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NOUN
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“committed to openness and transparency.”
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Photo: Skanska USA

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Kosciuszko CONTRIBUTING PHOTOGRAPHERS Iwan Baan, Roland Halbe

à Gogo
The design of urban infrastructure affects city life as
much as the design of its buildings. That’s why replacing
the Kosciuszko Bridge—a notorious pinch point in
traffic between Brooklyn and Queens—was a high priority
for Governor Cuomo. With heavy lifting from HNTB,
WSP USA, and Skanska, a striking cable-stayed span
has risen where the outdated bridge once stood,
ensuring New Yorkers may still have trouble saying its
name, but they never have trouble getting home.
Read more about it in Metals in Construction online.
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10 2019
NEWS    63  TOP ARCHITECTURE SCHOOLS By David Gilmore   110  BROADWAY HOUSING, CALIFORNIA JOHNSEN
SCHMALING ARCHITECTS By Alex Klimoski
   70  FIRST LOOK: MWABWINDO SCHOOL IN ZAMBIA BY   
   23  MASTER PLAN IN QATAR RAISES BAR FOR  
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    MIXED-USE DEVELOPMENTS By Michael Webb     CHICAGO JOHN RONAN ARCHITECTS
76  FIRST LOOK: SECOND HOME HOLLYWOOD BY  
 27  2019 WOMEN IN ARCHITECTURE AWARDS  
    SELGASCANO By Sarah Amelar By Josephine Minutillo
    By Kara Mavros
  85  PRODUCTS: ACCESSIBLE DESIGN By Kelly Beamon  120  72FOSTER, OREGON HOLST ARCHITECTURE
   28  TERRA-COTTA WORKSHOP ATTRACTS TOP   By Miriam Sitz
    ARCHITECTURE FIRMS By Josephine Minutillo 87  PRODUCTS: BUILDING ENVELOPES  
    By Kelly Beamon  124  YCONE, FRANCE ATELIERS JEAN NOUVEL
   30  AGA KHAN AWARD WINNERS RECOGNIZED IN     By Andrew Ayers
    TATARSTAN By Cathleen McGuigan BOOKS
   51  RUIN AND REDEMPTION IN ARCHITECTURE, BY    
   32  ADFF CONFRONTS THE GLOBAL HOUSING       DAN BARASCH Reviewed by John King TECHNOLOGY
    CRISIS By Dante A. Ciampaglia
 52  CRITICAL CARE: ARCHITECTURE AND URBANISM  132  BIOMIMICRY ARCHITECTS TURN TO BIOLOGY
FOR A BROKEN PLANET, EDITED BY ANGELIKA FITZ   FOR SOLUTIONS By Katharine Logan
DEPARTMENTS     AND ELKE KRASNY Reviewed by Aleksandr Bierig

   18  EDITOR’S LETTER: THE MATERIALS THAT MAKE      154  DATES & EVENTS

    ARCHITECTURE: WHERE DO THEY COME FROM?
PROJECTS
 160  SNAPSHOT: CHIHARU SHIOTA’S UNCERTAIN
   38  ANALYSIS: MINNEAPOLIS AND THE END OF THE       92  THE REACH AT THE KENNEDY CENTER,    JOURNEY IN TOKYO By Kara Mavros 
    AMERICAN DREAM HOUSE       WASHINGTON, D.C. STEVEN HOLL ARCHITECTS AND
    By James S. Russell, FAIA BNIM By Suzanne Stephens

   41  HOUSE OF THE MONTH: COTTAGE PROTOTYPE IN  
    CANADA By Wendy Moonan BUILDING TYPE STUDY 1,011
  45  LANDSCAPE: A SWISS RIVER CANAL REIMAGINED   MULTIFAMILY HOUSING THIS PAGE: SECOND HOME HOLLYWOOD BY SELGASCANO IN 
    By Kara Mavros LOS ANGELES. PHOTO BY IWAN BAAN.
  101  INTRODUCTION COVER: RESIDENZE CARLO ERBA BY EISENMAN ARCHITECTS 
 49   GUESS THE ARCHITECT
AND DEGLI ESPOSTI ARCHITETTI IN MILAN. PHOTO BY 
 102  RESIDENZE CARLO ERBA, MILAN EISENMAN MAURIZIO MONTAGNA.
   56  RECOGNITION: EZRA STOLLER REVISITED
ARCHITECTS AND DEGLI ESPOSTI ARCHITETTI See expanded coverage of Projects and Building Type Studies as well
By Josephine Minutillo as Web-only features at architecturalrecord.com.
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18 ARCHITECTURAL RECORD OCTOBER 2019
editor’s letter

Where Do Building Materials

Come From?
A new initiative wants to root out modern-day
slavery and labor exploitation in the global
supply chain of many architectural products.

If you ask architects if they believe the buildings they design should
be ethically constructed, under fair, safe labor conditions, almost all
would say yes. But if you ask if they can promise the products they
specify do not involve slave or child labor to extract raw materials or
fabricate all the components, the question is likely to be met by a baf-
fled silence or simply, “I don’t know.”
Last month, I attended a working group convened by the Grace
Farms Foundation (GFF) that brought together architects, engineers,
academics, activists, and others, to discuss an ambitious mission to
eradicate modern-day slavery from the supply chain of materials that
go into making architecture.
While news articles about forced labor and indentured servitude on
construction sites in the Middle East and elsewhere have been widely
published, the problem of slavery, coercion, and child workers in the
building-products industry has been almost invisible. ian problem. If you simply Google “child labor,” for example, you
The new initiative to combat such inhumane labor practices was immediately see that children are not only exploited picking coffee
launched by Sharon Prince, the president of GFF and the client for the beans and making sneakers and T-shirts, but they work under danger-
lyrical, curving glass building in New Canaan, Connecticut, designed ous conditions in mines, quarries, and forests.
by SANAA, that the foundation uses for many of its programs (record, The GFF Architecture + Construction Working Group intends to
November 2015). Joining Prince in starting the effort was my colleague battle this problem on several fronts. Borrowing from the green
William Menking, editor in chief of The ArchitectÕs Newspaper. building movement—which has promoted environmental product
Prince’s aha moment came when she was a juror for a design award declarations and lists of materials that don’t have a negative impact on
that honored the Gohar Khatoon Girls’ School in Afghanistan, de- human health or the planet—the group is pushing for transparency in
signed pro bono by the late Robert Hull, of the Miller Hull Partnership the sourcing and manufacture of materials; it plans to develop a list of
in Seattle, along with architecture students at the University of “slave-free” building products. And drawing on a broad coalition of
Washington (record, January 2016). Prince asked if the bricks used to experts and activists—including such groups as Who Builds Your
build the school were made without exploitation, and no one knew. Architecture? and Building Responsibly—they are raising awareness of
Though child labor is against Afghan law, an estimated 25 percent the exploitation of labor among those who influence every stage of
of children under 14 are workers of one kind or another. Architectural construction, from owners and lenders to designers, engineers, and
photographer Nic LeHoux, who traveled to Afghanistan to photograph consultants to contractors and product manufacturers. They are look-
the girls’ school, also shot the brick factory and other building work- ing to intervene through any possible channel to prevent those who
shops, to document construction practices there. LeHoux told me specify from ordering building products that can’t be certified as
there were children working everywhere, often with other family made without forced labor. And they are actively pursuing a pilot

members (who could be bonded laborers). It’s a sign, he said, that poor
kids have no opportunities. So here is a tragic irony: the school is a
great leap for Afghan girls, studying inside walls of bricks made by
children who will never get an education.
Of course, the United States and virtually every other country in the
world have laws against importing goods made by slave or child labor.
But the regulations are tough to enforce; in a global economy, the
sources of raw materials and component parts tend to be obscured by
the twists and turns in procurement from international suppliers.
Still, it is not hard to grasp the ramifications of this vast humanitar-
P H O T O G R A P H Y: © M I C H E L A R N AU D
project to test constructing a certifiable slave-free building.
The challenges in bringing to light the exploitation of labor in
building products seems daunting. But Sharon Prince believes people
would like to do the right thing. “Once you know something, you can't
un-know it,” she says. “Once you name it, and it’s unbearable, you're
more inclined to do whatever you can.”
Cathleen McGuigan, Editor in Chief
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news 23

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D A I LY   U P D AT E S

perspective New York is a tough place to be a young skyscraper: Wonders have been built here.
ÑJeff Giles, writing in The New York Times about the towers of Manhattan.

Master Plan in Qatar Raises Bar for Mixed-use Developments

BY MICHAEL WEBB

While Doha, qatar, is home to acclaimed

architecture, including Jean Nouvel’s National
Museum (record, May 2019), OMA’s National
Library (record, May 2018), and I.M. Pei’s
decade-old Museum of Islamic Art (record,
August 2009), the city abounds in flash and
trash, even though (or perhaps because) it’s the
capital of one of the richest countries in the
world. The Qatar Foundation for Education,
Science and Community Development is
trying to raise the bar—most notably with
Msheireb Downtown Doha, a model develop-
ment that replaces a crumbling sector of the
inner city and should be completed next year.
Constructed in phases over the past 10
years, Msheireb now comprises more than 100
buildings, grouped in megablocks of irregular
shape that contain a mix of residential, office,
retail, dining, and hospitality, as well as three
mosques. Four below-grade levels accommo-
date parking and services. Most structures in
the complex are low-rise, except for towers of
just over 20 stories on the southern edge to
draw winds through the development. Broad
and narrow streets are oriented to channel
breezes and maximize shade in a city where
temperatures regularly reach 100 degrees; More than 100 buildings comprise the 77-acre 
overhangs and arcades enhance the pedestrian master-planned community Msheireb (right). A 
pocket square (above) sits between the Heritage 
I M AG E S :  ©  G E R RY  O ’ L E A RY  ( T O P ) ;  A L L I E S  A N D  M O R R I S O N  ( B O T T O M )

experience. Every building is targeted to House Museums and the Diwan Amiri Quarter.

achieve a LEED Gold or Platinum rating.
Visitors and residents are encouraged to walk
or bicycle, or use an electric tram that loops
around the community or the new station on
the citywide subway network to get around.
In 2005, the Qatar Foundation tapped Arup,
EDAW (since purchased by Aecom) and Allies
and Morrison to master-plan the 77-acre site
adjoining the Emir’s palace and the souk.
Named for the subterranean river and springs
on the site, Msheireb (which means “place of
sweet water”) was envisioned as a harmonious
ensemble of buildings that would abstract the
regional vernacular and employ passive cooling
strategies. Sheikha Moza bint Nasser, who chairs
the Foundation and is part of the ruling family,
wanted to create a strong sense of place—to
reinforce the identity of Doha and reinterpret
the traditional culture that was ebbing away.
Allies and Morrison spent two years
researching indigenous architecture.
As partner Simon Gathercole discov-
ered, “the prevailing style was
minimal, with bare walls enclosing
courtyards, framed by recesses, pillars,
and parapets. Ornament was used
sparingly, usually only on important
portals.” The firm distilled their obser-
vations into seven design principles
that would guide Msheireb’s develop-
ment by emphasizing continuity with
the past. The architects aimed to build
on Qatari tradition “by using a new
language rich in reference and strong
in resonance . . . to be spoken in many
accents,” as the guidelines prescribe.
The Foundation chose eight other

Visit our online section, architecturalrecord.com/news.

24 ARCHITECTURAL RECORD OCTOBER 2019
perspective news
Mixed-use buildings by Mosessian Architecture flank
the Mandarin Oriental Hotel by John McAslan +
Partners, anchoring Msheireb’s Barahat Square.
offices, including John McAslan + Partners,
Adjaye Associates, and Gensler, by competi-
tion, to contribute buildings that would
engage in a low-key conversation with their
neighbors rather than shout “look at me.”
Structures and open spaces were to be
“carved from urban clay,” according to the
client brief, instead of standing out as ob-
jects. Above all, the new neighborhood was
to provide a good living environment, to
encourage families who commuted through
clogged traffic from suburban villas to
move back to the city.
Though Msheireb has yet to be fully real-
ized, it seems poised to fulfill the vision of
its planners. The first megablock was built
and tested to validate the concept before
construction continued, and facades were
mocked up in a yard close by. More than 100
architects and engineers from participating
firms have found inventive ways of inter-
preting the guidelines, concealing the
infrastructure, and avoiding the monotony
and sterility of some master-planned com-
munities. Upward of 30 different kinds of
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stone, imported from Saudi Arabia, Oman,
and Iran (local stone is too porous), clad the
steel-and-concrete structures, imparting a
feeling of permanence. Subtle color varia-
tions enhance the irregular openings and
patterns etched into metal and carved into
stone. McAslan restored a cluster of four
historic houses to serve as museums that
chronicle the history of Qatar and demon-
strate how the affluent lived before oil and
natural gas, as well as electricity and air-
conditioning, transformed the country.
There is a constant shift of scale and
perspective within Msheireb, as narrow
lanes open onto landscaped courtyards and
the main square. On summer days, this
P H O T O G R A P H Y: © A L L I E S A N D M O R R I S O N
expansive space can be shaded by a retract-
able awning, and misting devices lower the
temperature by some 15 degrees in the
sidewalk cafés. Undulating ribbons of con-
crete conceal one of the two cooling plants,
and the street furniture, from lighting to
bollards and bicycle racks, has been meticu-
lously designed. Msheireb is a stage awaiting
its full complement of players, and a fount
of inspiration for planners around the
world—though few municipalities can afford
the investment this has required. n
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 ARCHITECTURAL RECORD OCTOBER 2019
perspective news 27

Women in Architecture Awards Honor Five Leaders in the Field

BY KARA MAVROS

architectural record has announced the ing Center in Houston and the UCLA Margo single-family homes, to address severe housing
2019 winners of its Women in Architecture Leavin Graduate Art Studios just opening now shortages. Cuff, who has a B.A. in psychology
Awards. Now in its sixth year, the awards in Culver City, California. Johnston currently and design and a Ph.D. in architecture from
program recognizes and promotes women’s teaches at the Harvard GSD, where she earned Berkeley, lectures widely and has written sev-
leadership across five categories: Design her masterÕs in architecture, and has also eral books, including The Provisional City and
Leader, New Generation Leader, Innovator, taught at Princeton, UCLA, Rice, and the the upcoming Urban Humanities.
Activist, and Educator. University of Toronto. Together with Mark Lee,
This year’s distinguished recipients are: she was Artistic Director of the 2017 Chicago EDUCATOR
Architecture Biennial. Mabel O. Wilson
DESIGN LEADER An award-winning
Toshiko Mori INNOVATOR scholar, curator,
As founding princi- Claire Weisz and practitioner,
pal of Toshiko Mori As founder and Mabel O. Wilson,
Architect PLLC in principal in who is a professor
New York and the charge of the New of architecture and
Robert P. Hubbard YorkÐbased WXY, of African
Professor in the Claire Weisz, FAIA, American and
P H O T O G R A P H Y ( I N O R D E R O F T E X T ) : © R A L P H G I B S O N ; C O U R T E S Y J O H N S T O N M A R K L E E ; W X Y; © E M E L I E A S P L U N D ; DA R I O C A L M E S E

