiger, Keilhauer
 ARCHITECTURAL RECORD JULY 2019 AIRPORTS OF THE FUTURE 93

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

Kuwait International
Airport
The new Kuwait International
Airport by Foster + Partners,
scheduled to open in 2023, is
trefoil­shaped in plan, with all the
facilities united under a single
concrete­shell roof. The interior
receives daylight through large
glazed openings in the vaulted
structure, as shown in the
baggage­claim area (left), which is
surrounded by cascading fountains,
similar in design to Foster’s “water
wall” in the Hearst Tower lobby in
New York. Tapering concrete
columns support the roof
structure, which also carries
photovoltaic panels and will help
the airport earn LEED Gold
certification. About 13 million
passengers a year are expected to
use the 1.5 million­square­foot
complex.

Global Terminal and

Concourse at O’Hare
International Airport
A new Y­shaped terminal and
I M AG E S : C O U R T E S Y F O S T E R + PA R T N E R S ( T O P ) ; S T U D I O O R D ( B O T T O M )

concourse at Chicago’s O’Hare is

being designed by Studio ORD–a
partnership among Studio Gang;
Solomon Cordwell Buenz; Corgan;
Milhouse Engineering and Con­
struction; and STL Architects. The
2.2 million­square­foot facility
will be the largest expansion in
the airport’s history. The three
branches of the terminal meet at a
central hub, dramatized by a
six­pointed glass skylight (right).
Wood ribs and cladding in the
ceiling will add a natural warmth
to the new building, which is
expected to break ground in 2023.
94 ARCHITECTURAL RECORD JULY 2019 AIRPORTS OF THE FUTURE

Abu Dhabi International Airport Midfield Terminal

After 13 years, Abu Dhabi’s new government­funded terminal, by KPF, is
slated to open in 2020. Considering that 80 percent of the airport’s
visitors will be transfer passengers–it’s a midway point for many long­
haul international flights–the terminal was designed to cater to travelers
with lengthy layovers while promoting the city’s culture and its growing
luxury sector. The 7.9 million­square­foot interior will include numerous
amenities—the majority of which will be beyond security checkpoints—
including a sculpture garden and a museum. The roofline, defined by
rolling metal arches supported on steel beams, is meant to mirror the
curves of desert sand dunes.

Heathrow
International Airport
Expansion
For the addition of a
third runway to Heathrow,
Grimshaw has designed a
sweeping and swerving
terminal to help accommo­
date the airport’s expected
total of 130 million passengers
a year. The undulating glass
roof allows ample daylight for
interior green spaces with a
sustainable design for the
London aviation complex. It is
slated for completion in 2025.

Seattle-Tacoma International Airport
International Arrivals Facility
For the upcoming Seattle­Tacoma facility, scheduled to
I M AG E S : C O U R T E S Y K P F (O P P O S I T E , T O P A N D M I D D L E ) ; G R I M S H AW (O P P O S I T E , B O T T O M ) ; H O K ( T O P ) ; S O M ( M I D D L E ) ; F E N T R E S S ( B O T T O M )
open in 2020, SOM created eight new gates, increasing
the total to 20. A bridge will allow international travel­
ers to move on foot over taxiing aircraft. The new
450,000­square­foot building attempts to convey a
strong sense of arrival, with windows on either side of
the elevated passageway facing Mount Rainier on one
side and the Olympic Mountains on the other. The roof,
made of glass and aluminum panels, subtly follows the
twists and turns of planes gliding through the air.
Orlando International Airport South Terminal Complex
Orlando’s forthcoming South Terminal Complex by Fentress is expected to add 19
gates capable of serving 24 planes by 2021. The firm designed a 2.7 million­square­
foot international­terminal building with ticketing, security, customs, passport
control, and baggage­claim areas arranged along a central 1,000­foot­long “boule­
vard” (above) linking the curbside of the terminal to the air side. Central civic spaces
will punctuate the complex, with palm trees planted throughout the interior, illumi­
nated by skylights.
95
Salt Lake City
International Airport
Utah’s largest air hub will undergo an extensive
expansion in the next five years. Salt Lake City
International Airport’s terminal redevelopment
program, led by HOK, will replace existing
terminals with a three­story structure and 78
new gates, all of which are anticipated to be
open by 2024. At the center of the terminal,
large­scale interior sculptural walls, composed
of rippling fins, enclose the shopping and din­
ing areas. This architectonic element, called The
Canyon, created by artist Gordon Huether,
evokes Utah’s natural rock formations. HOK
anticipates that its sustainable design, which
includes high­performance glazing and energy­
efficient mechanical and lighting systems, will
achieve LEED Gold certification for the new SLC
terminal.
Continuing Education
To earn one AIA learning unit (LU), including
one hour of health, safety, and welfare
(HSW) credit, read the ”Airports of the
Future” section on pages 69 through 96 and
complete the quiz at continuingeducation.bnpmedia
.com or by using the Architectural Record CE Center
app available in the iTunes Store. Upon passing the
test, you will receive a certificate of completion, and
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 Describe ways of accommodating rapidly evolving
technology in terminal design and avoiding obsolescence.
2 Describe how changing security needs and traveler
preferences are shaping the form and configuration of
airport terminals.
3 Describe the climate-control strategy at Jewel
Changi and explain how the needs of people and plant
life were met.
4 Explain how ubiquitous computing can be used inside
terminals to enhance passenger flow.
AIA/CES Course #K1907A
96 ARCHITECTURAL RECORD JULY 2019 AIRPORTS OF THE FUTURE

Up, Up, and

Away
when the twa terminal by Eero Saarinen
opened at Idlewild airport (now JFK) in New York
in 1962, it embodied the allure of air travel. Its
open “wingspan” welcomed travelers into the
glamorous interior, with its sweeping concrete
curves. Despite the beauty of its structural expres­
sionism, it proved not to be functional for the long
term. As jets got larger and more travelers took to
the air, the terminal became obsolete, finally
closing in 2001. Fortunately, it now has been impec­
cably restored by Beyer Blinder Belle and suitably
repurposed, as the centerpiece of the new TWA
Hotel, by Lubrano Ciavarra. Two seven­story glass,
crescent­shaped wings, accommodating 512 hotel
rooms, embrace the indelible landmark. It’s a per­
fect place for a layover—or to lounge inside the
sybaritic original space, sipping a martini and
listening to Frank Sinatra.

P H O T O G R A P H Y: B A LT H A Z A R KO R A B / L I B R A RY O F C O N G R E S S
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innovation, usefulness, and
aesthetics. Winners will be
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2019 issue of RECORD.
Pictured: Window product winner, 2018, Convex Circles
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 ARCHITECTURAL RECORD JULY 2019 BUILDING TYPE STUDY 1008 99
P H O T O G R A P H Y: © N I G E L YO U N G

HEALTH CARE
100 Samson Pavilion at Case Western Reserve University
and Cleveland Clinic, Cleveland
Foster + Partners
106 Haraldsplass Hospital, Bergen, Norway
C.F. Møller
112 UC Health Gardner Neuroscience Institute, Cincinnati
Perkins+Will
118 Blue Ridge Orthodontics, Asheville, North Carolina
SAMSON PAVILION IN CLEVELAND
Clark Nexsen BY FOSTER + PARTNERS
100 ARCHITECTURAL RECORD JULY 2019 BUILDING TYPE STUDY HEALTH CARE

Sheila and Eric Samson Pavilion at Case Western Reserve University and Cleveland Clinic
Cleveland | Foster + Partners

Under One Roof

An architect’s thoughtful strategy results in a multidisciplinary health-education facility.
BY JAMES GAUER
PHOTOGRAPHY BY NIGEL YOUNG

T
he Cleveland Clinic, consistently
ranked one of the best hospitals
in the United States, was estab­
lished in 1921 as a center for
interdisciplinary patient care,
research, and education. But,
over the last century, that goal
has been undermined by the clinic’s expan­
sion into a sprawling 165­acre campus–located
five miles east of downtown Cleveland near
Case Western Reserve University (CWR)–whose
dental, nursing, and medical schools have
operated as distinct institutions in separate
quarters. The result has been inadequate
coordination among students who should be
learning to work together.
To get back on track with its original mis­
sion, the clinic is creating a new 11­acre Health
Education Campus, to be completed at an
estimated cost of $515 million. Its first build­
ing is the 478,000­square­foot Sheila and Eric
Samson Pavilion, designed by Foster + Partners
of London in association with DLR Group |
Westlake Reed Leskosky (DLR) of Cleveland.
This new facility, completed in April, will
serve 2,200 students from Case Western’s
three medical programs and from the
Cleveland Clinic’s Lerner College of Medicine.
Here, under one roof, future doctors, physician
assistants, nurses, and dentists will learn to
collaborate and communicate as a team.
Located between two major arteries—
RIGOR AND RESTRAINT A stainless-steel canopy appears to float above the pavilion’s symmetrical volume
(above), punctuated by recessed entries (left) and winter gardens. Structural steel bays are clad in glass and
modulated horizontally by white aluminum spandrels.
101
Chester and Euclid avenues—on a site that had
been mostly surface parking, Samson is a first
step in implementing Foster’s 2012 master plan
to integrate old and new buildings in a coher­
ent campus of green courtyards and squares.
The new four­story pavilion fits comfortably
into its low­rise context and creates strong
edges for adjacent outdoor spaces. Its western
flank borders the landscaped spine of the city’s
East 93rd Street, opposite a three­story,
132,000­square­foot dental clinic designed by
DLR. To the east, the pavilion overlooks a five­
acre lawn bordered by trees, which is used for
recreation and will accommodate graduation
ceremonies.
The simple rectangular volume has a classi­
cal rigor, symmetrically massed with clearly
articulated structural steel bays, clad in glass
and modulated horizontally by white alumi­
num spandrels. Entrances are recessed into the
east and west facades, while winter gardens
punctuate the north and south facades. A
stainless­steel canopy appears to float above
the fourth story.
The original client brief had specified a
quadrangle surrounded by four individual
buildings. But the architects identified redun­
dant program elements that could be shared
among the schools, increasing utilization from
30 percent to more than 50 percent and reduc­
ing net area by 20 percent. This opportunity to
reduce size and cost led to a single structure in
102 ARCHITECTURAL RECORD JULY 2019 BUILDING TYPE STUDY HEALTH CARE

STUDY HALL The pavilion overlooks a five-acre lawn (left). An allée of

ficus trees defines an avenue through the skylit, granite-paved central
courtyard (opposite, top). Students gather at custom white-oak tables
(opposite, bottom left), while a winter garden provides a break space
for an adjacent auditorium (opposite, bottom right).

which an atrium is surrounded by shared facilities. These

include an auditorium, classrooms, labs, and food service
on level one; a library, meeting rooms, and more labs on
level two; and offices with faculty and student areas on
level four. Level three is currently open to accommodate
future expansion. To help maintain their individual identi-
ties, each school has its own ground-floor reception.
The luminous 27,000-square-foot, 80-foot-high central
atrium is called the Cosgrove Courtyard in honor of Dr. Toby
Cosgrove, former president and CEO of the clinic, who
spearheaded the project. (A renowned cardiac surgeon, he
performed successful heart surgery on South African steel
mogul and philanthropist Eric Samson, whose subsequent
generosity helped fund the pavilion that now bears his
name.) Asked why he chose Foster for this project, Cosgrove
replied, “I love what they did at the British Museum.” Like
that institution’s skylit Great Court, which opened in
December 2000 (record, March 2001), the atrium here is

1 ENTRANCE
2 COURTYARD
3 RECEPTION
4 FOOD SERVICE
5 WINTER GARDEN
6 AUDITORIUM
7 CLINICAL SIMULATION
8 CRITICAL CARE
9 TEAM LEARNING
10 CLASSROOM

11 LIBRARY

12 LABORATORY

13 GROUP ROOMS

14 OFFICES

15 STUDENT AREA

16 CONFERENCE ROOM

0 50 FT. 0 50 FT. 17 FACULTY LOUNGE

0 50 FT. LEVEL-TWO PLAN 0 50 FT. LEVEL FOUR PLAN 0 50 FT.
LEVEL-ONE PLAN LEVEL-TWO PLAN 15 M. LEVEL FOUR PLAN 15 M.
15 M. 15 M. 15 M.

15 15
16

7 10 12

5 6 7 5
2

LONGITUDINAL SECTION
SAMSON PAVILION CLEVELAND FOSTER + PARTNERS 103
104 ARCHITECTURAL RECORD JULY 2019 BUILDING TYPE STUDY HEALTH CARE

an architectural tour de force, celebrating the

virtues of symmetry, transparency, and spa­
tial layering. “It’s quite formal,” says Spencer
de Grey, Foster’s head of design. “But people
respond positively to that, especially in public
spaces. Its calm, classical quality provides an
ordered backdrop for the individuality and
randomness of student life.”
Monumental stairs at the courtyard’s cor­
ners and wide cantilevered walkways at its
perimeter are intended to encourage interac­
tion among students of all four schools by
providing ample venues for impromptu meet­
ings and chance encounters. An allée of ficus
trees defines an indoor avenue and introduces
both scale and greenery to a space that might
otherwise seem overwhelming. “It’s already
known as ‘the Grove,’ ” notes Cosgrove, with a
laugh. Lounge seating mixes with library­style
tables and chairs to facilitate both socializing
and study. Furniture and trees—in custom
planters that incorporate benches—can be
easily reconfigured for concerts, conferences,
and exhibitions. Gray granite floors, white
plasterboard walls, and white oak millwork,
all detailed with the architect’s usual preci­
sion, are softly illuminated by a roof in which
steel trusses, fitted with acoustic panels,
alternate with glass. “Natural light,” says
Chris Connell, the clinic’s chief design officer
(as well as former Foster partner), “is part of
the palette.”
Targeting a LEED Gold rating, the Samson
Pavilion’s green technology includes an en­
ergy system using VRV fan coils, air handlers
SAMSON PAVILION CLEVELAND FOSTER + PARTNERS 105

ENLIGHTENED DETAILS Facilities include a critical-

care transport-simulation room (opposite, top), two
classrooms with Sol LeWitt works (opposite, center), and
clinical-care teaching labs (opposite, bottom). Trusses
with acoustic panels alternate with skylights above the
courtyard (right).

with heat recovery, and sensors that adjust

electric lighting according to the amount of
available daylight. The most environmentally
significant move, however, may be sound site
planning. The project is located in a densely
developed area well served by public trans-
portation and surrounded by thoughtfully
landscaped open space with a stormwater-
retention system.
No matter how sustainable or visually
stunning, the success of the Samson Pavilion
will ultimately be measured by how well
it advances interdisciplinary health-care
education. Because students have only just
begun to use it, it’s too soon to say. But reac-
tion so far has been positive, especially to
the social possibilities of the courtyard. “I
feel constantly rejuvenated here,” says one
student. “I see everyone I know and every-
one I don’t know.” ■

James Gauer is an architect and author based in

Chicago and San Miguel de Allende, Mexico. He
contributes frequently to record.

credits
ARCHITECT: Foster + Partners — Norman Foster,
principal; Spencer de Grey, David Nelson, David
Summerfield, Piers Heath, Roger Ridsdill Smith, Chris
Connell, James Edwards, Niall Dempsey, partners in
charge
ASSOCIATE ARCHITECT:
DLR Group | Westlake Reed Leskosky
ENGINEER: Foster + Partners (structural, m/e/p)
ENGINEERS OF RECORD: Smith Seckman Reid
(m/e/p); Westlake Reed Leskosky (structural); Karpinski
Engineering (civil and technology)
CONSULTANTS: George Sexton Associates (lighting);
Sandy Brown Associates (acoustics); Aecom (cost)
GENERAL CONTRACTOR: Donley’s;
Turner Construction
CLIENT: Cleveland Clinic and Case Western Reserve
University
SIZE: 478,000 square feet
COST: withheld
COMPLETION DATE: April 2019

SOURCES
ROFFING: Pohl; Soprema; Dow; Trelleborg
SKYLIGHT: Oldcastle BuildingEnvelope; Interpane
INSULATED PANELS: Centria
106 ARCHITECTURAL RECORD JULY 2019 BUILDING TYPE STUDY HEALTH CARE

Haraldsplass Hospital | Bergen, Norway | C.F. Møller

Bedside
Manor
A hospital on a mountainside integrates nature and
touches of home into a new patient facility.
BY JOSEPHINE MINUTILLO
PHOTOGRAPHY BY JØRGEN TRUE

I
nnovative hospital buildings don’t necessarily appear to be so from
the outside. Often, it’s the fine­tuning of the internal organization
that can appreciably improve health care. The new oak­clad patient
building at Haraldsplass hospital is nestled nicely into the foot of
the heavily wooded Ulriken Mountain, the highest of the celebrated
seven mountains that surround the city center of Bergen, Norway’s
second­largest city. The gently angled outward­facing facade follows
the course of the Møllendalselven River beneath it.
If the site sounds idyllic, it is. The latest hospital building is one of
eight erected here on former farmland. The first, designed by promi­
nent local Modernist architect Per Grieg, was opened in 1940 by the
sisters of the Deaconess Foundation, a Christian organization that
continues to operate the much expanded facility. Though most hospi­
tals in Norway are public, funded and owned by the state, Haraldsplass
is among a small number of privately run hospitals. Yet it is situated
107
MIGHTY OAK The new hospital building is situated at the foot of the Ulriken
Mountain (opposite). The facades are clad in oak and fiber concrete panels that have
high fire resistance and can withstand being left untreated even in the typically hard
Norwegian climate (above).
near several public hospital complexes that together form a large,
integrated regional medical center accessible to all.
Haraldsplass’s new building was designed by the Oslo office of
Danish architecture firm C.F. Møller, which won a 2011 competition for
the project and has a large health­care portfolio throughout Scandi­
navia and northern Europe. The structure mainly contains 170 beds for
general care and to support surgical units in other buildings, but also
includes a small hospice on the ground floor with access to a garden, as
well as one of Norway’s largest emergency centers. The straightforward
building, which is positioned in front of the older structures and a
200­year­old allée of trees, offers a new entrance to the complex on its
108 ARCHITECTURAL RECORD JULY 2019 BUILDING TYPE STUDY HEALTH CARE

credits
ARCHITECT: C.F. Møller Architects — Christian Dahle, Lone Wiggers, partners
in charge; Reidunn Jarrett, Anne Underhaug, Florian Wagnerberger, project
architects
ENGINEERS: Rambøll (civil), Sweco (fire protection)
CONSULTANTS: Asplan Viak (landscape); Rambøll (acoustics and lighting);
Erstad & Lekven (project management)
GENERAL CONTRACTOR:
LAB Entreprenør
CLIENT: Haraldsplass Diakonale Stiftelse
SIZE: 153,000 square feet
3 COST: $55 million (construction)
COMPLETION DATE: October 2018

SOURCES
GLAZING: Kebo Glass
WOOD FRAME: Viking Window
FIBER CONCRETE CLADDING: BB Fiberbeton
ELEVATORS: Thyssenkrupp
ROOFING: Fløysand Tak
WATERPROOFING: Protan
SLIDING DOORS: Metaflex Medicare
LIGHTING: Fagerhult, Limelight
BATHROOMS: Bano
0 150 FT.
SITE PLAN
50 M.

11 11
11 11

13 9
13 9 13
13

10 A A
A 7 A
7
7
7 9 13 7
13
8

13
1 13

11
11

0 30 FT.
0 30 FT. LEVEL 02 PLAN 0 30 FT.
SUBLEVEL 02 PLAN LEVEL 02 PLAN 10 M.
10 M. 10 M.

White roofing membrane Daylight via glass roofWhite roofing membrane

White roofing membrane Daylight via glass roof Daylight viaAutomatically
glass roof
controlled Automatically controlled
- high sun reflection
- high sun reflection - high sun reflection exterior sun shielding Automatically controlled
exterior sun shielding exterior sun shielding

View to public areas

from workrooms View to public areas View to public areas
from workrooms COMMON ROOM COMMON ROOM
1 MAIN ENTRANCE 9 RECEPTION
from workrooms COMMON ROOM
and living rooms and living rooms
and living rooms
View to nature from
all the bedrooms View to nature from View to nature from 2 FOOTBRIDGE 10 TECHNICAL
all the bedrooms all the bedrooms

More than 200 year old

3 RIVER PARK 11 PATIENT ROOM
protected linden trees More than 200 year oldMore than 200 year old
protected linden trees protected linden trees
4 GARDEN 12 MEDICINE

5 ALLÉE DISPENSARY
Enclosed outdoor area
GARDEN outdoor area Enclosed outdoor area
EnclosedGARDEN
13 NURSES STATION
for palliative GARDEN
patients
FOYER FOYER for palliative patients for palliative patients

RECYCLING
FOYER
6 EMERGENCY
RECYCLING RECYCLING

7 ATRIUM 14 MEETING ROOM

Maintenance-free facades, with recycable natural materials
Maintenance-free
Facilitating easy access for with recycablefacades,
natural with recycable natural materials
Facilitating easy access
for- self-cleaning
walking, cycling, and use of Facilitating easy accesswalking,
glass in
cycling, and use
walking, cycling, and use of- fire-impregnated oakof
Maintenance-free facades,
forwindows
- self-cleaning glass in -windows
materials
self-cleaning glass in windows 8 CAFÉ
Waterborne district Waterborne district public transportation - fire-impregnated oak - fire-impregnated oak
heating Waterborne district public transportation public transportation
- fiber concrete - fiber concrete
heating heating - fiber concrete

Highly insulated facades and roof. Highly insulated facades and roof.
Highly insulated facades
Fulfills Passive House standard and roof.
Fulfills Passive House standard
Fulfills Passive House standard
requirements requirements
requirements

0 30 FT.0 0
30 FT. 30 FT.
SECTION A - A
SECTION ASECTION
-A A-A
10 M. 10 M. 10 M.
HARALDSPLASS HOSPITAL BERGEN, NORWAY
river­facing west facade. Its partially wood­clad exterior distinguishes
itself for the most part from the rational white facades of those modest
existing buildings. Inside, however, things are radically different.
The kink in the river­facing facade occurs midway through the
building and helps shape two large interior atria—one trapezoidal, the
other more rectangular. The atria, with their glazed roofs, not only
flood the interiors with daylight but create unique circulation loops
that free this structure of the endless corridors plaguing so many hos­
pitals, and provide efficient logistics, flexibility, and proximity
between caregivers and patients.
Haraldsplass recognized the need for a new building to modernize
patient care for the country’s aging population. (Birth rates in Norway
C.F. MØLLER 109
OPEN COURT The glass-covered atrium spaces, lined with oak slats that are backed
with acoustic insulation, feature balcony nooks and sculptural lighting.
have dropped to historic lows in the last few years.) The older buildings
featured low ceilings, outdated infrastructure, small bathrooms, and
multi­bed patient rooms. (One such building, from 1970, has been
transformed into an outpatient facility.)
The novel layout allows the digitized care—each nurse is equipped
with an iPhone 7 to access patient files and track lab results—to be
organized around four nursing clusters per floor, anchored by custom­
designed Corian workstations beside an enclosed workspace for two to
three nurses.
110 ARCHITECTURAL RECORD JULY 2019 BUILDING TYPE STUDY HEALTH CARE

HEALING SPACES
There are views across the atrium,
into it (above), and through the other
sides, as well as out to nature from a
patient room (above, right). Each floor
has its own color scheme (right). A
glazed bridge connects the new
building to an existing one (opposite).
HARALDSPLASS HOSPITAL BERGEN, NORWAY
A typical floor features approximately 30 patient rooms, the vast
majority of which are single­bed units, including four isolation units.
(While more costly, according to Haraldsplass program director Kim
Sperstad, private rooms are clearly more desirable, and are said to help
reduce the spread of infection.) They are situated along the exterior
perimeter of the building with access to daylight and views, while
support spaces like offices, medicine dispensaries, and storage sur­
round the atria. Every floor—each with a different color scheme—has a
multifunctional room that alternately serves as an office or therapy
room, in addition to exam and meeting rooms.
The patient rooms were designed to feel domestic, with wood accents
and wood­finished vinyl floors. Soundproofing in the doors, ceilings,
floors, and facades, including two layers of gypsum in the interior walls,
keep the rooms, with their views of nature, quiet and serene. Each
bathroom, known as the “Bergen Bath,” includes automated sinks and
toilets developed between local architects and manufacturers, that raise
and lower at the touch of a button.
The grand space of the multistory atrium is immediately apparent upon
arriving through the building’s west side. While the patient rooms provide
tranquil private space, the atria, clad in striking oak slats backed by acous­
tic insulation, offer similarly relaxing social space. The atrium at the main
entrance includes reception and an independently run café, while the
other, less busy one features balcony nooks for individual or group seating.
A piano in each atrium is occasionally put to spirited use by the doctors’
C.F. MØLLER 111
choir, and sometimes patients, visitors, or staff.
The new structure was built on what had been a parking area (which
has since been moved to a facility built into the mountain.) A new foot­
bridge across the Møllendalselven brings visitors to a light rail stop
under construction that will soon supplement the current bus route to
the city center. Another bridge between the new structure and an ear­
lier one connects hospital buildings while maintaining the cherished
allée of trees. C.F. Møller addressed sustainability concerns in several
ways, including the use of natural, recyclable, and maintenance­free
materials. The highly insulated roof and facades—in addition to oak,
they are clad in white fiber concrete panels—satisfy Passive House
standards.
Because Bergen is surrounded by mountains and the spectacular
fjords along Norway’s western coast, its oceanic climate experiences
excessive precipitation and plenty of overcast days, giving it a reputation
for being one of the world’s rainiest cities. A recent visit to the hospital
coincided with a rare sunny day, which had the unfortunate side effect,
especially for bedridden patients, of the shades’ lowering automatically
on all but the north facade—another sustainability measure, one that
patients can’t override. The almost opaque shades obscured those much­
desired views of nature for a good part of the afternoon. But at least, on
those infrequent occasions, the sunny and lively courtyards provide
solace. And on no occasion does Haraldsplass feel like a typical hospital—
either for visitors or, more importantly, for patients. ■
112 ARCHITECTURAL RECORD JULY 2019 BUILDING TYPE STUDY HEALTH CARE