Practice of Archi- champions revital- African Diasporic

tecture at Harvard
UniversityÕs Grad-
uate School of
Design (GSD),
Toshiko Mori, FAIA, has been a preeminent
leader in the field for decades. Her rich explora-
tion of ideas, materials, and detail has been
evident in architecture at every scale, from
residential work to such cultural and institu-
tional projects as the Darwin D. Martin House
Visitors Center in Buffalo, New York; THREAD,
an artistsÕ residency and art center in Senegal;
and the Novartis Institutes for Biomedical
Research in Cambridge, Massachusetts. The
first woman to be tenured at the Harvard GSD,
Mori was chair of architecture from 2002 to
2008. She has received numerous awards,
including the Academy Award in Architecture
from the American Academy of Arts and
Letters and the AIA New York Chapter Medal of
Honor. A graduate of the Cooper Union Irwin S.
Chanin School of Architecture, she holds an
honorary masterÕs degree from the GSD.
NEW GENERATION LEADER
Sharon Johnston
Since cofounding
the Los Angeles
firm Johnston
Marklee with Mark
Lee in 1998, Sharon
Johnston, FAIA, has
consistently
brought an original,
expressive sensibil-
ity to such projects
as the Menil Draw-
izing communities
and public space
through design.
WeiszÕs innovative
approach to recent
New York projects
includes Battery ParkÕs SeaGlass Carousel;
the Rockaway boardwalks redesign follow-
ing Hurricane Sandy; and the Spring Street
Salt Shed, designed with Dattner. Under her
leadership, WXY has received the League
Prize from the Architectural League of New
York in addition to numerous awards from
AIA National, AIANY, and the American Plan-
ning Association. Weisz is a member of the
FounderÕs Circle of the Design Trust for Public
Space, where she served as codirector, and is
a Visiting Critic of Urban Design at CornellÕs
College of Architecture, Art and Planning.
She received a masterÕs in architecture from
Yale University.
ACTIVIST
Dana Cuff
Dana Cuff, professor
of architecture and
urban design at
UCLA and founder
and director of the
urban think tank
cityLAB, is an ex-
pert in affordable
housing and the
politics of space. Based on cityLABÕs research
into accessory dwelling units, Cuff coauthored
the legislation passed by CaliforniaÕs State
Assembly to allow second units on lots with
Studies at Columbia
University, has
deeply explored the
impact of racism and black experience on the
built environment. At Columbia, she also
serves as the Associate Director of the
Institute for Research in African American
Studies and codirects the Global Africa Lab.
She has written two books—Begin with the Past:
Building the National Museum of African American
History and Culture and Negro Building: Black
Americans in the World of Fairs and Museums—
and her work has been exhibited widely,
including at the Venice Biennale and the
Cooper Hewitt Design Museum. As the found-
er of firm Studio &, she is part of the team
designing the Memorial to Enslaved African
American Laborers at the University of
Virginia, where she received her B.S. in
Architecture. She also holds an M.Arch. from
Columbia and a Ph.D. in American Studies
from New York University. Wilson is a
founding member of Who Builds Your
Architecture?, a collective that advocates for
fair labor practices on building sites
worldwide.
The winners were chosen by an indepen-
dent jury: its members were architects Jill
Lerner of KPF, Jing Liu of SO-IL, and Tomas
Rossant of Ennead; the San Francisco Chron-
icleÕs architecture critic John King; and
Rosalie Genevro, executive director of the
Architectural League. n
The awards will be celebrated at a forum and
ceremony in New York on October 30.
28 ARCHITECTURAL RECORD OCTOBER 2019
perspective news

Terra-cotta Workshop Attracts Top Architecture Firms

BY JOSEPHINE MINUTILLO
In wrItIng about the towers of Manhattan in a
February 1913 article in this magazine, critic
Montgomery Schuyler extolled the virtues of
building with terra-cotta, focusing particularly
on the plastic nature of the inexpensive mate-

P H O T O G R A P H Y: © C H A R L E S W I N G F E L D E R , U N I V E R S I T Y AT B U F FA L O
rial to create the elaborate decoration on the
Woolworth Building, completed that same year.
Over a century later, terra-cotta is making a
comeback on New York towers. SHoP has used
it extensively to clad its 1,428-foot-tall building
at 111 West 57th Street. For One Vanderbilt,
another supertall currently under construction
in Midtown, KPF has employed the product for
the buildingÕs prominent spandrels. Team members from SHoP (above, left) and Payette (above, right) assemble their terra-cotta mock-ups.
Those two firms, along with SOM, Payette,
KieranTimberlake (KT), HKS, and Pelli Clarke recent restoration of the Woolworth Building intricate cladding panels, though SHoP devel-
Pelli participated in the Architectural Ceramic (and One Vanderbilt). oped interlocking units for structural
Assemblies Workshop (ACAW) in Buffalo, NY “This workshop is an opportunity to com- terra-cotta to create an arch, and KTÕs team, led
this summer. ACAW, now in its fourth year, is bine professional and industry engagement in by partner Billie Faircloth, collaborated with
a joint venture of the research center on a transdisciplinary way to address the larger composer Joshua Stamper to produce music
Sustainable Manufacturing and Advanced question of research,” says Omar Khan, a pro- using fluted terra-cotta pipes. The growing
Robotic Technologies (SMART) at the Univer- fessor at UBÕs School of Architecture and involvement in ACAW by such firms testifies to
sity at Buf falo (UB) and Boston Valley Terra Planning and coleader of SMART. the renewed interest in contemporary applica-
Cotta, which provided the terra-cotta for the Most teams used the opportunity to produce tions of this age-old material. n

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30 ARCHITECTURAL RECORD OCTOBER 2019
Aga Khan Award Winners Recognized in Tatarstan
BY CATHLEEN MCGUIGAN
In a professIon crowded with prizes, the Aga
Khan Award for Architecture remains one of
the world’s most significant and influential
honors. Established in 1977 by His Highness
the Aga Khan, the awards, which are given
every three years, shine a light on parts of the
globe that are often overlooked by Western
critics and professionals. The prizes focus on
projects that have an impact on communities
with Muslim populations and histories, often
in underserved areas. Contenders for the
award can be new buildings or adaptive-reuse,
landscape, and urban-design projects. They are
carefully vetted: rather than being judged
merely by photographs and architect-supplied
text, as so many design awards are, the short-
listed projects are visited by technical experts
who submit detailed reports to the jury.
Six winning projects in the 2019 cycle were
celebrated last month at a ceremony in Kazan,
Tatarstan. Each generates new spaces or sus-
tainable places for the public good, some in
challenging conditions.
In Bahrain, the revitalization of Muharraq,
Wooster Products
perspective news
The amphibious modules of the Arcadia
Education Project (right) in South
Kanarchor, Bangladesh, can operate
during both dry periods and floods.
a World Heritage site with a his-
tory of pearling, is being honored
for an ongoing program of resto-
ration and reuse projects, as well
as the creation of new public
spaces and community and cul-
tural venues. Swiss architect
Valerio Olgiati designed the larg-
est new construction on the site,
the Pearling Path Visitors Center
(record, March 2010).
The Arcadia Education Project,
in South Kanarchor, Bangladesh,
is a modular building that includes a pre- sits on the ground during the dry season or can
school, nursery, and vocational-training center. float on 30-gallon steel drums, within bamboo
Because its riverfront site is flooded for months frames that form a substructure.
during the monsoon season, architect Saif Ul The Palestinian Museum (record, March
Haque Sthapati of Dhaka, Bangladesh, inge- 2017) in Birzeit, on the West Bank, is built atop
niously designed “an amphibious structure” a hill of terraced gardens, with a view of the
anchored to the ground with bamboo posts: it Mediterranean. Designed by the Dublin-based
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 31

firm Heneghan Peng, the sharply

angled structure—clad in limestone
P H O T O G R A P H Y: © AG A K H A N T R U S T F O R C U LT U R E / S A N D R O D I C A R L O DA R S A (O P P O S I T E ) ;

quarried in nearby Bethlehem—is

dedicated to celebrating Palestinian
culture and tolerance.
The Public Spaces Development
Program, in the Republic of Tatar-
X-A R C H I T E C T S / N E L S O N G A R R I D O ( L E F T ) ; L E N A R G I M A L E T D I N OV ( R I G H T )

stanÕs capital, Kazan, has revamped

328 public spaces all over the coun-
try, ranging from neglected town
squares to beaches and riverfronts.
Initiated by the republicÕs president
in 2015, the project is meant to
counter the trend toward the priva-
tization of real estate and reclaim
spaces for communities in the post- The Wasit Wetland Center (above, left) in Sharjah, UAE, has two wings: one for administrative and educational uses, the other for
observation. The Central Square in Bavly, Tatarstan, was revitalized as part of the Public Spaces Development Program (above, right).
Soviet era. The program has been a
boon for young architects in Tatar- signed by the firm IDOM of Bilbao, Spain, it The jury in this cycle was led by Kwame
stan—a part of the Russian Federation—who incorporates such sustainable elements as a Anthony Appiah, the cultural theorist, philoso-
have designed many of the varied projects; it perforated masonry wall for airflow and an pher, and novelist who teaches at New York
echoes, in some ways, the acclaimed program expansive roof canopy for shade; both also University, and included the architects and
for the redesign of urban spaces in Barcelona seem to add to the drama of the architecture. urbanists Meisa Batayneh, David Chipperfield,
after the end of the Franco regime. Finally, in Sharjah, in the United Arab Elizabeth Diller, Mona Fawaz, Kareem Ibrahim,
The Alioune Diop University Teaching and Emirates, the Wasit Wetland Center project Ali M. Malkawi, and Nondita Correa Mehrotra,
Research Unit in Bambey, Senegal, is part of a cleaned up a dumping ground along the as well as the historian Edhem Eldem.
rural academic campus serving a burgeoning Persian Gulf coast and created a visitors center, The awards acknowledge both architects
student population. An ambitious building walkways, and bird sanctuaries to restore the and clients, and the winners will share a
with classrooms, lecture halls, and labs, de- original ecology and attract the public. $1 million prize. n

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32 ARCHITECTURAL RECORD OCTOBER 2019
Confronting the Global Housing Crisis at
the Architecture & Design Film Festival
BY DANTE A. CIAMPAGLIA
The world is urbanizing at a
breathtaking pace, and cities have
become a battleground for wealth
and privilege. Those who have them
feel entitled to dictate the form and
function of urban areas; those who
don’t just want to retain their homes.
Housing insecurity—be it a result
of forced migration or rent increas-
es—and what it means for our cities
(and identities) is a defining issue of
this century. Four films at the 2019
Architecture & Design Film Festival
(ADFF), running from October 16–20
in New York, tackle this topic head-
on: Push (2019, Fredrik Gertten),
receiving its U.S. premiere; The
Human Shelter (2018, Boris Benjamin
Bertram), which had its U.S. premiere
at the Los Angeles ADFF in March;
Miracle on 42nd Street (2017, Alice
Elliott); and What It Takes to Make a
Home (2019, Daniel Schwartz).
ADFF founder and director Kyle Bergman says
housing is a perennial topic of the films submit-
ted for consideration. “It’s definitely a concern of
documentary filmmakers all over the world.”
This year, a number of entrants in this category
warranted inclusion. “We’re looking for films
that have both a design and human story, and all
four of these have that,” Bergman adds. “I think
they’re bringing up political issues we need to
talk about, and as architects we have an even
larger role to play in these discussions.”
The most potent films of the group are the
90-minute Push and 28-minute What It Takes to
Make a Home. Push presents a macro view of the
global housing crisis by following Leilani
Farha, UN Special Rapporteur on Adequate
Housing, as she travels from Toronto to
Valparaíso, Chile; London; Barcelona; Berlin;
Seoul; and Uppsala, Sweden. In each place, she
finds extreme rent hikes, tenant intimidation,
ghost buildings, and displacement in the wake
of private equity giants like the Blackstone
Group’s gobbling up real estate. Meanwhile,
the short film focuses on homelessness in Los
Angeles and Vienna. It features tough but vital
interviews with those living in tents, cars, and
shelters, and spotlights Los Angeles–based
architect Michael Maltzan and Austrian archi-
tect Alexander Hagner, who confront their
cities’ crises by designing live-work buildings
as long-term housing for those without it.
Miracle on 42nd Street and The Human Shelter
perspectivenews
Push by Fredrik Gertten
premieres in the U.S. at
this year’s ADFF in New
York. The film follows
Leilani Farha (above),
UN Special Rapporteur
on Adequate Housing.
are also meaningful, if less urgent. The former
digs into the development of Manhattan Plaza,
a Section 8 project that opened in 1977 in New
York’s Hell’s Kitchen as majority live-work
artist housing. A key driver of Times Square’s
revitalization, it has become so successful that
its deeply connected residential community
fears they’ll be priced out. The latter invites
us to consider how we define home by visiting
a rickety treehouse in Uganda, the water
slums of Lagos, and a UN refugee camp in Iraq
comprised of Better Shelter’s 188-square-foot
Emergency Temporary Shelter.
The broader ADFF program includes works on
such architects as Frank Lloyd Wright, JØrn
Utzon, and Bruce Goff, as well as films about
four pioneering women in design (City Dreamers),
the creative people who emerged from America’s
Japanese internment camps (Masters of Modern
Design: The Art of the Japanese American Experience),
and the Bauhaus diaspora (The New Bauhaus).
But the housing documentaries represent an
opportunity for a sustained discussion at the
festival—and, ideally, beyond it—about the issues
underpinning a worsening emergency and how
best to solve it, both through governments and
agencies and through architecture and design.
“In the polarized time we’re living in, we
need to have more conversations, not fewer,”
Bergman says. “These films make reasonable
political arguments, whether you agree with
them or not, and they allow these conversa-
tions to happen.” n
noted
Barry Bergdoll and Deborah Berke
Join Pritzker Prize Jury
The Hyatt Foundation has appointed two new
members to the Pritzker Architecture Prize jury:
Bergdoll, a Columbia University professor and the
former curator of the department of architecture
and design at MoMA, and Berke, the dean of the
Yale School of Architecture.
Kenneth Frampton to Receive
the 2019 Soane Medal
Sir John Soane’s Museum will honor the architect,
writer, and educator with the annual award,
established in 2017, in recognition of his contri-
butions to the field. The British architect will
deliver the Soane Medal Lecture on November 11
in London. Past honorees include Rafael Moneo
and Denise Scott Brown.
Barozzi/Veiga to Transform the
Art Institute of Chicago
The Chicago institution has hired Barcelona-based
architects Fabrizio Barozzi and Alberto Veiga—
whose firm record recognized in 2014 as a Design
Vanguard—to master-plan its sprawling campus.
The duo is tasked with improving wayfinding and
coherence of the 1 million-square-foot museum.
2018 Energy Reduction Falls Short
of 2030 Commitment Goals
According to the AIA’s “2030 by the Numbers”
summary report for 2018, the 252 firms that have
joined the 2030 Commitment achieved a 46 per-
cent reduction in predicted energy use data in
buildings, falling short of the program’s target of
a 70 percent reduction from the original baseline.
60
58 63
60
56 55
50 54
54
50
50 47
40
P H O T O G R A P H Y: © JA N I C E D ’AV I L A ( T O P )
A S O N D J F M A M J J A
2018 2019
INQUIRIES BILLINGS
Architectural Billings Fall in August
The AIA’s latest data show that the Architectural
Billings Index dropped to 47.2 in August, down
from 50.1 in July. (Scores over 50 indicate an
increase in firm billings.) New work inquiries
dipped slightly, from 54.9 to 54.5, while new
design contracts fell from 49 to 47.9.
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38 ARCHITECTURAL RECORD OCTOBER 2019
Minneapolis and the End of the American Dream House
To address a growing housing shortage, the twin city will no longer allow single-family zoning—
but will that fix the problem of affordability?
BY JAMES S. RUSSELL, FAIA
The headlines were electrifying: Minnea-
polis legislates an end to single-family zoning,
the cornerstone of the American dream. In
urban-development circles, the idea was a hit.
A number of other localities promised to look
at the plan (the state of Oregon has already
passed a similar bill) and four Democratic
presidential hopefuls endorse the idea. Jenney
Schuetz, a fellow in the Metropolitan Policy
Program at the Brookings Institution, titled
her article on MinneapolisÕs move, “The Most
Wonderful Plan of the Year.”
A close look reveals a proposition that is less
draconian than opponents feared, but also one
that doesnÕt get at the cityÕs root prob-
lem: inadequate access to housing for
people with middle incomes or below.
The Minneapolis 2040 plan intends
to enhance housing supply by allow-
ing denser development in much of
the city. It will permit duplexes, tri-
plexes, and small backyard houses
(accessory dwelling units, or ADUs) in
once exclusively single-family zones,
and it promotes large residential
buildings and towers near the down-
town core, as well as a variety of
smaller-scaled apartment buildings
along arterials and transit routes.
Though the city council approved
the plan last December, it wonÕt go
into effect without an OK from the
regional Metro Planning Council and a final
city council vote scheduled for November.
Minneapolis has grown rapidly, with a
current population of about 423,000, up 12
percent from 2010. Developers have responded
“to a huge resurgence of people living down-
town,” says Matthew Kreilich, principal of the
firm Snow Kreilich. The neighborhoodÕs late
19th-century warehouse district and North
Loop, he says, “are seeing a diversity of uses,
not just residential but commercial and office.
ItÕs vibrant day and night.”
Yet for all the construction activity, new
development is not keeping up with growth in
the number of households. Increasing density is
seen as necessary to accommodate the influx.
Unsurprisingly, the idea of multiunit build-
ings in once single-family enclaves has drawn
fierce opposition and fearmongering, with
false claims that new single-family houses
would be outlawed. People worry that over-
perspectiveanalysis
weening structures will come to the leafy
streets lined with gable-roofed dwellings and
inviting porches. “DonÕt bulldoze our neigh-
borhoods” read signs that popped up in front
yards of residents who felt betrayed.
In fact, Minneapolis already has “neighbor-
hoods that mix single-family, duplexes,
triplexes, and small apartments,” points out
David Graham, a founding principal of ESG
Architecture and Design, “and they work.” The
key to reducing resistance to greater density in
single-family areas, he adds, “is design thatÕs
sensitive to neighborhood fabric, context, and
materiality.” Yet while the plan limits the
number of units in such neighborhoods, it
does not include design guidelines.
The city won the zoning change in part by
appealing to those on both the political left
and the right, who see cutting back on regula-
tions for developers as the primary means of
encouraging more lower-cost housing.
But rents, especially in walkable neighbor-
hoods, are rising, and there are not enough
units for moderate and low-income tenants.
Indeed, the 2040 plan notes that the median
income of renters is actually down from 2000,
while rents have increased 11 percent. Half of
these residents are considered, by federal stan-
dards, “cost burdened,” with many of them
paying more than half their income for a roof
over their heads. More poor people are being
pushed into marginal neighborhoods, says
Myron Orfield, a law professor who directs the
Institute on Metropolitan Opportunity at the
University of Minnesota, exacerbating segrega-
tion, which is worse in this self-proclaimed
bastion of progressivism than in peer cities.
The Minneapolis plan only indirectly
addresses the needs of those low-income resi-
dents, relying on the market to lower rents by
adding to the supply. While developers are
already eyeing single-family houses to convert
to duplexes and triplexes, many experts be-
lieve there is little evidence that adding
market-rate units will have a trickle-down
effect in thriving cities. After upzoning led to
the construction of tens of thousands of new
units, at market-rate and higher, in New York
and Seattle, for example, there has been some
price softening for luxury housing,
but low-rent units continue to vanish.
The market is failing most middle-
and lower-income renters, not just in
Minneapolis but nationwide. Though
47.4 percent of all renters in the
country were cost burdened, the
share of newly constructed apart-
ments available to median-income
tenants fell to an infinitesimal 3
percent, according to a 2017 report
published by the Urban Institute. The
Minneapolis plan offers modest en-
couragement of lower-cost units, but
its proposed policies are largely aspi-
rational, such as promoting greater
use of prefabrication.
Minneapolis, like all cities, cannot
afford to build or underwrite its needed below-
market units. Historically, such housing
assistance was a Federal responsibility, but that
role has been shrinking for decades, while
needs have grown steadily. Of the lowest-in-
come renters who qualify for such assistance
nationwide, only a paltry 21 percent receive it.
Despite this reality, the Minneapolis plan
doesnÕt commit to a numerical goal for the
P H O T O G R A P H Y: © K AT H RY N F I N K / WA M U
construction of below-market units.
Without a more robust policy to address
housing costs for those most affected by the
tightening market in Minneapolis, the 2040
plan could produce the result opponents have
feared: the wrong kind of new housing and a
continuing concentration of poverty. n
James S. Russell, FAIA, a journalist and consultant,
served as director of Design Strategic Initiatives at
the New York City Department of Design and
Construction.
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 ARCHITECTURAL RECORD OCTOBER 2019
perspectivehouse of the month 41