UC Health Gardner Neuroscience Institute | Cincinnati | Perkins+Will

Brainchild
A facility for neurological disorders gives the University of Cincinnati’s medical campus
a fresh face.
BY ALEX KLIMOSKI
PHOTOGRAPHY BY MARK HERBOTH

N
ot many buildings can compete with the skewed geom­
etries of Frank Gehry’s sculptural architecture, but,
despite its simple rectilinear form, Perkins+Will’s new
Gardner Neuroscience Institute at UC Health (the clini­
cal center affiliated with the University of Cincinnati
College of Medicine) manages to make its neighbor—the
bulging redbrick Vontz Center for Molecular Studies
(1999)—recede into the background. What’s captivating about the
Institute is its tensile white scrim, a delicately crinkled surface that
varies in transparency and iridescence, like a mood ring, as the sun
cycles through the day.
The facility—the first ground­up building by UC Health in more
than 30 years—sits at the edge of the medical campus, along a major
thoroughfare. Rising atop an Indiana limestone plinth carved into its
sloped site, the steel­and­glass structure soars skyward at its west
end; uphill, where the main entrance is located, the less imposing
east elevation presents a friendlier, more human scale. The Institute’s
visual identity, a clear departure from the surrounding mélange of
dated health­care and research buildings, represents not only a new
gateway for UC Health but also the first step in a new campus master
plan, by Cannon Design and Cincinnati­based WA Architects, that
will reflect the look and feel of this new building, according to vice

NEW KID ON THE BLOCK The Gardner Neuroscience Institute, which sits next to Frank Gehry’s Vontz Center for Molecular Studies (on left, above), stands out with its lustrous
white scrim. A new gateway for UC Health, the building sets the tone for the future medical-campus master plan.
113
114 ARCHITECTURAL RECORD JULY 2019 BUILDING TYPE STUDY HEALTH CARE

1 DROP-OFF PLAZA
2 LOBBY/CAFÉ
7
3 MULTIPURPOSE ROOM
7 4 REHABILITATION SUITE
7 5 TERRACE
7 7
4 7
6 PATIENT/FAMILY LOUNGE
11 7 CLINICAL SPACE
11 8 IMAGING SUITE
6
9 PHARMACY

0 30 FT. 10 INFUSION SUITE

LEVEL-FOUR PLAN 0 30 FT.
PARTIAL SECTION AND ELEVATION 10 M. 11 PARKING
10 M.

117 11 7
11

6
6

0
0 30
30 FT.
FT.
LEVEL-THREE PLAN
LEVEL-FOUR PLAN
10
10 M.
M.

11 11 11
7 8

10

6
6
0 30 FT.
LEVEL-THREE PLAN
10 M.
0 30 FT.
LEVEL-TWO PLAN
10 M.

7 8
4
5 10
1

A
6
2

A
0 30 FT.
LEVEL-TWO PLAN
10 M.
0 30 FT.
WALL SECTION
SECTION DETAIL
LEVEL-ONE PLAN
10 M. SOUTH FACADE

3
UC HEALTH GARDNER NEUROSCIENCE INSTITUTE CINCINNATI PERKINS+WILL 115

president of facilities, Bob Feldbauer.

The $68 million project is the result of a
long­held ambition of Dr. Joseph Broderick,
a director at UC Health’s Neuroscience
Institute since its founding in 1999. Four
years ago, the Institute launched a fundrais­
ing campaign to build a facility that would
bring together 15 specialty centers, includ­
ing those for treating epilepsy, brain
tumors, mood disorders, stroke patients,
and Alzheimer’s disease, and accommodate
125 faculty members and expanded pro­
gramming. Previously, these departments
were scattered around campus, and pa­
tients, who often suffer from more than one
neurological impairment, had to travel
between buildings for treatment. “For some,
going to the doctor is like going on a cross­
country trip,” says Broderick, so one of the
goals was to minimize the stress associated
with medical visits. With a large donation
from the family of James J. Gardner, a for­
mer executive at Cintas, an apparel
company, who established a philanthropic
foundation in 2005 after his wife was diag­
nosed with Parkinson’s, Broderick was able
to see his vision come to fruition.
The 114,000­square­foot outpatient build­
ing provides facilities for multidisciplinary
neurological care as well as collaborative
workspaces for physicians, researchers, and
students; 93 exam rooms, 43 consultation
offices, 24 specialty­care rooms, and 16
WRINKLE IN TIME infusion­treatment spaces are spread across
A drop-off area at the four levels. Central to Broderick’s vision was
main entrance facilitates a
creating a dignified environment for
smooth transition into the
building (above). The patients and their caregivers; the interiors
exterior sheathing’s —crisp, airy, and flooded with natural
faceted surface tempers light—possess a grace that clinical facilities
direct sunlight and typically lack. Says Perkins+Will managing
mitigates heat gain. The
scrim, which recalls the
principal Clark Miller: “There was such a
rhythmic patterns of strong statement from the beginning. If it
brain waves, changes in didn’t benefit the patient, it wasn’t going to
transparency throughout be included. That was the fundamental
the day (right).
point when it came to the architecture.”
As the team developed the design, they
consulted with a patient advisory board,
composed of about 15 individuals represent­
ing an assortment of neurological
conditions. At these meetings, patients
illuminated the difficulties of performing
basic tasks such as navigating sloped park­
ing garages and opening heavy doors; even
restrooms designed for those with disabili­
ties may be too cramped if they need a
caretaker to assist them. “The process was
very humbling,” says design principal Jerry
Johnson. “We were told, ‘You can design an
ADA toilet, but that doesn’t mean it will
meet all of our needs.’” Dr. Eve Edelstein, a
neuroscientist, architect, and the research
116 ARCHITECTURAL RECORD JULY 2019 BUILDING TYPE STUDY HEALTH CARE

THE RIGHT HEADSPACE In lieu of a large atrium, the architects broke down the scale of the lobby to create a more soothing environment with small, movable check-in
desks. Treatment rooms along the perimeter are bathed in natural light (opposite).

director at the Perkins+Will Human Experience Lab, the firm’s user­
research branch, also weighed in, helping translate the Lab’s original
scientific research to formulate objective design principles. “Eve was
there to tell us, ‘No, you can’t use that sparkly terrazzo,’ ” explains
interior­design principal Amy Sickeler, “because that can impair
those with balance, sensory, or motor issues. As designers, we know
better, but sometimes we can’t help ourselves.”
Among other topics that came up in conversation with patients
were the large atria, which caused vertigo for some, and the promi­
nent registration desks often found in medical lobbies. For many,
large, centralized reception areas are too cold and imposing, accord­
ing to Johnson. Instead, the Institute’s spacious, open foyer welcomes
visitors with a variety of alcoves to gather in, including a café.
Smaller reception stations, as well as self­check­in kiosks, sit within
the elevator bays. The lobby’s bright surfaces, use of wood, and floor­
to­ceiling windows with views out to the street together foster a
positive and empathetic environment.
The building’s gossamer mesh scrim, stretched across a sculpted
frame that extends 3 feet beyond the glass curtain wall, covers the
cantilevered east, west, and south sides of the second­through­fourth
levels, where treatment areas and workspaces are located. The infu­
sion rooms, where patients receive IV therapy, sometimes for several
hours at a time, are placed along the light­filled perimeter, as is the
physical therapy space, which has a large terrace for outdoor exer­
cises. The exterior fabric sheathing mediates direct daylight and
reduces interior shadows, addressing patients’ light sensitivity while
offering unimpeded views out. It is also energy efficient and elimi­
nates the need for shades. “The skin is remarkable,” says Miller. “It’s
UC HEALTH GARDNER NEUROSCIENCE INSTITUTE CINCINNATI PERKINS+WILL 117

soothing for the patients, it’s an energy

saver, and it gives the building an iconic
expression.”
The Gardner Neuroscience Institute is an
architectural embodiment of patient advo­
cacy and a point of pride for UC Health, one
of the largest centers for neurological and
psychiatric care in the region. According to
Broderick, feedback since its opening in
April has been overwhelmingly positive,
with visitors praising the myriad ways the
building addresses their particular needs.
But providing the best care also means
adapting to critiques that will inevitably
arise. “We’re still learning things, still fine­
tuning” says Broderick, “which is the way it
should be.” ■

credits
ARCHITECT: Perkins+Will — Jerry Johnson,
design principal; Clark Miller, managing principal;
Elizabeth Rack, planning principal; Diedra Woodring,
programming principal; Eve Edelstein, neurologist/
architect; Adana Johns, project manager; Amy
Sickeler, interior-design principal; Max Adams,
James Giebelhausen, senior project architects; Emily
Bateman, project architect; Rob Deering, construction
administration; Senaid Salcin, designer; Stephen Mai,
interior project designer; Brian Weatherford, Cary
Lancaster, branded-environments team
ENGINEERS: Shell + Meyer Associates (structural);
Heapy Engineering (m/e/p); The Kleingers Group (civil)
GENERAL CONTRACTOR:
Messer Construction Company
CLIENT: University of Cincinnati Health
SIZE: 114,000 square feet
COST: $68 million
COMPLETION DATE: April 2019

SOURCES
MASONRY: Variegated Indiana Limestone
RAINSCREEN PANELS: Morin
CURTAIN WALL: Pioneer
MESH SCRIM: Mehler Texnologies
GLAZING: Viracon, Guardian
SLIDING DOORS: Wilson Partitions
ACOUSTICAL CEILINGS: Armstrong, Rulon
CUSTOM WOODWORK: Cutting Edge
PAINT: Benjamin Moore
SEAMLESS RESINOUS FLOORING: Stonhard, Forbo
FLOOR AND WALL TILE: Ceramic Technics
CARPET: Kinetex
FURNITURE: Haworth, Krug, Knoll, Herman Miller,
Versteel
LIGHTING: Lithonia, Metalux Daybright (interior
ambient); Kenall Healthcare (tasklighting); Cree
(exterior)
118 ARCHITECTURAL RECORD JULY 2019 BUILDING TYPE STUDY HEALTH CARE

Blue Ridge Orthodontics

Asheville, North Carolina | Clark Nexsen

Brace
Yourself
An office specializing in straight teeth
doesn’t shy away from curves.
BY MIRIAM SITZ
PHOTOGRAPHY BY MARK HERBOTH

E
xpensive, inconvenient, daunting, even painful: percep­
tions of orthodontic treatment can run the gamut of
negative emotions, for adult and younger patients alike.
The design of a new office in Asheville, North Carolina,
helps alleviate those stresses, presenting clients with a
calm, soothing environment that highlights the region’s
natural beauty.
For a prominent 1.3­acre site located on the city’s main thorough­
fare, Dr. Luke Roberts commissioned Clark Nexsen to design a flagship
treatment and administrative space for his growing practice. (Roberts
acquired the property, which housed a McDonald’s restaurant for 40
years, the year before construction began.) The architect, with a mod­
ernist sensibility and 10 offices throughout the mid­Atlantic and
southern U.S. (including one in downtown Asheville), is well acquaint­
ed with the scenic Blue Ridge Mountains, for which the project is
named. The firm delivered a 7,500­square­foot L­shaped building that
frames views of the verdant landscape while separating patient areas
from the new business office that serves Roberts’s three locations.
The glass­and­steel structure opens to a 300­square­foot landscaped
bioswale where birds, chipmunks, and other wildlife cavort. Says
project architect Dorothea Schulz, “A very early image for me was of
being out on a porch. If you have the feeling that you’re outside,” she
continues, “then your orthodontist appointment is less of a chore—ac­
tually, a very relaxing experience.” The upward­tilting roof supported
by wood rafters has a deep overhang, and the ample glazing, reaching
almost 13 feet high, lends a pavilion­like quality to the building, which
is embedded in low walls of fieldstone. Roberts sees the design as a
modern reinterpretation of the historic visitor centers that dot the
Blue Ridge Parkway. “Building something on the main road in
Asheville, I wanted to contribute to the community, not just put up
something quick,” he says.
In a gesture to the local vernacular, the palette of natural materials
on the exterior carries through to the interior. Planks of radiata pine
extend from the ceiling to the roof soffit, which reaches a height of
more than 14 feet. A striking curved ribbon wall picks up on the warm
tones: at 9 feet high and 4 inches thick in most places, the serpentine INSIDE OUT Ceilings rise up to 14 feet at the outer edge of the roof
insertion is made from 136 sheets of horizontally stacked poplar ply­ overhang. “It’s draws you up, so it doesn’t feel heavy,” says project
wood. It defines the areas most trafficked by patients and wraps architect Dorothea Schulz.
around the reception desk and waiting area, continuing into the pri­
119
120 ARCHITECTURAL RECORD JULY 2019 BUILDING TYPE STUDY HEALTH CARE