MACKAY-LYONS SWEETAPPLE ARCHITECTS CREATES CABINS IN A MODERN 
VERNACULAR FOR A CANADIAN GOLF RESORT. BY WENDY MOONAN

In desIgnIng 40 cabins for a golf club on

Bigwin Island, a forested resort on Lake of Bays,
north of Toronto, architect Brian MacKay-Lyons
became acutely aware of the sight lines. Deer
had chewed out the undergrowth, so, on the
initial site visit, he could see the lake even
from the center of the island. Accordingly, he
lined up the eaves of his cedar shingle roofs
with the top of the grazing line under the
boughs of maple, pine, and ash trees.
MacKay-Lyons Sweetapple Architects, based in
Halifax, Nova Scotia, won the Canada-wide archi-
tectural design competition for Bigwin Island in
2014. The historic site, named after Ojibway chief
John Bigwin, had been created in 1922 and, over
the years, lured Canadian tycoons, Holly wood
stars, and even the Dutch royal family to this
preserve in the district of Muskoka. In building
new guesthouses, which range from 1,230 to
1,350 square feet, the islandÕs owner, Jack Wads-
worth, hopes that members of the golf club will
want to use the cottages during the summer and
let them be rented out off-season.
Recently, the firm completed the first three
prototypes, each with a different template: one Three prototype cabins  
has a floor plan that is linear, for those proper- in the resort community 
are completed (above). The 
ties that are close to the lake; the second has a cedar-shingled hipped 
courtyard-scheme for houses in the woods; and roofs seem to float above 
the third is a pinwheel type for those in the the wood-framed 
meadows. Cabins are sited to create village structures (left). Inside, 
cedar lines the walls and 
greens around meadows or offer vistas of the ceilings, while floors are 
lake or golf course. Each emphasizes its imme- oak (below).
diate context. “I see the cabins as landscape-
viewing instruments,” MacKay-Lyons says.
The architecture itself looks to the vernac-
ular—a longstanding interest of the office
since its founding in 1985. Here, MacKay-Lyons prototypes with Mission-style furniture, each
has created handsome, large, overhanging owner can choose his or her own décor.
pyramidal roofs and screen porches that pay In this picturesque cluster, MacKay-Lyons
tribute to traditional Muskoka lake cottages emphasizes not only the dialogue created
and boathouses. Using local materials and between architecture and nature, but the
building techniques, he constructed the cabins sense of the community generated by the way
with glazed and shiplapped-wood walls, steel the cottages relate to each other. The ensemble
columns, and cedar-shingle roofs over conven- is as important as the sight lines. n
tional trusses. Other features of the two-
bedroom dwellings are hearths and asym- Wendy Moonan, a New YorkÐbased architecture and
P H O T O G R A P H Y:  ©  D O U B L E S PAC E  P H O T O G R A P H Y

metrical skylights, along with geothermal design writer, is the author of New York Splendor:
wells. Although the architects furnished the The CityÕs Most Memorable Rooms.

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 WOMEN IN
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 ARCHITECTURAL RECORD OCTOBER 2019
perspective landscape 45

A RIVER OUTSIDE GENEVA IS RESTORED WHILE A PARALLEL OLD CANAL IS

REIMAGINED AS A PUBLIC PROMENADE. BY KARA MAVROS

Flowing through the idyllic southwestern tip
of Switzerland is the Aire, a small river that
winds through the countryside close to Geneva,
then across the French border, through the
village of San-Julien-en-Genevois. This tempera-
mental ribbon of water has been a major flood
risk to the regionÕs agriculture and neighboring
towns: it was reined in by a canal once in 1896
and again in the 1940s before the Canton of
Geneva finally launched a competition for a
plan to tame the river in 2001. The winner was a
multidisciplinary team named Superpositions,
P H O T O G R A P H Y: © FA B I O C H I R O N I ( T O P ) ; JAC Q U E S B E T H E T ( B O T T O M )
environmental impact of each phase—water
quality and biodiversity had been low in the
Aire region due to sewage and pesticide
runoff—the landscape architects amended
the design to improve conditions for the
riverscape. After studying natural sediment
deposits in other waterways, the team carved
a 200-foot-wide diamond-shaped pattern deep
into the raised silt, to manipulate water flow
and help curb flooding during the wet winter
months.
To create the public garden out of the adja-
A new riverbed was created on the site of the original
(above). The adjacent drained canal has been transformed
into a green space (below) inspired by 19th-century British
gardens.
concrete steps down the trenchÕs embank-
ments and planted it out as a green space.
Amenities, including pergolas and benches,
serve Swiss and French locals commuting to
Geneva, many of whom use the bike path
along the river to get to the city each day.
When the project is finally complete, the Aire
will once again showcase its natural splendor,

composed of architects and landscape architects cent industrial-era canal, the designers added enhanced for all to enjoy. n
Georges Descombes and Atelier Descombes &
Rampini; B+C Engineers; ZS Structural Engi-
neers, and biologists Biotec SA. In the years
since the group won, it has completed three
phases of work on the three-mile stretch, redi-
recting the water from the man-made channel
to a newly designed riverbed on the AireÕs origi-
nal footprint. The parallel, now-defunct canal
has been adapted into a verdant public prom-
enade. (The fourth and final phase—to demolish
a dam in order to redistribute gravel and soil
downstream—will be complete by 2022.)
Despite the teamÕs efforts to influence na-
ture, ultimately, of course, “a river must design
itself,” says Greg Bussien of Atelier Descombes
& Rampini. This perspective informed the
projectÕs first phases, restoring the riverbed to
its original location. After the groupÕs biolo-
gists and hydraulic engineers measured the
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ARCHITECTURAL RECORD OCTOBER 2019
perspective books
When Detritus Triumphs
Ruin and Redemption in Architecture, by Dan Barasch. Phaidon, 240 pages, $59.95.
Reviewed by John King
The defT reuse of distinc-
tive older buildings has
become a happily com-
monplace event in
prosperous cities—the
churches turned into chic
condominiums, for exam-
ple, and the industrial
buildings repurposed as
office space or schools.
More vexing is the ques-
tion of what to do with the
idiosyncratic survivors left
behind by history—visually
striking unofficial land-
marks, often relics of
bygone industry, that
summon up a sense of
place but confound a devel-
operÕs spreadsheet. Buildings of this nature
are the subject of Dan BaraschÕs eye-popping
survey of 66 buildings, showing what can be
accomplished by imaginative designers and
devotees. The disappointment? It could be so
much more.
If the above comment reads like a slightly
bittersweet what-if, then such a mood is
appropriate for a subject that is captured
vividly in the brief foreword by Dylan Thuras,
cofounder of Atlas Obscura. “Exploring aban-
doned buildings isnÕt about reveling in their
collapse at all,” he writes, recalling teenage
years spent in the thrall of deserted or
disused flour mills in Minneapolis—now
partially restored structures—which he holds
up as examples of “unscripted architecture”
that “occupy a shadowy liminal space be-
tween self-destruction and the possibility of
rebirth.”
That sense of unscripted possibilities is the
strength of Don BaraschÕs collection of trea-
sures lost and salvaged. It goes beyond the oft
commemorated losses, such as Frank Lloyd
WrightÕs Larkin Building in Buffalo (1906,
demolished in 1950) or Alison and Peter
SmithsonÕs Robin Hood Gardens, London
public housing completed in 1972 and felled
in 2017, and such celebrated triumphs as the
conversion by Herzog & de Meuron of
LondonÕs decrepit Bankside Power Station
into the Tate Modern (2000). WeÕre presented
with an array of such arresting but lesser-
known visions of future-meets-past as
MVRDVÕs Gemini Residence—the conversion
of two stocky concrete silos on a Copenhagen
ZEPHYR™ BLOCK ©2012 modularArts, Inc.
BOOKS™ BLOCK ©2016 modularArts, Inc.
waterfront, their rounded
forms now wrapped in
eight stories of balconied
housing like an interlocked
set of silvery cocoons
(2005). Or the coal crane in
that same city turned into
a spa-topped meeting facil-
ity by Arcgency (2017). Or
the long-empty Classical
Revival bank on ChicagoÕs
South Side that Theaster
™
ZEPHYR
Gates summoned back to
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life as the community-
BOOKS
based Stony Island Arts
Bank (2015).
The inclusion of this last
project is important—a
counterpart, rooted in local
passion, to the fact that contemporary archi-
tectureÕs acts of reimagination increasingly
are fueled by the ripple effects of global
wealth. ItÕs no surprise that the case studies
NELSON™ BLOCK ©2012 modularArts, Inc.
OHM™ BLOCK ©2011 modularArts, Inc.
on display include a slew of often privately
conceived museums, including the bally-
hooed Fondazione Prada, a gin distillery in
Milan restored and updated by OMA in 2015.
While itÕs exciting to see great though trou-
blesome buildings salvaged with an
unexpected spark, such efforts can have a
rarefied air, no matter how rough the archi-
tectural juxtapositions might be.
This aspect of the story isnÕt explored by
Barasch, a longtime proponent of turning a
subterranean trolley terminal on ManhattanÕs
Lower East Side into a verdant “Lowline.” The
text confines itself to straightforward mono-
graphic details that are informative but a
letdown alongside the startling imagery and
smart selection of the 66 cases, which include
tantalizing glimpses of icons in limbo—World
™
War IIÐvintage “sea forts” in the Thames
NELSON
Estuary that await salvation—and such ongo-
ing causes as the hoped-for reclamation of the
Los Angeles River as an urban greenspace.
™
Still, give credit to the book: weÕre stirred
OHM
to go beyond the constraints of the text, to
think about the layered intersection of eco-
nomics and culture and triumphant detritus.
Every city holds possibilities beyond the
obvious. The challenge is not to be content to
settle for the norm. n
U.S. Patent 8,375,665
John King is the San Francisco ChronicleÕs urban
design critic.
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perspective books

Ethics and the Future
Critical Care: Architecture and Urbanism for a Broken Planet, edited by
Angelika Fitz and Elke Krasny. Architekturzentrum Wien and MIT Press, 304
pages, $40.
Reviewed by Aleksandr Bierig

a broad definition of “care” informs

this book of essays and building case stud-

AND URBANISM FOR A BROKEN PLANET

CRITICAL CARE ARCHITECTURE
ies, which accompanied a recent exhibition
of the same name in Vienna. While
discussing interactions—among people,
things, and values—with regard to acts of
maintenance, repair, or sustenance, the
editors, Angelika Fitz and Elke Krasny,
explore what care means as it relates to
architecture and urbanism. In particular, FITZ
KRASNY

they are inspired by current environmen- edited by Angelika Fitz, elke Krasny
and Architekturzentrum Wien

tal crises, as well as ongoing anxieties

around social justice and inequality.
The two have gathered an assortment of contributors—architects,
urbanists, political theorists, and specialists in sustainability and eco-
nomic geography, among others—who suggest that we should view
buildings and cities not simply as objects but as collections of relation-
ships, an unfolding process that extends both backwards and forwards
in time. We should ask, where do materials come from? Who will use,
change, and maintain a structure in the future?
The larger argument of this investigation is that architecture and
planning professionals should pay more attention to: practices of main-
tenance and repair, the political interests that designs represent, and
considerations both social (labor, inequity, justice) and natural (plants,
animals, ecologies). Twelve essays largely address questions of planning
and politics, while 21 case studies focus on specific building projects
such as affordable housing or facilities for nonprofit organizations.
Common themes emerge, but there is no obvious connection between,
for instance, an essay on a community land trust in central Rio de
Janeiro and a dossier of photographs showing a redesigned 19th-
century pavilion in Belgium. While the editors intend to address all
scales of habitat “from the living room to the region,” itÕs hard to tra-
verse these sizes and distances so quickly.
Still, Critical Care suggests crucial questions: What would an ethical
architectural practice look like today? What should architects care
about? The built environment invariably involves a huge range of ethi-
cal issues: funding sources, labor practices, good governance, and social
justice, to name a few. This book touches on all of these, but whether
architects can meaningfully intervene in such concerns is a separate
and unresolved question.
The built environment is designed, in part, by architects and plan-
ners, but buildings and cities are really the result of a complicated set
of negotiations about what kind of world a society wants to create. For
instance, the energy embedded in a structure and its materials repre-
sents the vast majority of its lifetime resource-consumption impact
—even a perfectly controlled passive building has usually amassed
enormous debts of fuel and other resources.
The ethics of architecture, if they exist, are only revealed over a long
course of time. The editors and contributors are aware of inherent
tensions, but the results are best seen as an initial effort at suggesting
how to make and interpret architecture in a more careful way. n

Aleksandr Bierig is a Ph.D. candidate in HarvardÕs Graduate School of Design.

 Dinesen Oak plank flooring and wallcladding — Studio David Thulstrup. Photo Peter Krasilnikoff / Denmark

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climate crisis, traditional approaches to urban housing are no longer adequate.
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56 ARCHITECTURAL RECORD OCTOBER 2019 RECOGNITION

Ezra Stoller Revisited

An architectural photographer known for capturing the essence of
Modernist architecture receives fresh attention in a new book.
The phoTographs of Ezra Stoller (1915Ð2004) have long been recognized
for indelibly communicating the strengths of postwar architecture in the
ÒStollerÕs strength
U.S. Now, Ezra Stoller: A Photographic History of Modern American Architecture lay in his singular
(Phaidon), by Pierluigi Serraino, expands on our knowledge and apprecia-
tion with many rarely seen images. Serraino, an architect and author, capacity to organize
emphasizes StollerÕs ability to depict the crisp geometries of designs by
Breuer, Wright, Pei, and others, in which light, space, and even cloud
a buildingÕs
formations add to the gestalt. In 1933, Stoller entered New York architectural
UniversityÕs architecture school, where the young Modernist Edward
Durell Stone was his teacher. Stoller soon began photographing architec- content for
ture and switched his studies to industrial design. When he graduated, he maximum impact.Ó
embarked on his legendary career, and kept at it for five decades. He
leaves a legacy of memorable documents of that significant era. n —Pierluigi Serraino

The House in
the Museum
Garden, Museum of
Modern Art, New
York: Marcel
Breuer, 1949
(above). Notre
Dame du Haut,
Ronchamp, France:
Le Corbusier, 1955
(right). Solomon R. Guggenheim Museum, New York: Frank Lloyd Wright, 1959.
 57

Webb & Knapp Executive Offices, New York: I.M. Pei, 1952. S.C. Johnson Company Administration Building and Research
Tower, Racine, WI: Frank Lloyd Wright, 1939 (photographed 1950).

General Motors
Technical Center,
Warren, Michigan:
Eero Saarinen,
1956 (far left); the
Anchorage, Seal
Harbor, Maine:
Wallace Harrison,
1941, photographed
1961 (left).
58 ARCHITECTURAL RECORD OCTOBER 2019 RECOGNITION

ÒLouis Kahn was a

revelation. His poetic
and philosophical
approach to design was
encrypted in all of his
projects, and Stoller,
being an experienced
reader of architecture,
understood KahnÕs
message.Ó
—Pierluigi Serraino

Kimbell Art Museum, Fort Worth:  
Louis Kahn, 1972.

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 ARCHITECTURAL RECORD OCTOBER 2019 SPECIAL REPORT 63

America’s Top Architecture Schools 2020

BY DAVID GILMORE, PRESIDENT AND CEO OF DESIGNINTELLIGENCE

such fundamentals as inadequate

among architecture graduates.
The wonder of new graduates is that
theyÕre digital natives and comfortable
with all types, uses, and expressions of
information and design technology. But
whatÕs so often missing is the human
necessity of effective personal interac-
tion. Conversational and written
communication to defend and support
detailed design decisions is critical to
the future of the profession, yet so
many donÕt possess these basic skills.
We also survey students, and this
year two unexpected results stood out
from the 4,000-plus responses we re-
ceived. First was the 5 percent drop in
architecture undergraduate students
wishing to go on to graduate school.
The noted reasons were straightfor-
ward: accumulated debt and the
marginal economic benefit that an
advanced degree was thought to provide
in gaining employment, as well as the
drive to get out and get busy using their
design skills.
The second standout was the answer
to the following question: “If there were
no barriers, what firm would you want
A student is deep in thought at Harvard Graduate School of Design’s Frances Loeb Library. According to DesignIntelligence, the to work for?” The No. 1 response overall
school is the most admired graduate architecture program.
was to be self-employed.
Two years ago, after 19 years of conducting this ranking survey, Design- The lionÕs share of students indicated that the work they
Intelligence (DI) moved from using the word “best” when ranking design schools do in the future must be purposeful, responsible, founded
(“Which programs are best preparing students for a future in the profession?”) to in defensible research, with a measurable impact. That
the term “most admired” (“What schools do you most admire for a combination of sense of purpose continues to be a major drive in the gen-
faculty, programs, culture, and student preparation for the profession?”). This was eration entering the workforce: working for a wage is no
done to acknowledge the subjective nature of such rankings, in the absence of
empirical evidence. Our research made clear that “best” is related to an individual Architecture and design schools
respondentÕs proclivities and therefore is not universally applicable.
While the DI survey always asked hiring professionals what programs were will become more effective when
“best,” we have focused sharply over the past two years on what schools those
professionals actually hire from the most. Professionals may say they admire one
they kick down the walls between
school over another, but that may not always have to do with the readiness and their programs and those of
competence of the graduates. Often admiration is assigned to an institution based
on a personal encounter, intellectual curiosity, or an inclination shaped through computer science, business,
P H O T O G R A P H Y: © J U S T I N K N I G H T

public relations. But when those same professionals put forth budgets, time
frames, and performance expectations, the subjective is secondary to what is
known, observable, and measurable. So we now ask a second primary question:
“From which schools have you hired the greatest number of students (graduate
and undergraduate combined) in the last five years?”
What the professional hiring managers from firms across the nation desire is
the ability of graduates to hit the ground running when they begin work in the
real world. That competence ranges from the fundamental knowledge of how
buildings come together to the collaborative communication skills essential to
design work. Our survey results indicated that 32 percent of professionals rank
engineering, construction
management, and social sciences.
longer enough motivation. A range of work is also critical:
engaging various market types and solutions, and using a
broader range of their skills. Traditional architecture/engi-
neering and construction (AEC) practices were labeled out
of date, stuck in old paradigms, irresponsible to communi-
ties and the environment, and motivated by financial
64 ARCHITECTURAL RECORD OCTOBER 2019 SPECIAL REPORT

The Top 10 Most Admired Architecture Programs

2019 2019
Undergraduate RANK Graduate RANK

1 Cornell 1
1 Harvard
University
1

University
Rhode Island Columbia
2 6 2 2

School of Design University

3 Rice University 2 Massachusetts
3 Institute of 3

4 Cooper Union 5
Technology
5 Syracuse University 4
4 Yale University 5

6 Virginia Tech 8
5 Cornell University 4

7 Pratt Institute 7
6 Princeton University 6

California Polytechnic State 7 Rice University 7

8 3
University, San Luis Obispo
8 Rhode Island School of Design 19
9 University of Texas, Austin 10
9 University of Pennsylvania 11
Southern California Institute of
10 9
Architecture (SCI-Arc) 10 University of California, Berkeley 8

considerations rather than the desire to do what is right.
As the leadership of DesignIntelligence travels the globe, these
themes emerge on a consistent basis. Students, as well as young profes-
sionals, are demanding a different kind of industry. The future of AEC
is on a radical path toward reinvention, led by the upcoming genera-
tions who have a new set of attitudes, values, and behaviors. Innovative
ways of working, collaborating, leveraging knowledge through tech-
nology, and devising economic value are all challenging traditional
ways and means across the design and construction industry. Lessons
from other industries, such as tech, software/systems development,
and aerospace are being directly applied to AEC, and the initial out-
comes are indicating dramatic shifts in approaches, process, and
fulfillment of building programs. For example, the use of Agile,
Scrum, and other collaborative techniques in building design is
spreading across the firms. As more students come to share this mind-
set regarding the future, their sheer momentum will alter the status
quo. The hiring professionals in DIÕs surveys may complain about
inadequate training among todayÕs graduates, but the values and atti-
tudes of this student generation will come to dominate and change the
profession. As in Silicon Valley, where a growing number of software
and systems designers are choosing to remain independent rather than
work for big tech companies, so a similar trend is beginning with
architecture graduates as well. Most of them are comfortable not only
moving across various building technologies but are also mastering
programming, development, and design of the user interface and user
experience. Their ease of dealing with data, applying artificial intelli-
gence, and employing machine learning only adds to their overall
value in the workforce.
We at DesignIntelligence predict that the line between building
design and technology design will continue to blur and that the eco-
nomics of design will sharply improve as more architecture students
enter the market as free agents. This will translate into higher earn-
ings for cross-disciplinary talent, who will possess a broad orientation
to problem-solving. We believe they will utterly alter the industry
through redefining the values in design, with an accompanying en-
hanced reward system.
Institutions training architects will shift their educational program-
ming to a radically more diverse landscape of learning. Architecture
 65

The Top 10 Architecture Programs Most Hired From

Undergraduate and Graduate Combined According to Class Size
2019 2019
GROUP ONE — 100+ RANK GROUP TWO — 70-99 RANK

1 Harvard University 8 1 University of Texas, Austin 3

2 California Polytechnic State University, San Luis Obispo 10 2 Kansas State University -

3 Cornell University - 3 Washington University 10

4 Virginia Tech 4 4 California State Polytechnic University, Pomona 2

5 Syracuse University 1 5 University of Pennsylvania 9

6 Southern California Institute of Architecture 3 6 Rensselaer Polytechnic Institute -

7 University of Southern California 2 7 University of Illinois, Urbana-Champaign 14

8 University of Michigan 15 8 University of Kansas 17

9 Pratt Institute 5 9 Boston Architectural College 4

10 Texas Tech University 14 10 Iowa State University 5

2019 2019
GROUP THREE — 50-69 RANK GROUP FOUR — 20-49 RANK

1 Yale University - 1 University of Detroit Mercy -

2 University of Virginia 13 2 Massachusetts Institute of Technology 5

3 University of California, Berkeley 9 3 University of Cincinnati -

4 Pennsylvania State University 3 4 Ohio State University 9

5 Rhode Island School of Design - 5 Texas A & M University 12

6 Auburn University 15 6 University of California, Los Angeles 7

7 University of Notre Dame - 7 Rice University 1

8 University of Tennessee, Knoxville 5 8 Clemson University -

9 Tulane University 4 9 Carnegie Mellon University 14

10 University of Arkansas 20 10 Cooper Union 10

2019
GROUP FIVE — UNDER 20 RANK and design schools will become exponentially more effective when
1 University of Massachusetts, Amherst 4 they kick down the walls between their programs and those of com-
puter science, business, engineering, construction management and
2 University of Memphis 2 building sciences, social sciences, and other programs. When an archi-
tecture graduate who has been formally exposed to other disciplines
3 Norwich University 7
enters the job market, his or her value will increase. These renaissance
3 University of Maine at Augusta 10 graduates will be the ones to radically transform the industry, either
from within or by joining forces with the disruptors intent on driving
3 Bowling Green State University 1
waste and inefficiency out of the field.
6 Andrews University 6 The challenge for architecture firms will be in attracting these
graduates and harnessing their range of skills. Traditional practices
7 Tuskegee University - employing established methodologies and processes will need to re-
8 Massachusetts College of Art and Design -
think their day-to-day work and allow this new talent to bring fresh
approaches.
9 School of the Art Institute of Chicago 3 The field of architecture is changing, and design education must
change with it. Those institutions that do will lead, those that donÕt
10 Hampton University 8
will accelerate toward irrelevance. n

**Programs with only a dash did not score in the Top 20 last year.
66 ARCHITECTURAL RECORD OCTOBER 2019 SPECIAL REPORT

Architecture Student Survey Skills Assessment

The academic programs that practitioners deem strongest for each skill area:
This year, DesignIntelligence received over 4,000 valid responses from
architecture students and recent graduates. Of this group, 47 percent DESIGN THEORY DESIGN THEORY
were undergraduates. Of those, 53 percent were enrolled in a B.Arch. UNDERGRADUATE GRADUATE
program, 19 percent are seeking a B.A. in architecture, and 22 percent 1 Cornell University 1 Harvard University
a B.S. in architecture; 24 percent of respondents were enrolled in
2 Cooper Union 2 Columbia University
graduate programs, and, of those, 89 percent are pursuing an M.Arch.
The following are the responses of all students combined. 3 SCI-Arc 3 Princeton University
4 Rice University 4 Yale University

54% Excellent 5 Syracuse University 5 Cornell University

31% Very Good CONSTRUCTION METHODS & CONSTRUCTION METHODS &

MATERIALS UNDERGRADUATE MATERIALS GRADUATE
How they
9% Good grade the
1 Cal Poly, San Luis Obispo 1 M.I.T.
2 Virginia Tech 2 Harvard University
quality
3% Fair of their 3 Cornell University 3 Cornell University

program 4 Auburn University 4 Columbia University

1% Poor overall 5 Syracuse University 5 Virginia Tech
5 Yale University

NO SUSTAINABILITY SUSTAINABILITY
UNDERGRADUATE GRADUATE
7%
1 Cornell University 1 Harvard University

73%
plan to take the
YES
93%
2
3
4
Cal Poly, San Luis Obispo
Virginia Tech
University of Oregon
2
3
4
Columbia University
M.I.T.
Cornell University