mary treatment space. There, cabinets, sinks,

and open pass­throughs for sanitized medical
implements are discreetly contained within
and behind the striated millwork. “We wanted
to incorporate any kind of function that we
could along the way,” says Schulz. “The wall
became this very malleable element.”
Most orthodontic work takes place in an
open bay, although there are small single­
patient rooms around the perimeter of the
structure for procedures (or patients) requiring
2
5
more privacy. Roberts calls the open configura­
1 tion “extraordinarily typical” for his type of
3 practice, since orthodontia is usually minimal­
ly invasive. “This layout makes patients—and
4 especially the younger ones—feel more com­
3
fortable, because they’re not alone,” he
explains. “They see other kids around them
going through the same thing, and no one’s
screaming, no one’s crying.” Ten chairs, ar­
ranged along perpendicular window walls at
the bend of the L­shaped building, look out
onto the bioswale.
The calming environment works for parents
and children alike, and, although some 65
percent of the practice’s clients are kids, there
are no iPads or other screens to occupy young
minds; instead, each chair has a basket with
0 20 FT. binoculars and bird and plant identification
FLOOR PLAN
6 M. guides. “A lot of moms prefer to come some­
where that doesn’t have televisions blasting,”
1 ENTRANCE 4 PRIVATE TREATMENT ROOMS says Roberts, who notes that women make
about 80 percent of health­care decisions for
2 WAITING AREA 5 ADMINISTRATIVE OFFICES
households. “So, yes, it was part of the idea to
3 OPEN TREATMENT BAY 6 LANDSCAPED BIOSWALE
have them focus on the outdoors.”
BLUE RIDGE ORTHODONTICS ASHEVILLE, NORTH CAROLINA CLARK NEXSEN 121

LIGHT SITE
The buliding faces a major
thoroughfare in Asheville
(opposite). The open
treatment bay’s 10 chairs
look out to the landscaped
bioswale (above). Sinks,
mirrors, and cabinetry are
built into the plywood
ribbon wall (right).
122 ARCHITECTURAL RECORD JULY 2019 BUILDING TYPE STUDY HEALTH CARE

NURTURED BY NATURE A stand of bamboo encircles the landscaped bioswale credits

(above), allowing native flora and fauna to take center stage.
ARCHITECT: Clark Nexsen — Chad COST: $2.7 million
Roberson, principal in charge; Dorothea COMPLETION DATE: September 2017
The glazing that encloses much of the structure has a slightly reflec­
Schulz, project architect; Rachel Murdaugh,
tive coating, which reduces heat gain and obscures views from the
architect SOURCES
outside in. In concert with abundant daylighting, adjustable LED fix­
tures, suspended high above the chairs, provide all the visibility ENGINEERS: Kloesel Engineering CUSTOM WOODWORK: Lentz Cabinets
doctors need—no additional headlamps or task lighting required, per (structural); RN&M Engineers (m/e/p); Civil TPO ROOFING: Johns Manville
Roberts’s request. “We studied the illumination of the old office, then Design Concepts (civil) WINDOWS & DOORS: Kawneer
worked with the engineers to achieve the right light loads, at the CONSULTANTS: Sitework Studios GLAZING: Guardian
chairs especially,” says Schulz. (landscape); In Site Designs (furnishings) HARDWARE: Cal-Royal, Trimco
Since the building opened in September 2017, Roberts has seen a
GENERAL CONTRACTOR: ACOUSTICAL CEILING: USG
20 percent increase in appointments, up from about 1,000 per month
Beverly-Grant CARPET: Milliken
to some 1,200. With space for his staff of more than 40 to grow, the
future of Blue Ridge Orthodontics looks as bright as its patients’ CLIENT: Blue Ridge Orthodontics SOLID SURFACING: Corian (casework);
smiles. ■ SIZE: 7,500 square feet Hanex (curved wall)
 EDUCATIONAL-ADVERTISEMENT 123

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124
CONTINUING EDUCATION
High-performance acoustic solutions
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Specifying for health, comfort, aesthetics, and affordability
Sponsored by AMBICO, ASI Architectural, Focal Point, NanaWall, PABCO Gypsum,
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A
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126 MODERN ACOUSTIC SOLUTIONS FOR INTERIOR ENVIRONMENTS EDUCATIONAL-ADVERTISEMENT