Architect Registration believe they will 5 Auburn University 5 U.C., Berkeley

Examination be, or were, well 5 Carnegie Mellon University
prepared for their
profession upon RESEARCH RESEARCH
graduation UNDERGRADUATE GRADUATE
1 Cornell University 1 Harvard University
What theyÕll do after graduation 2 Cooper Union 2 M.I.T.
3 SCI-Arc 3 Columbia University
38% 4 Virginia Tech 4 Cornell University
Work in a private practice
5 Cal Poly, San Luis Obispo 5 Princeton University

METHODOLOGY
1% Each year, DesignIntelligence (DI) conducts a survey of America’s top architecture schools, ranking
undergraduate and graduate programs from the perspective of practitioners who hire graduates of
Work in
2% government those programs. The survey is sent, via email, to DI’s expansive network of hiring professionals, who
tell us which schools they Most Admire and Most Hire From and how recent graduates are performing
Be self-employed
in 12 skill areas. The Most Hired ranking was launched two years ago and combines undergraduate
18% 19% and graduate programs from each school, taking into consideration the number of annual graduates.
Pursue an 2% Those rankings are divided into five groups, from Group One with 100-plus graduates to Group Five
Work for a advanced Other
corporation with under 20 graduates. Most Admired rankings are determined separately for undergraduate
degree in and graduate programs. DI also reaches out to deans and chairs of architecture programs and asks
2% architecture them to distribute three surveys: to hiring professionals, to students, and one for themselves that
Work in a field
asks about their programs and priorities. Lastly, DI surveys recent architecture graduates about the
other than
architecture quality of the programs they studied in and how prepared they believe they are in key skill areas. This
13% year, DI received nearly 12,000 responses from the three surveys in architecture (and also interior
Undecided 3% 1% design and landscape programs). The responses from the hiring professionals only are used to
Pursue an advanced Volunteer or work for a determine the rankings of Most Admired and Most Hired From. DI validated the approximately 4,000
2% degree in something nonprofit or community- respondents from that group. The programs in the architecture survey must be accredited by the
Work in academia other than architecture service organization National Architectural Accrediting Board (NAAB).
Experience Perimeter

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70 ARCHITECTURAL RECORD OCTOBER 2019 FIRST LOOK

Field of Dreams
Selldorf ArchitectsÕ airy new Mwabwindo School bolsters the 14+
Foundation’s educational network in rural Zambia.
BY LAURA RASKIN
 71

When Joseph mizzi asked the architect Annabelle Selldorf if she

would consider designing a primary school in rural Zambia for his
nonprofit, the 14+ Foundation, she remembers replying, “Hello? Yes,
obviously!” The response from her New York office was equally enthusi-
astic. “The need and desire to do something that changes the paradigm
was on everyone’s mind,” she says.
Largely designed at the Manhattan architecture studio of Selldorf's
eponymous firm and managed on the ground by 14+, the Mwabwindo
School—which opened in May—serves around 250 students from
preschool through 7th grade, with a curriculum supplemented by
arts- and Montessori-based programs. Located seven miles from 14+’s
first project in Zambia, the Chipakata Children’s Academy (record,
June 2015), Mwabwindo is reducing the overcrowding at two nearby
government schools.
To respond to the local climate—intensely hot and dry except in the
rainy season, from November to April—Selldorf and her team devised a
23-by-23-foot grid, covered by a corrugated-metal roof canopy supported
by a steel superstructure. Underneath this giant shade tent, inspired by
the trees dotting the Central African Plateau, the architect placed five
classroom and administration buildings, made from mud bricks fabri-
cated on-site by local masons. The classroom buildings are arranged
around courtyards and an internal “street.” A covered assembly area
allows the entire school and larger community to gather for meals,
performances, and other occasions. Here, the corrugated roof is slightly
P H O T O G R A P H Y:  ©  C H O S A  M W E E M B A ,  C O U R T E S Y  S E L L D O R F  A R C H I T E C T S  ( E XC E P T  A S  N O T E D) ;  YA K  F I L M S  ( B O T T O M )

higher, signifying the entrance to the school. A bar-shaped building to

the east of the classrooms contains storage and a kitchen. To the north
are a soccer field, community gardens, and a cluster of six housing
units for teachers.
The steel shade structure, designed by Silman engineer Nat Oppen-
heimer, was built first, shielding workers during the rainy season while
the classrooms were constructed beneath it. “The shade tent wanted to
be as light and plain as possible,” says Selldorf. “It wasn’t meant to be
an attention-grabbing gesture.” Its beauty is in its seemingly weightless
elevation, and its connection to thin shade structures seen in almost
every culture, including the wood barns of the American west.

MASTER PLAN Students play soccer outside their new school in the Zambian village 

of Mwabwindo (left). Their uniforms were made by Studio One Eighty Nine, a social 
enterprise in Ghana founded by marketing executive Abrima Erwiah and actor Rosario 
Dawson. The flat, open site inspired the architect’s design of the shaded steel structure.
72 ARCHITECTURAL RECORD OCTOBER 2019 FIRST LOOK

UNDER COVER A raised corrugated-metal roof floats above the classrooms and courtyards (above, left and above, A lattice pattern in some of the brick walls
right), its generous openings admitting abundant daylight and fresh air everywhere.
allows daylight to penetrate and air to circu-
late, as do operable clerestory classroom
windows. Mwabwindo is off the electrical grid
1 ASSEMBLY and uses 100 percent renewable energy, includ-
ing solar panels, and a windmill to pump well
2 ADMINISTRATION
water. Toilets are dry composting.
3 MEDICAL ROOM
Mizzi, the president of Sciame Construction,
4 OFFICE founded 14+ in 2012 after a trip as a volunteer
5 TEACHERS’ ROOM for World Bicycle Relief to landlocked Zambia.
6 CLASSROOM There he learned that children were walking
4 7 TERRACE
up to nine miles a day to get to school, and he
12
5
6 6 6 6 returned to the States inspired to use his con-
8 ART/COMMUNITY
4 nections in the architecture, engineering, and
3
9 LIBRARY/ construction professions to create better access
6 COMPUTER
8 7 to education, health care, and local services.
2
10
6
10 CLINIC Chipakata ChildrenÕs Academy opened in 2015,
11 KITCHEN with a pro bono design by Susan Rodriguez,
7
6
12 RESTROOMS then a partner and design principal at New
1
YorkÐbased Ennead Architects. Chipakata now
11 6
9 serves 250 primary school children.
Mwabwindo School completes an education-
al network that includes more than 20 staff
members between the two institutions. “Our
schools now allow students to walk much
shorter distances, which is central to the
founding mission,” says Mizzi. Chipakata was
0 40 FT.
the FoundationÕs “three-dimensional business
FLOOR PLAN
10 M. card,” he adds, establishing trust, along with
the peripheral projects MizziÕs team built in
the area—roads and a grinding mill, for ex-
 73

BRICK BY BRICK Local masons used 150,000

handmade bricks to create a lattice pattern in some walls
(above). Classrooms (left) have plaster walls, poured-
concrete floors, and Mukwa wood doors.

ample. He sees the success of a rural school as

intimately tied to the health and vitality of the
larger community. “The one obvious new idea
that came out of our experiences at Chipakata
is the integration of a dormitory building for
grade eight and nine students, starting with
the girls,” says Mizzi. “We believe this will
improve and help stabilize their learning
environment.” To that end, Selldorf—who
visited the site during construction—is now
designing student housing for Mwabwindo.
While the school is one of SelldorfÕs most
remote projects, the design process solidified
the architectÕs thinking about the importance
of good architecture in education everywhere.
“In some ways, I wish I could do a school like
that here in a America,” she says. “The condi-
tions and circumstances may be a little
different, but the thinking should be the
same—the experience of daylight and design-
ing for seasonal change. The quality of the
architecture will help inspire kids and make
them feel safer and more welcome. It remind-
ed me why I wanted to be an architect.” n
 This event will offer
2.25 AIA LU credits.

MEET THE PANELISTS

RESERVE YOUR SEAT
OCTOBER 17 | HOUSTON
The Houston Club | 910 Louisiana Street Larry Burns, FAIA
Principal
Building for Art and Culture Kendall/Heaton Associates
Just as art and culture have always been necessary components of a civilized
society, the buildings that house the objects and activities associated with these
things also often aspire to elevate the human experience. Now, in an environment
that is increasingly virtual, where attention spans have been drastically reduced,
we ask the question: what is the role of buildings dedicated to arts and leisure
today and into the future? This Record on the Road takes a look at cultural projects Troy Schaum
at a range of scales—from Schaum/Shieh’s Transart House to the forthcoming Associate Professor
Rice School of Architecture
expansion of the Museum of Fine Arts Houston (by Steven Holl Architects Partner
with Kendall/Heaton as architect of record)—and addresses the challenges and Schaum/Shieh
opportunities of designing for this building type in our rapidly changing world.

Seating is complimentary for architects, engineers and designers

but is limited. Register today for FREE.

Moderator:
BROUGHT TO YOU BY: IN PARTNERSHIP WITH: Beth Broome
Managing Editor
Architectural Record

RecordontheRoad.com
76 ARCHITECTURAL RECORD OCTOBER 2019 FIRST LOOK
77 77

Welcome to
Hollywood
SelgasCano’s first U.S. project, a shared-workplace
complex for Second Home, takes advantage of the
sun and laid-back lifestyle of L.A.
BY SARAH AMELAR
PHOTOGRAPHY BY IWAN BAAN

Nearly 1,000 potted plaNts flourish in every interior that architects

Jose Selgas and Lucia Cano have created, between 2014 and now, for
Second Home, the British-born workplace-sharing company. After all, a
hothouse seems a fitting metaphor for an enterprise that nurtures
creative entrepreneurial talent in its collective spaces. The fertile collabo-
ration between the Madrid-based husband-and-wife partnership of
SelgasCano and Second Home began with the company’s first location, in
a former factory in London, and has continued with venues elsewhere in
the city, plus one in Lisbon (record, March 2017). All these projects have
transformed spaces in existing buildings, suffusing them with vibrant
color, curving forms, and, yes, burgeoning flora—making this fluid,
laid-back architecture Second Home’s signature style. But the company’s
most recent, and ambitious, project—in Los Angeles’ East Hollywood
neighborhood—takes these recurrent themes to a whole other level.
With this first foothold in the United States, Second Home has devel-
oped a two-acre urban campus, on which it adapted a two-story 1964

PEAS IN A POD Sixty freestanding work huts are clustered within a newly created jungle (left).
Inside, cross-laminated timber overhead reduces the need for structural steel. The architects also
designed the solid-surface-topped tables (above).
78 ARCHITECTURAL RECORD OCTOBER 2019 FIRST LOOK 78

structure, by Paul Revere Williams, and add-

ed 60 yellow-roofed oval “pods,” or individual
huts, nestled into a newly created jungle. As
Rohan Silva, who cofounded and codirects the
company with Sam Aldenton, says, “Else-
where, we worked incredibly hard to bring
nature into buildings, but with L.AÕs outra-
geously good weather, itÕs the reverse: weÕre
immersing the buildings in nature.”
The dense landscape feels as if it grew
wild on-site. But its 8,000-plus plants and
trees, many trucked in within days of the
opening, replaced a concrete parking lot and
a secondary building (though a subterranean
garage for 100 cars was retained and supple-
mented by 200 bicycle parking spots across
the complex). ItÕs easy to suspend disbelief
here. The huts seem sunken in a forest, but
actually the land was installed around the
new buildings (all deftly accomplished with-
out excavation). Aside from their doorways,
the one-room pods are enveloped, up to desk
height, in raised, boxed planting beds that
follow the meandering contours of narrow
garden pathways. (The earth against the
building bases performs double duty as
A passive climate-control-boosting insulation.)
Above the soil level—aligned with the con-
1 ENTRY tinuous communal desktop along each podÕs
8
7 2 RECEPTION interior periphery—the curving exterior
8
walls are transparent inch-thick acrylic with
3 CAFƒ
9 9 operable windows. The pods range from 248
6 4 COURTYARD
to 588 square feet, the biggest accommodat-
6 4 5 WORK ZONE ing up to 30-person teams.
9
6 MEETING ROOMS Immersing people, not just architecture, in
3
2 7 POD this thriving environment is key. “The idea is
5
12
8 MULTIPURPOSE
to create places where everyone can be in-
ROOM
spired and productive, where thereÕs a
1 community rich in different skills and tal-
9 RESTROOMS
ents, where spontaneous collisions and
10 PARKING
collaboration can happen,” says Silva, who
7
11 TERRACE was one of Prime Minister David Cameron’s
12 BOOKSTORE policy advisors, working with the tech start-
7 up and entrepreneurial sector, before
7
partnering with Aldenton, a founder of an
early coworking space as well as nighttime
9 street-food markets in London. To encourage

1 1 1
A

0 64 FT.
GROUND-FLOOR PLAN
18 M.

11 5 5 11

3
8 4 7 7

10
0 32 FT.
SECTION A-A
9 M.
 79

CAFƒ SOCIETY In the existing building, at the siteÕs

northwest corner (opposite), the courtyard is surrounded
by a cafŽ (below) and glazed meeting rooms (bottom,
right). A SelgasCano-designed reception station integrates
painted aluminum tubes and acrylic rods (right).

“cross-pollination,” Second Home curates its

“member” (or tenant) mix for diversity. So,
tech and artificial-intelligence teams meet
graphic artists, advertisers and innovative
financiers encounter filmmakers, and so
forth. Further enriching the blend, 25 percent
of the members are nonprofits or charities,
many receiving subsidized rates (full-price
pods start at $650 per person monthly). With
100 percent occupancy on opening day last
month, the Hollywood campus has a roster
ranging from electric-car innovators to cli-
mate-control activists, a social-justice
organization, and cinematic-special-effects
designers.
Surrounded on two sides by pods, the exist-
ing building now houses shared zones for
individuals or freelancers (starting at $200 a
person monthly), plus a podcast studio,
meeting rooms, and such open-to-the-public
amenities as a bookshop, a flexible event
space/auditorium (seating 200), and a restau-
rant/café that spills onto a leafy terrace. Silva
80 ARCHITECTURAL RECORD OCTOBER 2019 FIRST LOOK

GARDEN VIEWS The pods feel submerged in the landscape but are actually enveloped,
around their bases, in raised planting beds (right). The soilÑperforming double duty as
insulationÑhelps maintain a constant comfortable interior temperature.

and Aldenton chose to retain WilliamsÕs 30,000-square-foot struc-

ture, a former community center, restoring its Colonial Revival
exterior, outdoor fountain, and grand stairway while encourag-
ing the architects to make its interior and courtyard as hip, fresh,
and whimsical as the rest of the campus. Upstairs in the main
building, SelgasCano reinvented the workplace cubicle, creating a
wandering path amid “studios” (typically, smaller alternatives to
the freestanding pods), wrapped in faceted glass from desk height
up, with sound-buffering carpet below. Long, wavy-edged team
desks, punctuated by eclectic table lamps, line the interiors.
Nearby, a roof terrace offers a refreshment bar amid potted lem-
on trees, overlooking the pods.
Downstairs, saffron-colored strand curtains line the multi-
purpose room, where pulleys can lift the bean-shaped work-
tables (with mirrored undersides) to the ceiling to clear the
space for events. Bright-colored hairpin legs, made of rebar,
support SelgasCano-designed tables throughout the campus,
including patio versions with trees poking through. Bordering
the clustered pods is a yoga “wellness” garden, planted over a
massive buried cistern to capture rainwater for the vegetation,
much of it native and drought-tolerant.
On a recent visit, as the project neared completion, it was easy
to imagine padding through this lush oasis in flip-flops, as if on
an island jungle retreat—but, at the same time, the possibility of
getting bona-fide creative work done here also seemed very real. n

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products accessible design 85

30¼ Enviro Series

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wall-hung bathroom sink is designed to
Barrier-free, hands-free, and meet ADA guidelines for 27" knee
slip-resistant features make these clearance and 34" counter heights.
Because its form is continuous welded
items staples of universal design. stainless steel, it installs more easily
By Kelly Beamon than many deck-and-sink combina-
tions. It also comes with sensor, lever,
and one-hand touch faucets.
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Plateau
Designed to seat groups of eight, Plateau
features a tabletop flanked by communal
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in a UV-, weather-, and graffiti-resistant
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ARCHITECTURAL RECORD OCTOBER 2019
products building envelopes 87

Weather Permitting
Advanced manufacturing technology is enhancing the function and installation of these offerings.
By Kelly Beamon

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Gate Precast, a concrete manufacturer, is
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printing to build stronger high-performing
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This is because the printed molds (made of a
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and quality control on jobs, such as an order for
hundreds of punched windows COOKFOX
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88 ARCHITECTURAL RECORD OCTOBER 2019
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Insulating Solar Tiles

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covered by two coats of a special
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Portland cement. Once installed,
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92 ARCHITECTURAL RECORD OCTOBER 2019 PROJECT

The Reach at the Kennedy Center | Washington, D.C.