through the air or other media, such as walls, Photo courtesy of Rockfon

floors, or ceilings, and are eventually detected

CONTINUING EDUCATION

by the listener’s ear and interpreted by his or her

brain as information, or specific sounds. Sound
is what we hear. Noise, on the other hand, is
unwanted sound. And even relatively quiet noise
can be distracting.
Noise in an indoor environment can cause any
number of different problems depending on what
the space is used for, who is using it, and how long
the noise is present. Three common situations
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Exposure to excessively loud noise, such
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At the most extreme, exposure to high levels
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hearing loss. In addition to the physical im- Modular acoustic ceilings can provide high sound-absorption performance and contemporary
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turn, can reduce a person’s workplace produc- quickly becomes a challenge. These noisy drywall (often referred to as gypsum board,
tivity, interfere with their ability to communi- environments can be tempered with acoustic plaster board, or sheetrock). However some
cate and concentrate on the job, and can even solutions that include a combination of ceil- projects, such as performance halls, use special
impact their safety if the situation makes it ing panels and acoustic walls, although some wood paneling for both ceilings and walls.
difficult to hear warning signals. spaces may require only ceiling systems. Of In addition to traditional ceiling tiles or
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Interior Sound- and Noise-Reduction panels or tiles are one of the most widely used, aesthetically interesting option for sound and
System Attributes effective, and affordable acoustic solutions on noise management. As with tiles or panels, they
Modern acoustic design solutions provide a range the market, in part because of their versatility can be made from different materials, including
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128 MODERN ACOUSTIC SOLUTIONS FOR INTERIOR ENVIRONMENTS
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Sound-reducing gypsum drywall can be
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sound in order to create comfortable and
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Acoustical drywall ceilings are installed like drywall and sprayed to have a monolithic look.
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Integrated acoustic lighting and baffle systems can manage sound in a room and improve the
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With these options, architects and designers can
easily integrate sustainable, sound-absorbing
products into their projects.
Another cost-effective and high-perfor-
mance option includes acoustical drywall
ceiling and wall solutions. These new break-
through acoustical systems are installed and
finished similar to drywall but provide excel-
lent acoustics with a smooth, monolithic look.
Custom colors, direct-mount ceiling and wall
system options are also available.
Finally, other acoustic solutions can do
double-duty to control sound, all while
supplementing the daylighting of the space,
thus making the indoor environment lighter,
brighter, and quieter, all of which can help im-
prove how occupants work and learn. Acoustic
luminaire and baff le systems can easily be
integrated into a space to provide sustainable
sound absorption that works to improve the
comfort and indoor experience of occupants
of commercial spaces.
Specialty Walls and Door Assemblies
While ceiling and wall solutions can be used
for the majority of projects, some spaces
simply require a different take on acoustics,
such as interiors with versatile, dynamic
rooms that can be used for different purpos-
es throughout the day. Such spaces benefit
from nontransitional design solutions to
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130 MODERN ACOUSTIC SOLUTIONS FOR INTERIOR ENVIRONMENTS
Photo courtesy of NanaWall
CONTINUING EDUCATION
The Dairy Farmers of America’s new headquarters features acoustic glass walls that offer privacy
from sound all while maintaining a bright, light, open space.
manage acoustics. Doors and door assem-
blies are another important consideration in
an interior’s acoustic management system;
a perfectly designed interior space without
an equally well-considered door system can
translate to intrusive sound coming into or
out of the room, and more or less undo all of
the other work.
Some spaces don’t require acoustic support
all of the time, and instead can benefit from
acoustic barriers that can be folded away when
they are not needed. Libraries and offices, for
example, now frequently have flexible meet-
ing spaces that can be either open or closed off
with sliding glass walls. These designs can also
be used in VIP rooms of event venues, allowing
guests to see the event within the quiet privacy
of their own space.
Acoustic openings such as doors are
referred to as assemblies, which include the
door, doorframe, and seal system (perimeter
seal, door bottom, threshold, and astragal
at paired openings). The acoustic quality of
door assemblies plays an important role both
in blocking unwanted noise from entering a
space and containing sound so that it does not
cause unwanted noise in public spaces. These
assemblies also contribute to the quality of
the sound within a space. These functions are
critical for not only performance halls but
also hospitals and schools, whether occupants
need quiet for their recovery or learning.
Acoustic doors and steel doorframes can also
provide rated fire control.
Common Indoor Environments that
Need Sound and Noise Control
Where exposure to excessively loud and pro-
longed noise typically impacts workers in the
manufacturing sector or in other industrial
settings, uncontrolled noise can happen in just
about any indoor environment. Classrooms,
lecture halls, offices, retail spaces, restaurants,
hotels, hospitals—any indoor space where peo-
ple live, work, or play—all rely on having noise
Photo courtesy of AMBICO
Soundproof doors with specialty steel frames
control noise while adding rated fire protection.
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controlled in some way or another. Noise can
reduce employee concentration, which in turn
impacts their productivity. Noise can also make
it difficult for kids to learn in their classrooms.
And, in a more extreme case, noise can reduce
healing times for patients in hospitals.
Even if the noise isn’t actually loud, it can
be a big problem. In schools, for example, un-
controlled noise can directly impact how well
young children learn not just content but also
language and literacy skills. If they can’t hear
the teacher, they will be less likely to pay atten-
tion, and therefore less likely to learn. The issue
is so important that in 2002, a new standard for
classroom acoustics, ANSI/ASA S12.60-2002,
was set to help planners and designers create
more acoustically sound spaces for children.
Adults also have trouble when working in
environments where the sound is not well con-
trolled. Office noise, whether intermittent or
even quite, can be enough to distract employees
and lower their productivity. In extreme cases,
when the noise is continual, it can make it hard
to concentrate and add stress to the workplace,
which in turn can make some employees ir-
ritable and can even increase blood pressure.
Retail and commercial spaces also require
properly managed noise. Restaurants in particu-
lar have multiple sound and noise sources that
can become problematic if not controlled. Kitch-
en noise, plates clanking, patrons talking, music,
and in some cases TV can all add up to a situation
where patrons can’t hear the person sitting next
to them and wait staff can’t clearly hear patrons.
Both customers and employees can suffer in this
sense, and that can impact business in many
ways. The same holds true for other commercial
spaces. Poorly managed noise and sound between
hotel rooms, for example, can ruin a guest’s
experience; however, a perfectly quiet room that
blocks out street noise and sounds from the rest
of the building will be highly valued.
Large event spaces such as sports arenas have
special challenges in controlling noise. While
the larger venues have their own goals—often
where the crowd noise is part of the experi-
ence—private VIP rooms or “boxes” where the
event can be watched in comfort and relative
quiet away from the crowds is another mat-
ter. Architectural projects that have to balance
different noise requirements depend on unique
acoustic solutions that allow for visibility along
with noise control.
Performance spaces, whether concert halls or
theaters, all require precise acoustic design. In
these spaces, especially concert halls, sound is
what people are there to experience, whether in
the form of music or spoken voice. An acousti-
cally flawless space will be noticed and celebrat-
ed—but a space where outside noises or echo
from inside sounds disrupt the performance can
ruin the experience.
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132 MODERN ACOUSTIC SOLUTIONS FOR INTERIOR ENVIRONMENTS
Finally, spaces such as hospitals and clinics
also rely on noise being well controlled, not only
CONTINUING EDUCATION
for patient privacy but also patient health and
well-being, such as in overnight hospital rooms.
Health-care facilities present a unique challenge
in that they are typically designed with easy-
to-clean flooring and wall materials, such as
ceramic tiles and stainless steel. When these ma-
terials are combined with the sounds of medical
equipment, footsteps, voices, and intercom
alerts, noise can become quite loud, interrupt-
ing patients throughout their stay. In this case,
unwanted sounds and noise can impact healing
times and a patient’s ability to rest and recover.
Modern acoustic design solutions range
from simple, easy-to-install panels that can help
designers meet their goals on time and within
budget to elegant, complex solutions to address
the most challenging acoustic problems in the
industry, such as high-end performance spaces,
private areas within larger event venues, and
everything in between. The key to success in this
aspect of a building project is to understand the
intended use of the space and how sound- and
noise-management systems can make the indoor
environment as comfortable as possible.
THE SCIENCE OF SOUND AND
SOUND MANAGEMENT
Sound generation, including how it is measured
and the different ways that acoustic design
solutions can reduce, absorb, and mitigate the
potential damage and distraction of uncon-
trolled and unwanted sound, are all important
to understand before getting into a sound-
management project. There are six key aspects
relevant to sound-management specification
that can help create a foundation for selecting
high-performance acoustic solutions. They
are: acoustic performance, fire safety, sustain-
ability, occupant health and well-being, design
flexibility and customization, and accessibility
after installation. These aspects contribute to
different certification programs and standards,
whether for sustainability, health, safety and
well-being, or fire ratings—all of which are
relevant for interior acoustic products.
The science of sound and sound manage-
ment is at the heart of designing indoor spaces
that enhance rather than detract from the
indoor experience in terms of managed sounds
and noises. When we talk about the science of
sound, we’re referring to acoustics, which is the
scientific study of sound in all of its forms. In
architectural design, acoustics is concerned with
how sound functions both within and between
architectural spaces; for example, how sound
functions within one room as well as between
rooms, whether through walls, ceilings, or
floors. But architectural spaces are rarely empty;
they are usually filled with furniture, fixtures,
and other objects, all of which interact with
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OTHER CONSIDERATIONS FOR ACOUSTIC SOLUTIONS
Modern acoustic solutions offer much more than just sound and noise manage-
ment. They can help improve the overall safety of a space by addressing fire safety
requirements, and they can do so while meeting sustainability goals as well. Both of
these features contribute greatly to the health and well-being of building occupants
through safer spaces and healthier materials that improve the indoor environment. In
addition to performance, safety, and health benefits, modern acoustic solutions also
offer incredible design flexibility and customization as well as and post-installation
flexibility.
Let’s look at each of these factors in a bit more depth.
As an interior design element, acoustic solutions must meet relevant fire ratings. Best
practice suggests that acoustic solutions be Class A fire rated, meaning that they
have the lowest flame spread and smoke development. One challenge with acoustic
systems and fire ratings is that some products are tested as composite products—
that is, fully assembled—while others may have separate components. Associated
standards may include ASTM E84, CAN/ULC 102, NFPA 255, UL 723, UBC 8-1, ASTM
E2404, ASTM E1264, ASTM E2257, NFPA 265, and NFPA 701.
Acoustic solutions are increasingly sustainable as well, with many materials
available to help designers achieve sustainability goals. Products can qualify for
different programs, such as LEED for Building Design and Construction (BD+C),
which includes a credit for acoustic performance. This certification applies to new
construction and renovation projects and includes standards that address HVAC
sound levels and sound transmission. Another relevant certification is LEED Interior
Design and Construction (ID+C), which includes an environmental quality (EQ) credit
for acoustic performance.
Healthy materials, which are often linked to sustainable design, are another important
consideration when specifying acoustic solutions, as they contribute to an overall
healthy indoor environment, making spaces safer, healthier, and more comfortable
for occupants. Acoustic design solutions are often constructed with materials that
contain volatile organic compounds (VOCs). For example, some fabrics and adhesives
may include VOCs or be treated with antimicrobials that pose a risk. VOCs are
associated with a wide range of health impacts, from headaches and nausea to organ
damage. Urea-formaldehyde, which is sometimes used in products, is known to be
carcinogenic. Specifiers should be aware of the material ingredients and can consult
certification programs such as GREENGUARD to choose acoustic solutions that
actively improve the indoor environment and help keep occupants safe and healthy.
Industry standards such as ASTM 5116 and ASTM D6670 can also help mitigate health
risks to the occupants.
The WELL Building Standard program focuses on how building design, operations,
and behaviors can improve human health and well-being, identifying key “Features”
across seven “Concepts.” WELL addresses acoustics as part of the Comfort concept
in terms of how acoustic solutions can help reduce indoor distractions from unwanted
sound and in turn improve the overall comfort of the indoor environment. WELL
addresses acoustic comfort in terms of how the space handles noises from the outside
(Feature 74), such as those common in busy urban environments and that are known
to increase stress, and noises created inside the building (Feature 75). Other key
features of WELL v1 related to acoustics are: Feature 78: Reverberation Time, 79:
Sound Masking, 80: Sound-Reducing Surfaces, and 81: Sound Barriers.
WELL v2 is in its pilot phase and is available for projects seeking registration. It
contains five Features specific to the sound concept and is now the default standard
on the WELL website.
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134 MODERN ACOUSTIC SOLUTIONS FOR INTERIOR ENVIRONMENTS
sound. As such, acoustics also needs to take into
account how sound is reflected, absorbed, or
CONTINUING EDUCATION
scattered in a space.
Sound waves will behave differently
depending on the surfaces in the space. For
example, highly reflective surfaces such as
bare walls and uncarpeted floors will redirect
the direction of the sound, and so the sound
can take longer to get from its origin to the
listener. An echo is an example of such a delay.
On the other extreme, a space that has highly
sound-absorptive surfaces will decrease the re-
flected sound waves and thus reduce potential
reverberations and echoes. Finding a balance
between reflective and absorptive surfaces
can be a challenge, especially in some spaces.
That balance needs to stem from the intended
use of the room and consider whether privacy
is needed, sound needs to carry, or the space
needs to be genuinely quiet. We’ll talk more
about some of the design options and different
acoustic solutions that can be used to address
these issues in the next section. But first, let’s
go over some important terms.
Key Terminology for Understanding
Sound and Sound Ratings
Sound is measured in two ways: its loudness is
measured in decibels (dB), and its frequency is
measured in hertz (Hz). Combined, these two
measurements are at the foundation of how
sound management systems operate. But it’s
a lot more complicated than just decibels and
hertz, especially when it comes to specifying
architectural materials that manage sound and
noise within spaces.
Noise-reduction coefficient (NRC) is the
measurement of how well a material absorbs
sound, usually sounds in the range of normal
speech frequencies. On products, NRC is usually
measured at frequency octave ranges of 250, 500,
1000, and 2000 Hz, and those measurements
identify how much a product will make a space
quieter at that frequency ranges. Large spaces
where sounds and noises are generated, such
as gymnasiums, sports arenas, restaurants, or
performance halls, will require a higher NRC on
walls and ceilings to control the noise.
Sound transmission class (STC), on the
other hand, measures how well a surface blocks
sound from going through it, or how well a
product keeps sounds from escaping a room.
Spaces such as medical clinics, hospital rooms,
or office conference rooms where private or sen-
sitive information may be discussed will benefit
from walls designed with high-STC products, as
covered by the ASTM E90 standard.
Reverberation, or how long a sound con-
tinues to ref lect off of hard surfaces within
a space, is measured in reverberation time
(RT). RT is measured as the time in seconds
that it takes for the sound level to decay by 60
dB. From a practical standpoint, a long RT is
responsible for situations where communica-
tion is garbled and difficult for listeners to
understand, also known as speech intelligibil-
ity. Some spaces, such as classrooms, benefit
from very short RTs (less than 0.6 seconds) in
order to emphasize clarity and speech intel-
ligibility, while others, such as performance
halls and theaters, benefit from RTs of greater
than 1.2 to help the sound fill the space.
Articulation class (AC) measures the at-
tenuation, or how much sound energy is lost,
of reflected sounds, such as speech over the top
of wall partitions or furniture, and is mea-
sured according to ASTM E1110 and E1111. For
example, high-performance AC is important
in office areas that rely on cubicles. AC ceiling
systems rated 150 or less are considered low
performance, where systems that are rated 180
or greater are considered high performance.
A final acoustic performance measure is the
Privacy Index (PI), which rates how well speech
can be heard in and through architectural
spaces, especially spaces such as hospitals and
offices. Key PI levels are generally accepted to
be 95 percent or higher for confidential speech
privacy, 80 to 95 percent classifies as “nonintru-
sive” privacy, and anything below is accepted as
poor or not private.
ACOUSTIC SOLUTIONS FOR SOUND
MANAGEMENT AND AESTHETICS
In today’s market, there is a wide range of
high-performance acoustic design solutions
that address an equally wide range of acous-
tic challenges. We will cover different types,
styles, and attributes of acoustic solutions,
including shapes, sizes, and finishes, as well as
the various materials and material properties
of different acoustic solutions. This includes
multilayered gypsum panels and textured
sprays to glass, stainless steel, wood and steel
doors with steel frames, and different types of
ceiling tiles and baff les.
In addition to the practical aspects of new
acoustic designs, the different products offer
architects and designers a world of creative
options for aesthetic f lexibility. This f lex-
ibility extends from traditional ceiling and
wall solutions to doors and doorframes, with
an array of colors, shapes, sizes, and patterns
available—all delivering high-performance
acoustic control that improves the com-
fort and beauty of the space. In addition to
the f lexible products, recent advances in
modular design offer almost unlimited pos-
sibilities for layout to best fit the required
space. Other designs incorporate daylighting
quality with their sound- and noise-control
solutions, and many are fire rated to provide
added safety within the space. We’ll take a
look at each one now.
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Stone Wool Ceiling Panels
Sound-absorbing ceiling systems can optimize
acoustics and add to the comfort and aesthetic
design of an indoor space. For projects where a
creative, flexible look is desired, stone wool ceiling
panels installed on specialty metal ceiling panel
suspension systems can be a great choice and
address some of the newer, stricter requirements
in acoustic standards. As Acoustics Specialist
Gary Madaras, Ph.D., of Rockfon notes, “A lot has
changed in the acoustics realm recently, especially
in regards to the stringency of both sound-ab-
sorption and sound-blocking requirements in the
standards. Ceilings have to provide high sound
absorption to meet shorter reverberation times,
and full-height walls and heavy slabs are needed to
provide privacy and prevent noise intrusion.”
For example, optimized acoustics in
commercial interiors typically include high-
performing sound absorption overhead, which
helps protect materials from dirt and damage.
Regardless of the interior, acoustic ceiling sys-
tems should not be seen as a way to compensate
for the poor design of other building elements,
such as floors, walls, and mechanical systems. A
well-designed interior should meet the require-
ments for privacy between enclosed rooms, and
mechanical systems should meet maximum
permissible background noise levels: acoustic
ceilings can be removed and replaced with dif-
ferent types of sound absorption.
Industry literature shows that an absorption
performance level of NRC 0.90 or higher is required
in workplaces and patient-care areas of health-care
facilities. This minimum performance level has
been adopted for open offices by some standards,
guidelines, and building rating systems, such as
The WELL Building Standard v1 and the U.S.
General Services Administration’s (GSA) Facilities
Standards for the Public Building Service (P100).
The Center for Health Design establishes installing
high-performance sound-absorbing ceiling tiles
as a priority design recommendation based on its
impact on safety, quality, and cost.
Not all spaces require this high level of sound
absorption. Most ceiling manufactures provide
multiple options within standard performance lev-
els. The most important factor to remember when it
comes to acoustic ceilings is that they are for sound
absorption within spaces and too lightweight and
porous to be effective at blocking sound.
Cementitious Wood Fiber Ceiling and
Wall Panels
Acoustic ceiling and wall panels can be made from
many different materials, each of which provide
certain properties that can benefit an indoor
environment. Cementitious wood-fiber offers an
acoustical high-performance, ecofriendly option
that is also cost-effective and provides additional
thermal insulation to the space. As a material,
cementitious wood-fiber is remarkably simple,
 CONSTRAINED.
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136 MODERN ACOUSTIC SOLUTIONS FOR INTERIOR ENVIRONMENTS EDUCATIONAL-ADVERTISEMENT

with three key ingredients: managed source wood Photo courtesy Acoustical Surfaces

fibers, cement, and water. The finished panels are

CONTINUING EDUCATION

durable, fire rated, and low VOC, making them

a safe and healthy option for interiors. Panels are
also versatile in terms of size, shape, mounting op-
tions, and even paint options, which makes them
easy to specify, and their thin design makes them
easy to install.
As an acoustic solution, cementitious wood fi-
ber panels provide designers with an aesthetically
creative option that typically has a consistent
finish and color as well as consistent thickness,
square corners, and low-dust square panels.
These panels are designed to effectively manage
sound in larger spaces where noise is typically a
challenge, such as in schools or civic centers—
for example, in gymnasiums and classrooms,
auditoriums, or music practice and band rooms.
They are also an excellent option for commercial
venues such as restaurants and bars, convention
centers, and even “extreme noise” environments
such as manufacturing and industrial facilities,
among many other noisy, high-traffic spaces.

Sound-Reducing Drywalls
Sound-reducing laminated gypsum drywall is
an affordable, easy-to-install acoustic solution.
The material can replace any standard drywall in
either walls or ceilings, and it can use standard
construction techniques to achieve high STCs.
This is beneficial because it avoids the common
issues of decoupling walls or difficult installa-
tion that contractors often face with some of the
noise-control solutions; such problems tend to
mean that the desired result is not achieved.
Sound-reducing gypsum panels can be cut and
mounted like any other drywall panel, with the
only real difference being that these panels are “in-
ternally damped” with constrained layer-damping
layers inside. Different performance grades are
available, including a standard 5/8-inch type X
panel, which is the same size as standard drywall.
The combination of high performance, easy
installation, and overall low cost works well for
projects where time and budget are of key im-
portance. As noted by Matthew Boersma of
HerreroBOLDT Partners, “After completing
our analysis, it was clear that sound-damping
gypsum drywall would be the best solution to
achieve the required STC performance, at the
lowest cost, for the Cathedral Hill district cam-
pus. Additionally, using sound-damping gyp-
sum drywall standardizes the wall dimension
and reduces variability for other in-wall systems
like doorframes and receptacle outlets.”
Acoustic Plasters and Perforated
Gypsum Board
According to Howie Podolsky, general manager
of Pyrok, in many interior spaces, “it is necessary
to address mechanical system noise, sound trans-
mission, impact noise, and sound-absorption
Shown are ceiling and wall cementitious wood fiber panels.
issues. Too often, all four of these critical acoustic
issues are not addressed.” Sound-absorption
issues can be addressed with perforated gypsum
boards with different perforation patterns that
can be joint-taped to create high-performance,
durable acoustic solutions or acoustic sprays.
Two such sprays available are seamless, durable
sound-absorbing wall and ceiling treatments
constructed from hand-applied smooth and
textured sprays. These sprays, made with a special
sound-absorbing substrate comprised of recycled
post-consumer glass, offer a sustainable, durable,
safe, and healthy acoustic option that can have
almost zero VOC content. Designers can use this
product to achieve the look of a seamless gypsum
board but with acoustic properties. The material
can be used in whatever way gypsum boards are
used, including curved surfaces and compound
curves, with the advantage that no gypsum board
substrate is required. Moreover, such products
can be painted without losing any sound-absorb-
ing qualities.
Another option is an acoustical plaster spray
made with portland cement, and that can be ap-
plied to unpainted concrete masonry, galvanized
metal deck, and structural steel. These plaster
sprays can be used wherever a designer might
otherwise use a decorative plaster finish, but
they also absorb sound, are durable, and require
very little maintenance. This combination of
attributes provides architects and designers
with aesthetic flexibility whether the interior is
contemporary, traditional, or even a historical
restoration. One benefit of the plaster spray is that
it can be applied in different thicknesses depend-
ing on the desired acoustical result.
Acoustic Drywall Ceiling and Wall Systems
One way that designers can balance their
aesthetic vision of a space with eventual oc-
cupant comfort is to include acoustics as a
critical requirement very early in the project’s
design process. Acoustic needs—and eventual
solutions—should be considered a key design
decision, just as important as materials, perfor-
mance, and aesthetics. By addressing the issue
of acoustics early in the process, designers can
better plan for materials and products that best
suit their budget and deadline needs as well.
For architects and designers seeking modern,
monolithic ceilings, acoustics can be a genuine chal-
lenge. Sounds can easily bounce off of the surfaces,
reverberating and echoing, thus making listening
difficult. New advances in acoustical drywall ceil-
ings, however, offer systems that can be sprayed to
have a monolithic look, all while costing less and be-
ing far easier to install than acoustical plaster. These
high-performance solutions can also provide high
light-reflective finishes that can enhance interior
lighting, thus reducing energy use.
Acoustic Luminaire and Baffle Systems
Acoustic linear luminaire and baffle systems
combine noise control with lighting control. Linear
luminaires, for example, can provide a modern look
with ecofriendly and sound-absorbing housings.
 ACOUSTIC
PERFORMANCE
FOR THE PERFORMING
ARTS
Acoustic Steel
Doors & Frames
to STC 59
Acoustic Wood
Doors & Steel
Frames to STC 56

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138 MODERN ACOUSTIC SOLUTIONS FOR INTERIOR ENVIRONMENTS EDUCATIONAL-ADVERTISEMENT

They are offered with direct, indirect, or both direct safety. Two design solutions include acoustic steel broadest range of STC ratings in the industry, all
and indirect light distributions, thus ensuring not and acoustic wood doors with steel frames. tested with ASTM E-90 and E-413, and fire rated
CONTINUING EDUCATION

only improved acoustics within a space but also Acoustic soundproof wood doors with steel- up to 90 minutes. Heavy-gauge, pressed-steel
optimal illumination levels. With the integration of frame assemblies can provide an excellent solu- frames and engineered perimeter- and bottom-
lighting controls, these acoustical lighting products tion to noise issues in buildings such as schools seal frames help reduce unwanted noise.
can also reduce energy costs. Unlit acoustic baffles and health-care environments, where noisy
provide an aesthetic match to the lit baffles, adding corridors may distract people within spaces like ACOUSTIC SOLUTIONS AT WORK
to the overall flexibility to meet a project’s budget, classrooms, exam rooms, or patient-care rooms. The following featured case studies demonstrate
aesthetic, lighting, and acoustic needs. In addition to the aesthetics of wood-faced doors, creative and effective design solutions that in-
Acoustic luminaires and baffles can be used to these doors and assemblies can provide the clude high-performance acoustic solutions.
create unique, project-specific aesthetics in confer-
ence rooms, offices, reception areas, and other open
commercial spaces. The thin profiles of the acoustic
baffles maximize illumination and minimize shad-
CASE STUDY: SAMMAMISH HIGH SCHOOL
Photo courtesy of Rockfon
ows. In addition to standard linear acoustic baffles,
Designed to be the “crown jewel”
acoustic pendants can be used in larger interior
in the Bellevue School District
spaces where noise may be a problem, such as in air-
in Washington State, the newly
port concourses, large lobbies and reception areas,
modernized Sammamish High School’s
or conference rooms and open workspaces. Acoustic
campus replaces an outdated single-
pendants can be used in conjunction with lighting
story facility with a three-story, state-of
systems to create bright, comfortable, healthy, and
the-art educational facility. The
coordinated interior spaces.
320,000-square-foot structure serves
nearly 1,000 high school students across
Folding and Opening Glass Walls
grades 9–12. The school includes light, In educational facilities where even students
Glass walls can serve as excellent acoustic barriers in the back row need to understand the
bright spaces with open atriums and
when they are closed; however, such walls have lesson, modular acoustic ceilings decrease
common spaces bordering classrooms,
traditionally been installed as permanent fixtures reverberation and increase speech intelligibility.
which means that thoughtful acoustic
to a space. New designs in floor-supported folding
management needed to be a core part
glass walls, however, combine the modern aesthet-
of the design. Designers at Integrus Architecture opted to feature stone wool acoustic ceiling
ic of acoustically separated aluminum framing and
systems throughout the facility as a sustainable solution that would support the comfort, health,
specialized gasketing with sound-enhanced glass.
and wellness of the school students, staff, and visitors.
These new high-performing systems can achieve
STC levels ranging from STC 35 to 45. Aside from
With challenging design goals that included creating spaces for small, medium, and large
the versatility of these glass walls, they provide
group learning and interaction, and ensuring that those spaces could be flexible for different
educational and interior spaces with easy-to-create
teaching and learning styles, Integrus opted for close collaboration on the project. By
private rooms. The floor-supported steel framing,
working with the school district, principal, teachers, and students, the architects successfully
for example, makes opening and closing the walls
designed a space that incorporated sustainability, provided an excellent learning
easy for anyone to do.
environment, promoted community outreach, and ensured safety. Stone wool’s high-
While not all spaces benefit from a folding wall,
performing sound-absorptive properties were used for the facility ceilings. The material’s
another option is an all-glass opening wall that is
modern aesthetic made it an ideal choice for the new space, with the bright white surface
engineered specifically for enhanced acoustical
enhancing the available light and saving energy costs. In addition, stone wool’s resistance to
separation. Opening glass walls can turn larger
indoor health hazards such as mold, bacteria, and humidity—along with low VOCs and high
spaces into on-demand smaller spaces, all while
fire resistance—helps keep the interior spaces healthy for staff and students alike.
keeping the space visually open. Such walls can
perform better than many all-glass fixed parti-
Finally, while also managing the acoustic, health, and comfort needs of classrooms, gymnasiums,
tions, with STC ratings around 36 and outdoor-
administrative offices, and common areas, stone wool panels enhance the overall safety of the
indoor transmissions class (OITC) of 30. All-glass
spaces by being mounted on suspension systems that met the project’s seismic design category
opening walls can change the noisy nature of office
requirements. For a large school meant to be the crown jewel in the district, the combination of
spaces, banks, and schools with uninterrupted
beauty, functionality, safety, and easy installation was key.
transitions between interior spaces.

Acoustic Door Assembly Products

As noted earlier, a space that requires high-perfor-
mance acoustic management also needs to have
carefully specified doors and doorframes. Both are
critical elements in an acoustic space in that they
not only block sound but also play a key role in fire
Continues at ce.architecturalrecord.com
Rebecca A. Pinkus, MTPW, MA, is a Toronto-based communication consultant, writer, editor, and historian
of technology. She has been writing for the green build industry for several years, contributing to more than 40
continuing education courses and publications through Confluence Communications.
1 in 4 Words
Are not understood by
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140 ADVERTISEMENT

PRODUCT REVIEW
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142 EDUCATIONAL-ADVERTISEMENT

To be sustainable and resilient, the buildings of

today need to be built with materials that have
the future in mind. Pictured is Cliff Hangers
facility in Mooresville, North Carolina.
CONTINUING EDUCATION

Photo courtesy of Metl-Span

To Code...and Beyond CONTINUING EDUCATION

Using insulated metal panels to future-proof buildings 1 AIA LU/HSW

Learning Objectives
Sponsored by Metal Construction Association, IMP Funders Group | After reading this article, you should be able to:
By Amanda C Voss, MPP 1. Discuss the attributes of insulated metal
panels (IMPs) and how these characteristics

T
he buildings of today must satisfy a supreme
standard: they are called upon to achieve
high performance: to be resilient, healthy,
and energy efficient. Building science has focused
modern design emphasis on the “envelope” in
response to the movement of air, water vapor, and
thermal conditions. These demands elicit dramatic
changes to building envelope designs and the
components used within.
Understanding how to deliver high-
performance, code-compliant buildings can
be complex and confusing. Not only are archi-
tects charged with satisfying performance and
structural requirements, but, in order to meet
these conditions, the contemporary envelope
also may now incorporate increased amounts of
combustible materials in cladding, insulation,
and water-resistive barriers (WRBs). Since fire-
performance requirements have become integral
with updates to the International Building Code
(IBC), this adds yet another layer of complexity.
With demands on a structure at their high-
est, what products or systems can fulfill all of the
required air and water control functions of a high-
performance building enclosure, while meeting the
building codes and still offering aesthetic flexibility?
DEFINING IMPS
What They Are
Future-oriented buildings require future-oriented
products. Insulated metal panels (IMPs) are
lightweight systems of exterior wall and roof
panels with metal skins and insulating foam cores.
create the flexibility to meet a wide array
of aesthetic, locational, performance, and
code demands.
2. Describe how the components of an IMP
allow it to meet code requirements for
thermal, water, vapor, and air control.
3. Explain the performance criteria that fire
codes evaluate and the rigorous fire-code
testing to which IMPs are subjected.
4. Compare and contrast the features, resilience,
and performance standards of IMPs against
other commercial building materials.
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 #K1907C
 EDUCATIONAL-ADVERTISEMENT 143