Steven Holl Architects and BNIM

Capital Gain
An annex adjacent to a cultural landmark
attempts to engage a larger public.
BY SUZANNE STEPHENS
PHOTOGRAPHY BY RICHARD BARNES

In 2012, when the trustees of the John F. Kennedy Center for the
Performing Arts in Washington were selecting an architect to expand
the facility, they knew they had an unusual challenge. The problem
was not that the imposing structure, completed in 1971 by Edward
Durell Stone, was so good that any change could damage its aesthetic.
On the contrary, it has long been considered an overblown example of
monumental modernism in its dated, classicizing symmetry and white
marble cladding. Ada Louise Huxtable’s epigrammatic conclusion to her
New York Times critique seemed to be its epitaph: “It is a cross between a
concrete candy box and marble sarcophagus in which the art of archi-
tecture lies buried.”
Yet, decades later, the memorial-cum-performing-arts venue lived
on, though in need of more rehearsal space, classrooms, and event
areas. The problem was how to come up with an expansion that enliv-
ened the whole and avoided the leaden demeanor of the original.
(Previously, the board had deemed a proposal by Rafael Viñoly in 2003
to be too ambitious, although it had tried to relate the center on its
promontory along the Potomac River to the rest of the city—a concern
that didn’t go away.)
On this recent foray, the center selected Steven Holl Architects (SHA)
in an invited competition over runners-up Diller Scofidio + Renfro,
Richard Meier & Partners, and Pei Cobb Freed, favoring SHA’s emphasis
on making the most of the landscape and connecting the complex to
the river. fused into a shifting perceptual experience.
In providing a new 72,000-square-foot, $250 million annex, which If the overall design concept appears familiar, it should: Holl’s addi-
opened September 7, SHA worked with associate architect BNIM in tion to the Nelson-Atkins Museum of Art in Kansas City (record, July
adopting a design approach that embraces opposites. As a counterpoint 2007) involved a series of irregularly shaped polyhedral forms embed-
to the single big box perched above the Potomac, Holl and his team ded in the hillside next to the classical pile designed in 1933 by Wight
created three separate, abstract forms, partially embedded in the earth and Wight. The success of SHA’s Nelson-Atkins addition owes much to
and connected to each other underground. Rather than the symmetri- its above-ground structures’ having walls of channel-glass planks,
cal and hierarchical organization of Stone’s opera house, concert separated from laminated glass by a 3-foot space for fluorescent tubes.
hall, and a theater, SHA has designed a meandering series of flexible The shimmering opalescent effect by day (the sun glinting off the sur-
spaces. The Welcome Pavilion, closest to the Kennedy Center, holds the face) and night (from the inner glow of lighting) made the architecture,
entrance lobby, leading to rehearsal spaces, classrooms, and an audito- nestled within greenery, smashing. Inside, the sequence of new galler-
rium. A second pavilion contains a café, and the third is an event space, ies flowed with a strong sense of continuity as the spaces gradually
defined by a dramatic concave wall. dropped down the hill.
With Holl, what happens in section arguably is more important At the Kennedy Center annex—which is called the Reach, a some-
than the plan. Walls may be curved or flat, tilted or straight; ceilings what New Agey term expressing the center’s ambitions to extend to
may drop and rise, or be topped by a skylight; and stairs, balconies, younger audiences—the construction is largely poured-in-place con-
and bridges overlook spaces below to give visual access to various crete, alternating with glass expanses. White cement and sand, along
activities. As you thread through the different labyrinthine levels with recycled furnace slag, is mixed with titanium so that the tone
here, you are aware of optical, haptic, and kinesthetic sensations approaches the gleaming whiteness of Stone’s Carrara-marble hall.
 93

HOLL IN THE GROUND

To create new classrooms,
rehearsal, and event spaces for
the monumental Kennedy
Center (right), Steven Holl
Architects and BNIM designed
three curved and angular
pavilions to be partially buried in
the ground. By night, the etched
glass of the poured-concrete
structures glows (above), and
the flat side of the Skylight
Pavilion accommodates
simulcast projections.
94 ARCHITECTURAL RECORD OCTOBER 2019 PROJECT

1
The concrete walls show the imprint of 4-inch tongue-and-groove
2 Douglas fir boards that lined the CNC-milled plywood forms. The pour
is impeccable. You notice this especially where walls arc upward. But
3
materialÕs surface is not the only noticeable feature: “The voids between
the pavilions are as important as the solid shapes,” says SHA senior
4
partner Chris McVoy. “The building profiles cup the spaces and frame
the views.”
5
7
The glazing in the pavilions is either transparent or translucent—
6 etched on the outer surface, with a white film laminated between the
double lites. Linear LED tubes at the tops give these milky expanses a
8

1 WELCOME PAVILION (ENTRANCE) 11 SKYLIGHT PAVILION, A-LEVEL

2 SKYLIGHT PAVILION 12 JUSTICE FORUM

10 3 RIVER PAVILION 13 STUDIO K

12 4 UPPER SOUTH TERRACE 14 STUDIO F
9 13
14 15 5 SIMULCAST LAWN 15 STUDIO J
11
16 17 18
16 6 REFLECTING POND 16 CLASSROOM

7 GINKGO GROVE 17 BUS-PARKING GARAGE

19
20 8 EDWARD DURELL STONE BUILDING 18 RIVER PAVILION, A-LEVEL

9 PARKING GARAGE 19 BRIDGE TO ROCK CREEK TRAIL

EXPLODED AXONOMETRIC 10 RECEPTION/LOBBY 20 POTOMAC RIVER

2 3

14 15 16
17

0 50 FT.
SECTION A - A
15 M.

7
A
1

6 3
17 4
9 13 2
A 5
16
16
15
14

20

0 100 FT. 0 100 FT.

LOWER-LEVEL PLAN TERRACE-LEVEL PLAN
30 M. 30 M.
THE REACH AT THE KENNEDY CENTER WASHINGTON, D.C. STEVEN HOLL ARCHITECTS AND BNIM 95

SHEEN AND GLEAM The River Pavilion and Skylight

Pavilion frame the reflecting pool (right). Inside the
latter is a large event space shaped by the concave
curve of the window and the concrete wall (below).

luminous glow by dark.

The materials inside are striking as well.
Project architect Garrick Ambrose helped
develop a crinkle concrete for acoustical pur-
poses in the auditorium (which seats 144) and in
three studios. To accomplish this, the team
folded and crumpled a 4-by-10-foot aluminum
sheet, which became the template for rubber
molds used for casting the concrete on-site. The
result is a 3-inch-deep random relief of exposed
concrete that breaks up sound—and appeals to
the sense of touch.
Other technical flourishes abound. To
achieve a long span of 65 feet for the ceiling in
Studio K, which is used for opera rehearsals,
SHA, working with Silman engineers, devel-
oped a poured-in-place concrete slab post-
tensioned with cables. Its sawtooth profile and
bubble deck lightens its dead weight.
In certain places on the exterior, where the
96 ARCHITECTURAL RECORD OCTOBER 2019
pavilion walls curve up, the architects created
what they call “sedum swoops” to help meld
the three pavilions with the earth. These
torqued geometrical planes, turned into
curved, vertical green swaths, are supported
on a honeycomb geogrid with tensioned cables
and computerized irrigation. Elsewhere, 60
geothermal wells, installed beneath the gar-
dens, help heat and cool the annex. Other
measures such as radiant floors will cut the
energy use and help the complex qualify for
LEED Gold certification.
In designing the 130,000 square feet of
lawns, gardens, walking paths, and a grove of
35 ginkgo trees (a tribute to the 35th Presi-
PROJECT
OVER AND UNDER The entrance to the Welcome
Pavilion (left) takes visitors into the reception lobby
(left, bottom). A crinkle concrete with acoustical
properties covers the walls of the Justice Forum,
(opposite, top) and three studios (opposite, bottom).
vantage point, the ancillary structures are
unprepossessing—and the monotonous large,
flat bluestone terrace, covering the under-
ground parking between the old and the new
buildings, only emphasizes the desultory as-
pect. Granted, the terrace could be enlivened by
events and performances, and one wall of a
pavilion facing north is to be used for simulcast
projections. But the whole lacks the luminosity
and glinting quality of those channel-glass
pavilions at the Nelson-Atkins, not to mention
the internal consistency of movement in those
more interconnected galleries.
So while the Kennedy Center addition
achieves a distinct and strong identity
through a design approach similar to the
Kansas City museum, it misses the power of
the 2007 predecessor. But it does avoid the
moribund aspect of StoneÕs center, and offers
a different kind sculptural park to the com-
munity. The new addition may not be perfect,
but it cannot be accused of burying the art of
architecture. n
credits
ARCHITECT: Steven Holl Architects Ñ Steven Holl,
design architect; Chris McVoy, senior partner in charge;
Garrick Ambrose, senior associate in charge and project
architect
ASSOCIATE ARCHITECT: BNIM
ENGINEERS: Silman (structural); ARUP (mechanical);
Langan Engineering & Environmental Services (civil);
Transsolar (climate)
GENERAL CONTRACTOR: Whiting-Turner Contracting
CONSULTANTS: Paratus (project manager/owner’s
representative); L'Observatoire International (lighting);
Edmund Hollander Design (landscape); Thornton
Tomasetti (facade); Reg Hough Associates (concrete)
dent), Holl and landscape architect Edmund
CLIENT: John F. Kennedy Center for the Performing Arts
Hollander sought to create an environment
that would attract the public on bikes or on SIZE: 72,000 square feet
foot. SHA also included a pedestrian bridge—a COST: $250 million
steel structure with spans of 84 feet between COMPLETION DATE: September 2019
the piers—to extend over the Rock Creek
Parkway to the PotomacÕs edge.
SOURCES
Clustered in the landscape, the quiet, idio-
syncratic pavilions appear to be enlarged METAL AND GLASS CURTAIN WALL: Gartner
sculptures. On a sunny day, the concrete and (Permasteelisa Group)
titanium white walls almost glisten. But the GLASS: Guardian
sun is key to the effect: the elevations facing PAINTS AND STAINS: Keim Mineral Coatings;
north appear flat and dull. Unfortunately, this Sherwin-Williams
is the side you first see when approaching the DIMMERS: Lutron
Kennedy CenterÕs main entrance. From this ACOUSTICAL PLASTER : Baswaphon
THE REACH AT THE KENNEDY CENTER WASHINGTON, D.C. STEVEN HOLL ARCHITECTS AND BNIM 97
 WEBINARS
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 ARCHITECTURAL RECORD OCTOBER 2019 BUILDING TYPE STUDY 1011 101

MULTIFAMILY
HOUSING
102 Residenze Carlo Erba,
Milan
110 Broadway Housing,
California
114 Independence Library
and Apartments,
Chicago
120 72Foster, Oregon
124 Ycone, France
PHOTOGRAPHY: © JAMES FLORIO

INDEPENDENCE LIBRARY AND APARTMENTS

BY JOHN RONAN ARCHITECTS
102 ARCHITECTURAL RECORD OCTOBER 2019 BUILDING TYPE STUDY MULTIFAMILY HOUSING

ROUND THE BEND  The undulating building sits

within a quiet residential neighborhood. Its travertine
base subtly contrasts with the Carrara-marble upper
floors (this page and opposite).
 103

Residenze Carlo Erba | Milan | Eisenman Architects and Degli Esposti Architetti

The Italian Job

After decades studying its architecture, Peter Eisenman finally builds in Italy.
BY JOSEPHINE MINUTILLO
PHOTOGRAPHY BY MAURIZIO MONTAGNA

peter eisenman does not build often, but—often—when he does, it’s
worth taking note. Now 87 years old, the influential architect, scholar,
theorist, and teacher has an unusual portfolio of completed projects
that runs the gamut from his radical early houses of the 1960s and ’70s
to an Arizona football stadium that’s hosted the Superbowl (2006) and
the Berlin Memorial to the Murdered Jews of Europe (record, July
2005). His latest, a condominum building, may not be as groundbreak-
ing or large or moving as others, but, as his first completed project in
Italy—a country in which he’s spent countless sojourns studying its
architecture, from Palladio to Piacentini—it has significant meaning
attached to it nonetheless.
Among the most important architects whose work he explored
was Giuseppe Terragni, the Rationalist who built under the Fascists.
“Eisenman reintroduced Terragni to a generation of Italian architects,”
says Lorenzo Degli Esposti. The Milan-based Degli Esposti did his thesis
on Eisenman and worked for a brief period in his New York office. In
late 2009, when a Milan developer, with whom he’s collaborated on
smaller housing projects, asked him to bring in a “big name” architect
104 ARCHITECTURAL RECORD OCTOBER 2019 BUILDING TYPE STUDY MULTIFAMILY HOUSING

SET IN STONE  The southern tip of the structure

incorporates a historic building (left). One end culminates
in a sharply pronounced open frame (bottom). The
alternating concave (opposite, top) and convex (opposite,
bottom) forms create a dynamic presence.