Insulated Metal Panel Roof System

First developed by the National Aeronautics and Insulated Metal Panel Roof System • Insulated roof: IMPs are the roofing solu-
Space Administration (NASA), these panels have tion that provides the greatest insulation,

superior insulating properties, and their outstand-
ing spanning capabilities and one-pass installation
makes them quick to install, providing unit cost
savings when compared to other wall assemblies.
Exterior face (water control layer, air control applications. The essentially two-step
To deliver their high-performance insulation, layer, vapor control layer)
foam is injected, or poured in place, between
two metal sheets, where it then undergoes a
chemical reaction, causing it to expand and
bond to the metal skins, thereby completely fill-
ing the interior cavity between the metal skins.
The result is a solid panel system that provides
superior thermal value and resists moisture,
insect, and rodent infiltration.
IMPs are available in a wide variety of colors, • Commercial and industrial: IMPs are ideal
widths, profiles, and finishes, enabling the
realization of virtually any desired aesthetic for
walls and roofs. IMPs can also be curved and
formed, and they come in a variety of high-
performance coatings.
Expanding upon the various profiled
options, designers can choose walls that are
ribbed, fluted, or planked. For flat walls, fin-
ishes can be flat, textured, or striated.
Additional design features include joint
reveal widths, formed corner panels, end folds
and treatments, heavier-gauge flat facings, and
integrated windows and louver systems. Another • Architectural: Architectural IMPs have the
available finish feature is embossing, which cre-
ates surface texture on metal coils. This process
flattens wavy coils and eliminates the “mirror”
effect of smooth finishes. It is also a useful way
to mask minor blemishes such as paint scratches
and surface variations. Nondirectional emboss-
ing can be applied to create a uniform pattern,
whereas directional embossing produces linear
lines along the length of the coil.
The most commonly used metal substrates for
IMP faces are G90 galvanized steel or aluminum-
zinc coated steel, while some custom panels are
made from stainless steel or aluminum.
For the interior, a typical finish is a stan-
dard polyester 0.8 millimeter—including the
primer—in a light-reflective and easy-to-main-
tain color. United States Department of Agricul-
ture (USDA)-compliant finishes and stainless
steel also are available for required applications,
such as food processing and storage.
Performance wise, architects are able to
specify various panel insulation values, span
lengths, and load/span capabilities.
In the field, IMPs are not only considered the
primary exterior finish but now also are being
designed as the primary building envelope and
can be clad with various secondary rainscreen
materials, such as brick veneer.
Exterior face (water control layer, air control
layer, vapor control layer)
Thermal control layer
Thermal control layer
Interior face (air control layer and
vapor control layer)
Where They’re Found
for all types of commercial and industrial
buildings, including institutional, rec-
Interior
reational, face (airbuildings,
government control and layer and ous insulation—IMPs also are an easy way
manu-
facturing
vaporfacilities.
controlProjects
layer) from schools
to retail centers to power plants benefit
from the unique energy-efficient insulation, on safety (things like fire requirements) and
lightweight construction, durability, and
cost-effective, timely installation of single-
component IMPs. IMPs also provide solu-
tions for a variety of climate considerations,
including temperature, humidity, airborne
particles, and air movement, among others.
normal attributes of those used in commercial
and industrial builds, such as high insulation
values, speed of build, and vertical and hori-
zontal applications, but they also incorporate
options such as custom shapes and widths,
specialized colors and finishes, and custom fab- layer, a vapor control layer, and a thermal
rication, including, but not limited to, factory-
bended corners, curved panels, and trimless
ends. Architectural IMPs offer options that can time on the air. If you can’t keep the air out,
incorporate panels that coalesce with windows, don’t waste your time on the vapor.”
louvers, sunshades, or other integrated prod-
ucts to offer total building envelope solutions.
Their flexibility provides architects freedom to
create unique building designs.
• Cold storage: IMPs are considered the
ultimate solution for climate-controlled
facilities. Whether the need is for manufac-
turing, processing, storage, or distribution
of perishable food or other materials, an
IMP wall can meet the demands. Available
in panel thicknesses from 2–6 inches, a wall
can be designed to meet specific thermal
performance requirements. Additional
features include long spanning capability, flat
and ribbed shaped panels, high-performance
coatings, and special joint designs and details policy analyst. Writing for multiple publications,
to meet safe hygiene and contamination
requirements.
CONTINUING EDUCATION
simplest maintenance, and longest life
coupled with quickest installation for low-
and high-rise commercial and industrial
installation process limits exposure to
accidents and reduces the number of
installation steps and materials required,
increasing the speed of installation and
reducing down time while providing a roof
with superior insulation properties that
can last more than four decades.
IMPS AND THE BUILDING ENCLOSURE
IMPs offer more than aesthetic f lexibility.
As a turnkey option that delivers a full vapor
and water barrier—along with continu-
to meet the growing and vital body of code
requirements. Codes today focus not only
sustainability but also on performance and
building health.
In a 2010 Building Science Corporation
article titled “BSI-001: The Perfect Wall,”
Joseph Lstiburek, Ph.D., ASHRAE Fellow,
writes: “The perfect wall is an environmental
separator. It has to keep the outside out and
the inside in. In order to do this, the wall
assembly has to control rain, air, vapor, and
heat. Today, walls need four principal control
layers. They are presented in order of im-
portance: a rain control layer, an air control
control layer. A point to this importance: If
you can’t keep the rain out, don’t waste your
For Lstiburek, the perfect wall has the
rain control layer, the air control layer, the
vapor control layer, and the thermal control
layer on the exterior of the structure. The
cladding’s function principally is to act as an
ultraviolet screen.
The best place for control layers is to
locate them on the outside of the structure in
order to protect it.
Continues at ce.architecturalrecord.com
Amanda Voss, MPP, is an author, editor, and
she also currently serves as the managing editor for
Energy Design Update.

The Metal Construction Association’s Insulated Metal Panel (IMP) Funders Group comprises leading manufacturers,
resellers, and suppliers who are dedicated to growing the use of IMPs. www.metalconstruction.org
the BUILDING ENVELOPE
SIMPLIFIED
Building envelope products and support from one trusted manufacturer

photo: ©Andrew Latreille

SERIES 7600 CONCEALED VENT WINDOW

PROJECT: Indian Residential School, History and Dialogue Centre

SERIES 2202 CURTAIN WALL SYSTEM ARCHITECT: Formline Architecture
GENERAL CONTRACTOR: Bird Construction
GLAZING CONTRACTOR: Lynnmour Glass

MOJAVE SERIES
ADVANCED THERMAL ENTRANCE SYSTEM

C.R. LAURENCE CO., INC. | (800) 421-6144 ext. 17780 | abd@crlaurence.com | crl-arch.com
 EDUCATIONAL-ADVERTISEMENT 145

Photo: Andrew Latreille

CONTINUING EDUCATION
At the Indian Residential School History &
Dialogue Center in Vancouver, British Columbia,
an all-glass design with a tight thermal building CONTINUING EDUCATION
envelope delivers high energy efficiencies.

1 AIA LU/ELECTIVE

Sealing the Envelope

Learning Objectives
After reading this article, you should be able to:
1. Compare and evaluate the characteristics of
curtain walls, window walls, and storefronts.
Designing high-performance building envelopes 2. Glean best practices for properly designing,
with expansive glass spans detailing, and sealing a building enclosure
with large expanses of glass.
3. Review enclosure designs for optimized
Sponsored by C.R. Laurence Co., Inc. thermal performance; air, water, and
moisture protection; and mitigating
condensation.

A
s energy-efficient, daylit, sustainable
buildings continue to gain traction,
interest in glass facade designs is
growing in tandem.
“Glass is an amazing material. It is strong,
it can be made in very large panels, and it can
be curved or formed into complex shapes,”
relates Damian Rogan, BSc, MSc, CEng,
MIStructE, director of facade engineering,
Eckersley O’Callaghan, London. “But its
most appealing property is its transparency.”
Similarly, Linda M. McGowan, PE, AIA,
BC&E, Littleton, Colorado, sees a desire to
bring the outdoors inside as driving inter-
est in “relatively large areas of glazing with
relatively small frame sections.”
Continues at ce.architecturalrecord.com
4. Understand how to design building
envelopes for structural resiliency,
enhanced acoustics, and fire protection.
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 #K1907F

C.R. Laurence is a leading manufacturer and supplier of architectural glazing systems for numerous CSI divisions. The company’s
comprehensive product offering includes curtain walls, storefronts, entrance systems, glass railings, door hardware, commercial
windows, sunshades, frameless shower enclosures, and demountable partitions. www.crl-arch.com
146 EDUCATIONAL-ADVERTISEMENT

Photo: Lester Ali

CONTINUING EDUCATION

Architectural louvers add a modern aesthetic to a

building’s exterior while allowing air to move freely into
its mechanical system. They can also be engineered to
withstand severe weather events as well as accommodate
fluctuating temperature extremes and pressure drops to
ensure occupant comfort and safety.

Building Resiliency CONTINUING EDUCATION

Designing Buildings to Withstand Natural and 1 AIA LU/HSW

Man-Made Disasters through Product Specification Learning Objectives

After reading this article, you should be able to:
1. List key natural and man-made disasters that
Sponsored by Construction Specialties | By Rebecca A. Pinkus, MTPW, MA affect the built environment.
2. Define resilient design and how it benefits

J
anuary 2018: Intense rainfall in
Montecito, California, fell on land already
scarred by wildfires. The loose soil on the
bare land quickly turned to mud and produced
massive mudslides that flattened homes and
other buildings and covered local freeways.
Gas lines ruptured and fires broke out. Twenty-
one people were killed, and an estimated $208
million in commercial damages were sustained,
with up to an estimated $204 million to rebuild
or repair residential properties.1
May 2018: More than 8 inches of rain fell
over the course of just a few hours in historic
Ellicott City, Maryland, and created a river that
rushed through the city. The flood devastated
commercial and residential properties, swept
away cars and people, and left the area in
ruin, just two years after the city had suffered
millions of dollars in damage and lost lives in an
earlier flood.
September 2018: The large, slow-moving
Hurricane Florence hit the Carolinas with high
winds and record rainfall that fed into local
rivers, which rose to record heights and flooded
the areas. North Carolina suffered 36 inches of
rain, with the Cape Fear River in Wilmington
reaching a high-water mark of 8.27 feet.2 South
Carolina got 24 inches of rain, with many
cities, communities, and the economy.
3. Discuss how designing for resiliency can
impact building design and improve
occupant health, safety, and well-being.
4. Describe the benefits of specifying products
designed for resiliency.
5. Explain how buildings can achieve a U.S.
Resiliency Council (USRC) rating.
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 #K1907B