for a statement building in the city, the young

architect suggested his mentor.
The Residenze Carlo Erba condominium
project is emerging at the same time that
Milan has seen a rash of brazen new residen-
tial and commercial buildings by international
architects—Zaha Hadid, Daniel Libeskind, and
Arata Isozaki at the CityLife district northwest
of the center where the fairgrounds once
stood, and Pelli Clark Pelli, KPF, and Stefano
Boeri at Porta Nuova due north of the Duomo.
Unlike those architects, who introduced ultra-
thin or spiraling glass towers and vertical
forests to the city, Eisenman and Degli Esposti,
an architectural historian in his own right,
along with New YorkÐbased architect Guido
Zuliani, a third partner on the project, drew
upon MilanÕs unrivaled stock of exquisite but
eclectic palazzi in designing Carlo Erba.
ThatÕs not to say their new building slips
quietly into the background. “Eisenman mines
the physical and cultural archaeology of a
place,” states London-based Matteo Cainer,
another former employee and devoted acolyte.
That process of analysis results in multilayered
and often highly complex assemblies.
Yet the Milan project stands out among his
buildings—simpler in some respects, more
daring in others. Eisenman calls it a “mature”
work. Rather than conform to the street wall,
the audaciuosly curving structure snakes 492
feet through its one-acre triangular site, where
an office building once stood, disrupting the
angular grid of this quiet residential neighbor-
hood on the border of the Cittˆ Studi, MilanÕs
university district.
“IÕve never done a curved building before. I
didnÕt necessarily want to do a curved build-
ing,” admits Eisenman about his pragmatic yet
bold response to the brief. “But in order to get
the number of units they wanted within the
setbacks and restrictions, this was the form
that came out.”
The serpentine structure employs tradition-
al construction—reinforced-concrete columns
and structural slabs with bearing walls at the
six cores along the length of the building. The
only large steel members form the open frame
atop the building. One might associate it with
the frame on the Casa del Fascio in Como,
TerragniÕs 1936 masterwork that Eisenman
spent decades analyzing, an obsessive research
that culminated in the 2003 book Giuseppe
Terragni: Transformations, Decompositions, Cri-
tiques. (Terragni has five buildings in Milan,
designed with Pietro Lingeri, including the
 RESIDENZE CARLO ERBA MILAN EISENMAN ARCHITECTS AND DEGLI ESPOSTI ARCHITETTI 105

famous Casa Rustici [1935] on the other side of town.) But Eisenman
insists the open frame here was inspired not by Terragni—not even Le
Corbusier—but by the gridded scaffold of his own Wexner Center for
the Arts (1989).
But, of course, “Eisenman is interested in precedents,” says Degli
Esposti. For a specific reference in the city, the architects point to an-
other celebrated residential building, Giovanni MuzioÕs CaÕ Brutta (1923),
which also famously curves. Like the CaÕ Brutta, Carlo Erba has a tripar-
tite division of its facade, starting with a travertine base. Midway up the
building, at the fourth level, the piano nobile—originally intended to be
entirely glass but now a mix of solid and transparent walls behind a
glass balustrade—recedes slightly, forming a continuous balcony. The
top portion, or attico, is Carrara marble. “Milan has a layered look,” says
Eisenman. At Carlo Erba, the transition from the warm, rough traver-
tine to the cool, smooth marble is subtle but significant.
Throughout the building, there is a play between structure and
volume, solid and void. But it is a series of straight lines—even within
this curving form—that unites everything, extending also to the land-
scape: on the long, bulging, east face of the building, the windows are
pushed forward; on the opposite, mainly concave face, they recede.
“On one side the grid prevails, on the other it is excavated,” explains
Degli Esposti. The southern end of the building adeptly incorporates
the exterior walls of an earlier structure that faces the historic Piazza
Carlo Erba, from which the project gets its name.
The snaking form comprises four blocks distributed between the six
cores that reach as high as nine stories and step down several floors to
106 ARCHITECTURAL RECORD OCTOBER 2019 BUILDING TYPE STUDY MULTIFAMILY HOUSING

1 2 3 4

5 6 7 8

The first idea was building a perimeter block with an interior courtyard (1). Due to zoning constraints, a single bent block is proposed with the required num-
ber of units (2). A single curved form gives the required number of units and the desired architectural rhythm (3). A tripartite block is introduced, of base,
piano nobile, and attico (4). The architectural rhythm is articulated by vertical cores eliminating corridors (5). Development of the base fenestration (6).
Carving away of the attico to produce duplex and triplex units (7). Restoration of the block form with the addition of metal frames (8).

FOURTH-FLOOR PLAN FIFTH-FLOOR PLAN

3

1  RESIDENZE CARLO ERBA 4 EXISTING HISTORIC STRUCTURE
2 PUBLIC GARDEN 5 E
  LEVATOR CORE
0 60 FT.
SITE PLAN
20 M. 3  PIAZZA CARLO ERBA 6  BALCONY
 RESIDENZE CARLO ERBA MILAN EISENMAN ARCHITECTS AND DEGLI ESPOSTI ARCHITETTI 107

THE GREEN  Bound by a 10-foot fence, the landscaping

(above), designed by the architects, was meant to link to
the public garden across the street (above, right). An
early rendering shows the building in context (bottom).

credits
ARCHITECTS: Eisenman Architects Ñ Peter Eisenman,
principal. Degli Esposti Architetti Ñ Lorenzo Degli Esposti,
principal; Paolo Lazza and Stefano Antonelli, project team
I M AG E :  C O U R T E S Y  D E G L I  E S P O S T I  A R C H I T E T T I  ( B O T T O M )

ASSOCIATE ARCHITECT: AZstudio Ñ Guido Zuliani,

principal
ENGINEERS: Studio Associato d’Ingegneria Ardolino
(structural); Sistema Group Engineering, A.T. Advanced
Technologies, Studio MGM (mechanical and electrical)
GENERAL CONTRACTOR: Cooperativa Lavoratori Edili
(first phase); Italiana Costruzioni (completion)
CLIENT: Pinerba
SIZE: 150,000 square feet
COST: $93.8 million (total); $44.2 million (construction)
COMPLETION DATE: July 2019

SOURCES
EXTERIOR CLADDING: Marmi Conti di Del Vescovo e
Leoni (stone); Lilli Systems (metal panels)
108 ARCHITECTURAL RECORD OCTOBER 2019 BUILDING TYPE STUDY MULTIFAMILY HOUSING
 RESIDENZE CARLO ERBA MILAN
OUTSIDE CHANCE  Apart from oak floors, apartment interiors were left bare for
occupants to fit out (opposite, top). The lobby in the historic structure opens onto the
piazza (opposite, bottom left). Many of the apartments feature generous outdoor
spaces (opposite, bottom right and above).
create two- or three-story “urban villas,” as Degli Esposti calls them,
within the open steel framework at the top. Elevators and stairs within
the cores service just one to three apartments per floor, eliminating
corridors within the 80-unit building, which includes a basement and
additional sub-levels for parking and mechanicals. Like Alvar AaltoÕs
similarly undulating Baker House dormitory at MIT, many of the units
at Carlo Erba, though obviously much bigger, are wedge-shaped. Here,
however, without long corridors, the sense of the curve is only some-
what palpable from the interiors (left completely bare for occupants to
fit out). It becomes intense once you step onto the balconies or upper
terraces.
The form of the curve developed in part as a gesture to connect the
public garden across the street to this building, creating a nontradi-
EISENMAN ARCHITECTS AND DEGLI ESPOSTI ARCHITETTI 109
tional open courtyard. But city officials had other ideas. “The urban
landscape commission understood why our building didnÕt conform to
the street, but it insisted there be walls on the street,” recalls
Eisenman. An early requirement of the commission for two-story walls
around the property eventually got reduced to a 10-foot-high fence.
EisenmanÕs long-awaited Italian project faced other obstacles,
notably the construction halt from 2013 to 2016 when the original
contractor went bankrupt. Now over 70 percent sold, move-ins began in
July. A stark contrast with the glitzy towers of CityLife and Porta
Nuova—those new districts built almost entirely from scratch—the
Carlo Erba building is the perfect insertion into this Novecento neigh-
borhood and Eisenman just the right “big name” architect to design it.
The completed building is a testament that architecture can be highly
contextual and still extremely exciting. For Eisenman, long a polemical
thought leader less known for building than for analyzing and debating
architectural issues, it indicates an evolution. Says the architect, ironi-
cally or not, “IÕm a traditionalist.” n
110 ARCHITECTURAL RECORD OCTOBER 2019 BUILDING TYPE STUDY MULTIFAMILY HOUSING

Broadway Housing | Sacramento, California

Johnsen Schmaling Architects

Part & Parcel

An infill project enlivens a dormant urban
block with nine modern dwellings.
BY ALEX KLIMOSKI
PHOTOGRAPHY BY JOHN J. MACAULY

In 2001, the Sacramento, California, native now known as Erica

Cunningham bought her first fixer-upper house in the cityÕs Oak
Park neighborhood; during the process, she met her future husband,
Nathan Cunningham, a contractor. The alignment of EricaÕs vision
with NathanÕs construction experience naturally led the couple to
pursue house flipping, which they eventually parlayed into a busi-
ness, buying and developing vacant lots that became plentiful and
affordable following the 2008 recession. Since then, their company,
Indie Capital, has built more than 50 urban-infill houses across
Sacramento. Its most recent project, designed by the Milwaukee-
based firm Johnsen Schmaling Architects, adds a cluster of nine
boxlike single-family houses, each 1,500 square feet, to a long-ne-
glected site near the cityÕs major freeway, about a fifteen minute
walk from the Capitol.
The Broadway Housing project occupies an irregular L-shaped site
at the end of a long, slender block between Broadway, a busy thor-
oughfare with a large cemetery bordering its south side, and the
quiet, residential Yale Street, which features a motley arrangement
of bungalows, some well kept, with verdant gardens, and others Erica found the award-winning Johnsen Schmaling firm online.
tumbledown. It is this type of modest, eclectic area where the The architects were responsive. “What intrigued us was that the
Cunninghams see the most opportunity: “We want to shed light on team served as both developer and contractor, which allowed a
places that are a little bit on the fringe, that need some energy,” Erica streamlined budget—there was no third party profiting,” says
says. Indie CapitalÕs approach is to regenerate depreciated neighbor- principal Brian Johnsen. Finding the firm was a “happy accident,”
hoods by injecting midscale market-rate housing that respects says Erica. “TheyÕre sensitive to our goals, and they get the urban-
context while adding a contemporary allure. With people migrating infill process.”
from the Bay Area, seeking affordability, the couple identified a Broadway Housing is Johnsen SchmalingÕs third completed
demand for dwellings with a modern aesthetic. “These professionals project for Indie Capital. All three are subdivisions of detached
are used to a certain level of design that they arenÕt seeing here,” six to nine single-family residences, which sell for an average of
explains Erica. Indie Capital also aims to provide financially acces- $500,000 each. As with the firmÕs other work with Indie Capital,
sible entry-level housing for locals to buy. Broadway HousingÕs design responds perceptively to the miscel-
After developing a number of single-family residences, the com- lany of its environment. With units split between tranquil Yale
pany started to consider small collections of houses. Frustrated with Street and the more urban Broadway strip, the architects needed
local architects, who seemed unadventurous in residential design, to “find a formula that responds to both sides but is of the same
 111

FACE VALUE
The development features two
contemporary residential designs,
each with slightly cantilevered
upper levels that are articulated by
cedar cladding, orange polymer
panels, and generous window
openings (above and left).
112 ARCHITECTURAL RECORD OCTOBER 2019 BUILDING TYPE STUDY MULTIFAMILY HOUSING

Yale Street

Broadway

0 30 FT.
SITE PLAN
10 M.

MIX AND MATCH  The majority of the development’s buildings are two stories,

reflecting the scale of their quiet residential street. The remaining three houses,
which are located along a busy thoroughfare, are three stories to suggest a more
urban presence (above).
4 4

language,” says principal Sebastian Schmaling.

One way to achieve this was to manipulate the scales of the steel- 3 2 4 4 4
reinforced wood-framed structures. The six residences facing Yale
Street are two stories, each with a driveway and a front yard, to
reflect the streetÕs more suburban context. Inside, at the first level, 1 3 2
the combined kitchen, dining, and living area is arranged on the
west side, with the garage and storage on the east; the second floor 0 10 FT.
SECTION A - A
features three bedrooms and an office. The remaining three build- 3 M.
ings, on Broadway, which are flanked by a quirky headstone retailer
and a vacant parcel, are three stories with two bedrooms. There, by 1  GARAGE
using the garage as a plinth and stacking the living spaces on top,
2 KITCHEN
the architects ensured that residents would have views directly out
to the cemetery trees instead of onto the roadway. What the 3  LIVING ROOM
Broadway houses lack in bedroom space, they make up for in more 4 BEDROOM
generous storage areas.
Despite the difference in massing, the buildings have the same
DNA. “Since the forms had to be very simple, we tried to articulate
credits
things to make them look more complex than they really are,”
ARCHITECT: Johnsen Schmaling SOURCES
Schmaling says. For all the structures, the architects partially
Architects Ñ Brian Johnsen, Sebastian EXTERIOR CLADDING: Boral (polymer);
extruded the upper levels to create cantilevered window bays, wrap-
ping these “cubes” with cedar cladding and animating them with Schmaling, principals in charge; Ben Sto (stucco)
orange polymer paneling and syncopated fenestration, lending a sense Penlesky, Andrew Cesarz, Angelina ROOFING MEMBRANE: Johns Manville
of vitality and surprise to the muted palette of surrounding buildings Torbica, Matt Wendorf, P.J. Murrill, DOORS: Simpson Door Company, Sierra
and lots. Inside, the floor-to-ceiling glazing admits ample natural light project team Pacific (sliding doors)
while providing dynamic sight lines to the outside. It also lends a ENGINEERS: Core 4 (structural); ALUMINUM-CLAD WINDOWS: Sierra Pacific
sense of verticality that makes the units feel airy and spacious. KPFF (civil) HARDWARE: Inox (locksets, pulls); IKEA
Completed earlier this year, all but one unit are occupied. Three GENERAL CONTRACTOR: (pulls)
blocks away, Indie Capital is working with Johnsen Schmaling on a Indie Capital INTERIOR FINISHES: Sherwin-Williams
new housing typology that they hope will offer more financial flex- CLIENT: Indie Capital
(paints and stains); Cosentino (quartz solid
ibility for owners—a development with duplexes stacked atop studios surfacing); Daltile, Crossville (floor and wall tile)
SIZE: 1,500 square feet per building
that could be rented out to help offset housing expenses. “We try to LIGHTING: Cooper, Jesco
absorb the lessons learned from each project to guide future develop- COST: $2.8 million PLUMBING: Nameek’s, Grohe, Blanco, Kohler,
ment,” says Erica. “We are always trying to get better.” n COMPLETION DATE: February 2019 Moen
BROADWAY HOUSING SACRAMENTO, CALIFORNIA JOHNSEN SCHMALING ARCHITECTS 113

GRACIOUS LIVING  Efficient layouts and generous window openings allow for bright,
spacious living areas. The kitchens and bathrooms feature IKEA cabinets with quartz
surfacing (above).
114 ARCHITECTURAL RECORD OCTOBER 2019 BUILDING TYPE STUDY MULTIFAMILY HOUSING
 115

Independence Library and Apartments | Chicago | John Ronan Architects

Balance the Books

A public library combined with affordable housing aims to become a neighborhood center.
BY JOSEPHINE MINUTILLO
PHOTOGRAPHY BY JAMES FLORIO

An old photogrAph of a high-rise at the Cabrini-Green housing
project on Chicago’s Near North Side—the relentless monotony of its
facade rendered more so in the black-and-white image—served as inspi-
ration for architect John Ronan on what not to do when designing a
building for affordable housing in the Irving Park neighborhood, seven
miles farther north of those now-demolished megastructures.
Ronan’s building, it should be said, represents a completely different
scale and approach from such notorious midcentury urban-renewal
projects. Containing only 44 units, a mix of one- and two-bedrooms
exclusively for seniors, the six-story structure looms large among its
neighbors—mainly two-story houses, small commercial buildings, and
empty lots—but addresses only a trickle of the overwhelming demand
to accommodate low-income residents within our cities.
This particular model, however, incorporates senior housing with a
library on the ground floor. Three such “co-location” buildings, meant
to be “shared spaces that bring communities together,” according to
former mayor Rahm Emanuel, emerged from a 2016 competition he
initiated in conjunction with the Chicago Housing Authority and the
Chicago Public Library. All three buildings—the other two by Perkins
and Will and SOM—opened before Emanuel left office in May.
“We designed for speed of construction,” says Ronan, who was given
just nine months between the initial concept design and groundbreak-
ing, and 17 months to build. The structure went up fast, in part because
the bottom two levels have a poured-in-place reinforced-concrete struc-
ture and the top four steel, so different trades worked simultaneously.
It’s a building method Ronan successfully used before at the much
larger Gary Comer Youth Center (record, February 2008) on the South
Side, built in even less time. “I like these kinds of projects, actually,”

TWO IN ONE
The housing portion is set
back from the street wall
(opposite). The corrugated
aluminum that clads the
upper levels contrasts
with the dark concrete
panels of the library at the
base (this page).
116 ARCHITECTURAL RECORD OCTOBER 2019 BUILDING TYPE STUDY MULTIFAMILY HOUSING

1
8
1
8
2

9 2 9

9
9

1 ENTRY COURTYARD
10
2 RESIDENTIAL LOBBY
3 RESIDENTIAL OFFICE 10

4 CHILDREN’S AREA
A
5 INFORMATION
6 STAFF WORKROOM A 0 30 FT.
GROUND-FLOOR PLAN
7 LIBRARY OFFICE 10 M.
0 30 FT.
8 COMMUNITY ROOM GROUND-FLOOR PLAN
10 M.