regions suffering from floodwaters. Fifty-three
people died as a result of the storm. Estimated
damage totaled $24.2 billion.3
October 2018: Hurricane Michael, a
Category 4 storm, made landfall in Florida
with 150-mph winds and worked its way up
to Georgia, which last had a major hurricane
track inland in 1898. Michael continued up the
Carolinas, which had been hit by Hurricane
Florence the previous month, and then into
Virginia. Recorded as the strongest storm since
Hurricane Camille in 1969, Michael brought
the strongest winds recorded in the region
since 1992, when Hurricane Andrew flattened
communities in Florida. Locations such as
Panama City and Mexico Beach, Florida, were
practically demolished. In Florida alone, 43
people were killed, and 10 more were lost in
other affected states. The estimated damage
came to $25.2 billion.4
November 2018: California wildfires
flattened towns in both Northern California
and Southern California. The Camp Fire blaze
in Northern California destroyed more than
150,000 acres, including 130,000 homes and the
entire town of Paradise. The fire is on record
as the deadliest wildfire in California history.
Between the fires, 106 people died, with at least
85 from the Camp Fire. The economic damage
was upward of a record total of $24.2 billion.
This list of natural disasters is by no means
exhaustive for the United States in 2018.
Tornados, blizzards, hail storms, and extreme
heat and cold events all impacted the country,
racking up an estimated $150 billion in damages
for the year. Data from almost the past 40 years
shows a clear trend: severe storms are more
common than they were even 10 years ago, let
alone 20, 30, or 40. Droughts and wildfires have
become increasingly common, and over the
past 10 years, flooding has increased as part of
the severe storm impact. Some of these weather
events have become so powerful that they have
literally destroyed communities; those commu-
nities will eventually need to rebuild and ideally
will do so using intentionally resilient building
designs that can help mitigate future hazards
and reduce risks of human and economic loss.
Rebuilding devastated communities,
however, is only one part of the challenge.
Communities throughout the country are at
risk of the impacts of natural disasters, and
the disasters are not limited to weather-related
risks. Parts of the country, such as California,
are in seismic zones and thus can be damaged
by earthquakes. And as news from around the
world has shown, the U.S. infrastructure is by
As a leading manufacturer of architectural specialty products, Construction Specialties (CS) provides a range of interior and
exterior products to meet your design and building challenge needs. CS products set the industry standard in architectural
ventilation, wall protection, entrance mats and grids, seismic movement, and daylight management. www.c-sgroup.com
no means alone in being affected by storms
and earthquakes; this is a global concern, and
resilient building design can play an important
role in protecting communities.
While so many of the buildings damaged
or destroyed by storms, fires, and floods have
been residential properties, we will be focusing
on resilient design for commercial properties
and retrofit projects. The point is not to mini-
mize the importance of residential properties
but instead highlight the opportunities in the
commercial sector. These projects include, to
a lesser extent, buildings that may be dam-
aged by man-made disasters as well, such as
industrial explosions.
MOST COMMON TYPES OF NATURAL
DISASTERS AND HAZARDS
Before we address the issues of resilient design,
let’s look at the most common types of natural
disasters and how they impact the built environ-
ment. Some of the following types go hand in
hand, such as hurricanes and flooding; however,
it helps to understand each in its own right.
Wind and Storm Events
Severe weather can come in many different
forms, but the most common are:
• hurricanes;
• blizzards;
• ice storms;
• tornados; and
• damaging winds.
The above storm events all typically involve
extremely high winds. In the case of hurricanes,
blizzards, and ice storms, there is usually other
damage such as flooding, which will be covered
in the section on water inundation. For now,
let’s look at the ways that high winds can impact
buildings.
From a physical impact sense, high winds
impose very high lateral (horizontal) and uplift
(vertical) forces on buildings. Lateral forces,
or high winds that impact the building, create
differential pressure on the structure. Differen-
tial pressure refers to the difference in pressure
between two points of a system. In the case
of a building, that could mean two opposite
sides, typically referred to as the windward
and leeward sides. When differential pressure
gets to be too high, as it can during hurricanes,
it can deform or dislodge building materi-
als, such as walls, windows, doors, and even
structural beams. If you consider an extremely
high wind blowing against a wall or roof and
flowing over and around a building, you can
imagine high pressure pushing against the
EDUCATIONAL-ADVERTISEMENT 147
windward side and suction pressure pulling
along the leeward side. When these two forces
CONTINUING EDUCATION
combine, an uplift force may occur and pull
tiles and sheathings off the roof. In extreme
cases, it may even pull off the entire roof of a
structure.
Structural damage from high winds
depends on many different factors, from the
wind speed—both sustained and gusts—to
the building height and whether the building
is shielded by nearby structures or topography.
The building structure itself plays an impor-
tant role in potential damage, mainly whether
the frame, connections, and envelope have
been designed to withstand high winds, but
also factors such as the structure’s shape and
whether windows, doors, and even vents are
strong—but also protected.
In addition to damages caused by wind
forces, wind-borne debris can also impact
a building, particularly vulnerable features
such as windows, skylights, doors, and even
siding. Debris can be anything from materi-
als dislodged from other buildings to those
knocked loose by the wind. When wind-borne
debris impacts a structure, it does so at a very
high speed and can easily puncture the build-
ing envelope. Once this happens, the structure
is at risk of water intrusion from the rain or
subsequent flooding.
Floods and Water Inundation
Floods can happen due to many different
reasons, from heavy rainfall over a short time
during a hurricane or even a severe thunder-
storm, to snow melt, dry soil, or storm surges.
Three of the more common types of floods are
coastal (surge flood), fluvial (river flood), and
pluvial (surface flood).
Coastal floods are most often caused by se-
vere weather, such as hurricanes, that produce
high winds. These winds push the water onto
shore—causing the water to “surge” onto the
surrounding low-lying land. Coastal flooding
can be exceedingly costly, especially if many
industries and ports are located in the region.
Continues at ce.architecturalrecord.com
Rebecca A. Pinkus, MTPW, MA, is a Toronto-
based communication consultant, writer, editor, and
historian of technology. She has been writing for the
green build industry for several years, contributing
to more than 40 continuing education courses and
publications through Confluence Communications.
148
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dates&events
Ongoing Exhibitions
Matter and Place
Jakarta, Indonesia
Through July 21, 2019
This exhibition at Museum MACAN’s Sculp­
ture Garden examines ideas surrounding
identity, politics, economy, and culture that
are connected to specific locations and geo­
graphical regions. It features installations by
Indonesian, Malaysian, Vietnamese, and Amer­
ican artists on architecture and materiality.
Details at museummacan.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 thought. The
show looks at daily life within those cities and
how it was shaped by their physical form. At
the National Building Museum. Visit nbm.org.
The Bauhaus and Harvard
Cambridge, Massachusetts
Through July 28, 2019
In conjunction with the 100th anniversary of
the founding of the Bauhaus, this exhibition at
Harvard presents rarely seen student exer­
cises, iconic design objects, photography,
textiles, typography, paintings, and archival
materials, including works by 74 artists from
the Busch­Reisinger Museum’s Bauhaus collec­
tion. More at harvardartmuseums.org.
David Adjaye: Making Memory
London
Through August 4, 2019
This exhibition at the Design Museum features
seven projects selected by Sir David Adjaye,
displayed with full­scale installations, films,
architectural models, and artifacts that influ­
enced the creative process. Visitors will also
receive a first look at the proposed Coretta
Scott King and Martin Luther King Jr. Memo­
rial in Boston. See designmuseum.org.
Kabbalah: The Art of Jewish Mysticism
Amsterdam
Through August 25, 2019
This temporary exhibit showcases the many
sides of Kabbalah with displays of ancient texts
alongside work by modern and contemporary
artists, at Amsterdam’s Jewish Cultural
Quarter. Visit jck.nl/en for more details.
Serious Play: Design in Midcentury America
Denver
Through August 25, 2019
The exhibition at the Denver Art Museum
features the ways architects and designers
used the concept of playfulness in postwar
American design as a catalyst for creativity in
the American home, children’s toys, and
corporate identities. Co­organized by the
Milwaukee Art Museum, the collection in­
cludes over 200 works in various media. See
more at denverartmuseum.org.
Material Thinking
Montreal
Through September 8, 2019
In this exhibition, curator and art historian
Yann Chateigné reflects on architect Gordon
Matta­Clark’s works through the lens of his
highly diverse personal library and sheds light
on lesser­known aspects of his practice.
Photographs, drawings, and drafts of concepts
for proposed projects will be on display. Go to
cca.qc.ca for details.
Design With Nature Now
Philadelphia
Through September 15, 2019
The legacy of environmental planner
and landscape architect Ian L. McHarg is
explored by showing the efforts of individuals
and collectives to mitigate the effects of cli­
mate change through ecological design. For
more information, visit mcharg.upenn.edu.
Rites of Spring
East Hampton, New York
Through October 5, 2019
The LongHouse Reserve is displaying this art
collection for its 28th season. The outdoor
museum features sculptures and furniture by
artists including Wendell Castle, Young Jae
Lee, Will Ryman, and Joseph Walsh. Details at
longhouse.org.
Vienna Biennale for Change:
Brave New Virtues
Vienna
Through October 6, 2019
This third Vienna biennale will explore what
an economically just, socially fair, and ecologi­
cally sustainable future could be. Artists,
designers, and architects from all continents
will focus on visions for achieving this. Learn
more at viennabiennale.org.
Our Happy Life: Architecture and Well-
Being in the Age of Emotional Capitalism
Montreal
Through October 8, 2019
ARCHITECTURAL RECORD JULY 2019
Focused on the decade following the 2008
economic crash, Our Happy Life investigates
today’s “cult of happiness” and its many con­
tradictions, questioning how the happiness
agenda influences the design of our built
environment. See more at cca.qc.ca.
Prisoner of Love
Chicago
Through October 27, 2019
The exhibition, which examines human expe­
rience by attempting to capture the intensities
of love, fear, and grief, features artist Arthur
Jafa’s Love Is the Message, the Message Is Death, a
film that explores the African­American expe­
rience in the 20th and 21st centuries. The work
is set to the gospel­infused song “Ultralight
Beam” by rapper Kanye West. At the Museum
of Contemporary Art Chicago. For more, see
mcachicago.org.
In Frederic Church’s Ombra: Architecture
in Conversation with Nature
Hudson, New York
Through November 3, 2019
Showcasing multimedia design concepts and
dates&events
installations, this exhibition at the Sharp
Family Gallery by guest curator Barry Bergdoll
LET THE
combines hand­drawn sketches, painted
renderings,three­dimensional models, and DAY-LIGHTING
animations examining the relationship of
architecture and landscape at Olana. See more IN!
at olana.org.
Second Home Serpentine Pavilion
Los Angeles
VETROPIENO
Through November 24, 2019 GLASS BRICK
Second Home and the Natural History
Museums of Los Angeles County are bringing
SelgasCano’s 2015 installation to Los Angeles.
A pavilion will be at the La Brea Tar Pits, with
public programs and events focusing on the
intersection of art, design, science, and nature.
More information at pavilion.secondhome.io.
Written by Water
Luxembourg
Through November 24, 2019
This immersive exhibition at the Luxembourg
Pavilion by Portuguese artist Marco Gondinho
examines the relationships that mankind has
with the sea. See luxembourgpavilion.lu.

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152 ARCHITECTURAL RECORD
HOOPS
Washington, D.C.
Through January 5, 2020
Presenting photographer Bill Bamberger’s
images of private and community basketball
courts around the United States and abroad,
the exhibition takes viewers from the des­
erts of Arizona and Mexico to the
playgrounds of South Africa. At the National
Building Museum. Visit nbm.org for more
information.
Nature—Cooper Hewitt Design Triennial
New York
Through January 20, 2020
Over 60 projects will be featured in this
exhibition demonstrating how designers are
collaborating on inventive solutions to the
environmental and social challenges con­
fronting humanity. Read more at
cooperhewitt.org.
Van de Velde, Nietzsche and Modernism
Around 1900
Weimar, Germany
Through April 1, 2024
This new, permanent exhibition is centered
JULY 2019
dates&events
around Nietzsche as philosopher and cult
figure, and features Weimar Art School expo­
nents and work by the architect Henry Van
de Velde. Learn more at bauhaus100.com.
Lectures, Conferences,
and Symposia
Seattle Design Festival
Seattle
August 16–25, 2019
The Design in Public program gathers over
30,000 designers, community members, and
civic leaders to explore how we design for
this year’s theme, which is Balance. The
event celebrates all the ways that design
makes life better for Seattle. For more infor­
mation, see designinpublic.org.
Competitions
The Complete City: Imagined
Deadline: July 22, 2019
Since 2017, the Portland Society for Architec­
ture has been using blank maps of Portland,
Maine, as tools to collect comments and ideas
about and for the city. Publicly sourced sub­
missions will serve as inspiration for what
Portland can become in the future. The win­
ning entries will be chosen by a design jury
and will receive cash prizes. For details visit
thecompletecity.com.
Vectorworks Design Scholarship
Deadline: August 29, 2019
Undergraduates and graduate students are
eligible to submit their best design work for
the chance to win up to $10,000 from the
Vectorworks Design Scholarship or the
Richard Diehl Design Award. For more infor­
mation, visit vectorworks.net.
Architectural Review Emerging Architects
Awards
Deadline: August 30, 2019
For the 20th year, the AREA Awards will
reward excellence in an emerging architect’s
overall body of work rather than a single
completed building. To be eligible for submis­
sion, all practice founders must be under the
age of 45 as of December 5, 2019. For more,
see emergingarchitecture.architectural­
review.com.

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Robert Wood Johnson Foundation
Challenge
Deadline: August 31, 2019
The theme is Building Health into Everyday
Life. In the near future, technology might
be used to enhance health as part of our
daily routines. Entries should include ideas
that will be feasible in five to 10 years and
will change the built environment to a
healthier default. There will be two catego-
ries of winning designs: one targeting
specific healthy behaviors and one that
envisions broad, systemic change. For more,
visit centerhxd.com.
2019 Cocktail Napkin Sketch Contest
Deadline: September 6, 2019
Licensed architects or related professionals
who practice in the United States are eli-
gible to enter this annual architectural-
drawing competition, for which two Grand
Prize–winners will be chosen. The winning
sketches and runners-up will be published
in the November 2019 issue of architec-
tural record and online. For more, see
architecturalrecord.com.
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aesthetics and will be published in the
December 2019 issue of the magazine. More
information at architecturalrecord.com.
LafargeHolcim Awards
Deadline: February 25, 2020
This competition seeks concepts in the early
design stage from architects younger than
30 that combine sustainable construction
solutions with architectural excellence. A
total of $2 million in prize money will be
awarded to the winner. More information at
lafargeholcim-awards.org.
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156 ARCHITECTURAL RECORD JULY 2019
snapshot PROJECT
LOCATION
BUGA WOOD PAVILION
HEILBRONN, GERMANY
ARCHITECT ICD UNIVERSITY OF STUTTGART

at the 2019 Bundesgartenschau (BUGA), or Federal Garden Show, in Germany, the

most interesting structures are built of paradox. Inspired by nature but designed
and partly built by robots, the BUGA Wood Pavilion was created by the Institute for
Computational Design and Construction (ICD) at the University of Stuttgart for the
biennial, which takes place at a new venue every other summer. This year, BUGA is
set on an island in the Neckar River, which runs through the town of Heilbronn, just
over an hour south of Frankfurt. A total of 376 prefabricated, interlocking hexagonal
plates make up the exoskeleton of the ultra­lightweight wood pavilion, which emu­
lates the patterns found in sea urchin shells. Finger joints enable the larch­wood
plates to be snapped together like puzzle pieces. The 98­foot­long, double­
curved pavilion–with its superior acoustics and an ethereal evening
glow from thousands of LEDs embedded in its interior–is a
perfect host for outdoor concerts and public events. The
structure will be on­site through October, after which it
will be disassembled to find a new home. Monika
Göbel, research associate and architect at ICD, said
that one of the institute’s core tenets is to ensure
that its findings are eventually represented
through a constructed example in the
real world, and this is a timely one, at
that. “If you built these individual
plates with manpower, it would
take a long time and lose its
efficiency.” By contrast, it took
the two robots seven minutes
to assemble each wood
plate. Kara Mavros

P H O T O G R A P H Y: © R O L A N D H A L B E
 Mitchell Joachim Regional LafargeHolcim Awards winner. Architect, designer & researcher, USA.

“ Winning the
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Design competitions boost projects, careers, and networking

opportunities. Be part of the 6th International LafargeHolcim
Awards for exemplary projects and visionary concepts in
sustainable construction. Prize money totals USD 2 million.

Independent expert juries evaluate submissions from

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science, construction technology, and related fields using
the “target issues” for sustainable construction of the
LafargeHolcim Foundation.

www.lafargeholcim-awards.org
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