9 MECHANICAL
10 PARKING
12
13 16
11 ADULT READING AREA
15
11
12 TEEN AREA 17

13 MEDIA ROOM
18
14 PLANTED TERRACE

15 RESIDENTIAL LOUNGE

16 FITNESS ROOM 14

17 LAUNDRY

18 MAINTENANCE
0 30 FT.
19 ONE-BEDROOM UNIT SECOND-LEVEL PLAN
10 M.
20 TWO-BEDROOM UNIT

21 BALCONY

19
20

20
19

21

credits
ARCHITECT: John Ronan Architects —
John Ronan, lead designer; Marcin Szef,
SOURCES
0 30 FT.
RESIDENTIAL-LEVEL PLAN
EXTERIOR CLADDING: Centria (metal 10 M.

project architect panels); Gate Precast (precast concrete)

ENGINEERS: Thornton Tomasetti EIFS: Alpolic
(structural); dbHMS (m/e/p); Terra ROOFING: Firestone 19
Engineering (civil) ENTRANCES: C.R. Laurence, Pittco
19 21
CONSULTANTS: Shiner Acoustics METAL DOORS: Kawneer, Assa Abloy
(acoustics) ACOUSTICAL CEILINGS AND RESILIENT 21

GENERAL CONTRACTOR: FLOORING: Armstrong 19

Leopardo Companies PLASTIC LAMINATE: Formica, Nevamar
CLIENT: Evergreen Real Estate Group, FLOOR AND WALL TILE: Daltile
11
Chicago Public Library, Chicago Housing CARPET: Bentley 14

Authority PLUMBING: American Standard, Elkay 5 6

4 10
SIZE: 60,000 square feet RADIANT CEILING: Uponor
COST: $24.8 million DOWNLIGHTS: USAI Lighting, Indy,
0 15 FT.
COMPLETION DATE: August 2019
Philips Lightolier SECTION A - A
5 M.
INDEPENDENCE LIBRARY AND APARTMENTS CHICAGO JOHN RONAN ARCHITECTS 117

COLOR CODED The modest interiors are brightened with touches of color
(opposite, both). Balcony railings are perforated metal (above). Rubber
form liner was used to make textured concrete at the elevators (right).

admits Ronan, “they donÕt drag on and on.”

At the Independence Library and Apartments, cost was obvi-
ously another concern. The shorter construction period helped
with that, but combining the two programs did not. Ronan
wanted each aspect of the building to have its own character.
Clad in a dark ground-and-polished concrete that looks like
terrazzo—its precast panels, some as large as 12½ feet by 36 feet,
were installed in a day—the two-story library has a strong street
presence. Glazing along most of its 160-foot sidewalk frontage
allows people from the neighborhood, who had lost their library
to a fire a few years before, to see the activity inside.
The housing, on the other hand, is set back 18½ feet from
the street wall, its stark white corrugated metal facade punctu-
ated with pops of color. “Back in the Õ90s, when I witnessed
Cabrini-Green getting torn down,” recalls Ronan, “there was a
moment mid-demolition where you could see the individual
units inside and all the different wallpaper. IÕll never forget
that.” To differentiate the units here, Ronan designed each with
a balcony of a different color. He staggered the balconies to “get
away from the cookie-cutter nature of social housing,” a cost-
premium that somehow survived value-engineering. The result
is a playful but carefully composed facade—front and back. At
the corners, Ronan employs rounded metal panels with the
maximum 5-foot radius available, to further distinguish the
taller structure from the boxlike library at its base.
The corrugated metal on the facade makes a transition to
perforated sheets that act as railings for the balconies. ItÕs a
simple but effective detail that elevates this cheap material.
While the metal here is coated aluminum, Ronan similarly
118 ARCHITECTURAL RECORD OCTOBER 2019
A GOOD READ Ronan customized the off-the-shelf bookshelves by adding frosted plexiglass (above). The radiant ceiling
panels over the 29-foot-tall library conceal hydronic tubing (opposite).
employed corrugated zinc at Chicago’s Poetry
Foundation (record, November 2011), the perfo-
rated panels there providing a veil-like screen over
and around its courtyard.
Inside the housing, apartment entrances along the
corridors are highlighted with a color matching its
balcony, the bright shades helpful for vision-impaired
seniors or guests. “It was a choice based partly on
visiting my mother’s retirement home,” says Ronan,
“I could never find her room.” Units are spacious but,
not unexpectedly, unexceptional—apart from the
generous outdoor area the balconies offer.
The 16,000-square-foot library, however, which
Ronan imagines as a source of pride for the neigh-
borhood, is a soaring space, its exposed concrete
also punctuated with brightly colored furniture
and finishes. 29½-foot-tall concrete columns run
down its center, which is surrounded by a mezza-
nine level containing the adult reading area and a
media room with a mural painted by local street
artist Dont Fret, featuring Chicago literary figures
(including, at Ronan’s request, Harriet Monroe, the
BUILDING TYPE STUDY MULTIFAMILY HOUSING
founder of Poetry magazine, which grew into the
Poetry Foundation). A 7,750-square-foot planted
terrace, built over the parking area, extends from
the mezzanine and is accessible to residents and,
by appointment, to library groups. It adds to the
diversity of spaces within the building, which also
includes a large community room on the ground
floor with its own entrance.
While the library opened in early 2019, resi-
dents for the units above moved in just this
summer. Ronan has high hopes for how the co-
located spaces will cohabitate, especially the
mingling of residents with the throngs of children
who have been filling the library. In the mean-
time, the structure has quickly become a land-
mark in an otherwise nondescript area, bringing
design-minded building to Chicago’s outer neigh-
borhoods. And though Ronan admits you can’t put
a library in every social housing project, doing so
here can help to “change people’s perceptions
about social housing”—the need for which will
only become more acute. n
INDEPENDENCE LIBRARY AND APARTMENTS CHICAGO JOHN RONAN ARCHITECTS 119
120 ARCHITECTURAL RECORD OCTOBER 2019 BUILDING TYPE STUDY MULTIFAMILY HOUSING
72Foster | Portland, Oregon | Holst Architecture
One Site Fits All
A dignified affordable-housing complex targets multiple generations.
BY MIRIAM SITZ
In Portland, oregon, a collaboration over many years between an
architecture firm, a nonprofit developer, and a social services agency
has set a high bar for affordable multifamily housing.
REACH Community Development, which provides affordable hous-
ing in Oregon and Washington, had a long-standing relationship with
the Asian Health and Service Center (AHSC). After a lengthy search for
a site to build housing near the AHSC headquarters in southeast
Portland, REACH found a city-owned trapezoidal parking lot available
for development through a public RFP in the rapidly developing Foster-
Powell neighborhood. The organization engaged local firm Holst
Architecture—which designed the AHSC headquarters, completed last
year—to conduct a feasibility study in preparation for replying to the
RFP. They won development rights and funding from the city in April
2016, and broke ground on the project, called 72Foster, in September
2017. The goal, informed by zoning requirements, was to build 100
rental units in a range of sizes, with ground-level retail meant to en-
liven the buildingÕs street presence and engage with the community.
Built on a tight budget, the recently completed building is located
across the street from the Portland Mercado, a popular restaurant-
business incubator that offers Latin American dishes from 15 food carts
and stalls. An inviting public plaza at the rear of 72Foster gives breath-
ing room to the nearby single-family homes.
Holst partner Dave Otte describes Foster-Powell as one of the last
places in Portland to buy a starter home. “I think youÕre going to see a
whole new wave of young families moving out here, and a lot more
transit-oriented, mixed-use development,” he says. This summer, the city
converted Foster Road from a four-lane thoroughfare to a pedestrian
friendly two-lane street bordered by bike lanes. The neighborhood is
among the more diverse in the city, with a number of growing Asian-
American communities. REACH CEO Daniel Valliere reports that some
27 percent of occupants identify as Asian, as compared to just 8 percent
in Portland overall. As the buildingÕs resident services provider, AHSC
will offer educational, professional, and life-skills programming and
support to tenants. Residents cannot earn more than 60 percent of the
Median Family Income—$34,200 for one person or $48,840 for a family
of four in 2018—and 20 units are set aside for Section 8Ðvoucher holders.
Since the project is one of the areaÕs first multifamily buildings, the
architects aimed to set the tone for future development—despite the
fact that design review is not required here. Shaped like an obtuse V,
72Foster is a four-story wood-frame structure, built on a concrete po-
 121
P H O T O G R A P H Y:  ©  C H R I S T I A N  C O L U M B R E S  ( T O P ) ;  H OV R T E K  ( B O T T O M )

CURB APPEAL  The building hugs the busy intersection

of SE 72nd Avenue and Foster Road (above), and is
surrounded by the Portland Mercado (right, at bottom,
left) and single-family homes.

dium to house a variety of street-side retail

businesses, including a brick-oven pizzeria,
bubble tea shop, and game store. Its low-key
material and color choices lend a timeless
quality, deferring to the colorful Mercado
across the street. A pass-through bisects the
building at grade near its vertex, creating a
pedestrian connection between the single-
family housing behind it and the Mercado.
This space also accommodates a utility ease-
ment, where the city reserves the right to dig
up a buried cable line. “Initially, it was a chal-
lenge,” says Valliere. “But now, the passageway
is a feature that the neighbors and residents
think is awesome.”
In deference to the neighborhood, the
122 ARCHITECTURAL RECORD OCTOBER 2019 BUILDING TYPE STUDY MULTIFAMILY HOUSING

architects pulled the mass of the building

away from the existing houses to create the
plaza. And although the city does not re-
quire space for cars within such close
proximity to public transit, the architects
opted to add two small parking lots, con-
taining a total of fewer than 40 spots. “We
didn’t want to over-park the site, with the
future of transportation moving away from
cars, but we also didn’t want to be a burden
on the neighborhood,” says Otte.
With a construction budget of $17 million
and an overall cost of $215 per square foot,
the architects used practical, reasonably
priced materials that will be easy to main-
tain. (REACH has a 100-year lease on the
property.) Thick planks of cement-board
siding clad the upper stories of the building,
with vertical metal trim pieces breaking up
the planks to avoid visible butt joints.
Orange sheet metal framing outlines the
modestly sized windows to give the impres-
sion of a more generous opening. At street
level, dark brick surrounds the glazed vi-
trines of the retail establishments, while
cedar planks wrap around the building
entrances and the pass-through.
Inside, a bright, airy lobby connects with

P H O T O G R A P H Y: © C H R I S T I A N C O L U M B R E S ( T H I S PAG E A N D O P P O S I T E , T O P ) ; K L I K C O N C E P T S (O P P O S I T E , B O T T O M )
a flexible lounge—complete with a kitch-
credits en—that opens to the courtyard via a
ARCHITECT: Holst Architecture — Dave Otte, Kim Wilson, Kevin SOURCES folding glass wall. Energy for the common
Val, partners; Lee Jorgensen, Jake Watkins, Kristin Solomon, FIBER CEMENT SIDING: James Hardie spaces of the building is provided, in part,
Bryce Tolene, Lauren Sanchez, Keri Woltz, Cory Hawbecker, COMPOSITE METAL PANELS: Alpolic Materials by a 106.5 kilowatt hour solar array on the
project team SLIDING STOREFRONT: Nanawall roof. Upstairs, the residential units are
ENGINEERS: MFIA (mechanical, plumbing); Samata (electrical); ALUMINUM STOREFRONT: Kawneer
spread among three floors. There are 66
ABHT (structural); Humber Design Group (civil) studios and nine three-bedroom apart-
MOISTURE BARRIER: VaproShield
CONSULTANTS: PLACE (landscape); Acoustic Design Studio
ments, with one- and two-bedrooms
WOOD DECK PAVERS: Bison Innovative Products
(acoustics); Professional Roof Consultants (building envelope)
comprising the rest. “It’s a high percentage
ACOUSTICAL CEILINGS: MBI Products
of three-bedrooms for Portland,” Otte ex-
GENERAL CONTRACTOR: LMC Construction PLASTIC LAMINATE: Wilsonart plains. “The developer was committed to
CLIENT: REACH Community Development SOLID SURFACING: DuPont providing
5 as much family housing5 as pos-
SIZE: 79,600 square feet RESILIENT FLOORING: Patcraft sible.” Each unit has a full kitchen and
6 6
COST: $24 million CARPET: Patcraft, Mohawk Group spacious bathroom, with electric heat, LED
7 7
COMPLETION DATE: March 2019 lighting, and operable windows. The mix of

4 44 1 4 1
4 4 1 3 6
3
1 3 1
6 5 6 5 7
6 5 1

4 4 0 30 FT. 0 30 FT.
10 10 4
FOURTH-FLOOR PLAN FOURTH-FLOOR PLAN
10 10 M. 10 M.

10 10
10 1 ENTRANCE 6 BIKE STORAGE
2 OFFICE 7 LAUNDRY
3 LOBBY 8 COURTYARD
4 RETAIL 9 PASS-THROUGH 0 30 FT.
0 50 FT. FOURTH-FLOOR
0 50 FT.PLAN
SITE PLAN 0 50 LOUNGE
5 FT. 10 PARKING 10 M.
SITE PLAN 15 M. 15 M.
15 M.
72FOSTER PORTLAND, OREGON HOLST ARCHITECTURE 123

FLOWER POWER  Paintings by Haruka Ashida Ostley, a

Portland-based artist originally from Japan, adorn the
lobby (above), hallways, and ground-floor lounge, which
opens to the back courtyard (opposite). Some units
have a view of Mount Hood (right).

studios—each around 360 square feet—and

larger apartments is intended to foster a
multigenerational atmosphere, based on the
assumption that seniors will gravitate toward
the studios, and families to the larger units.
Interest has far exceeded availability; five
months after opening, applications were
approved for 96 of the 101 apartments, with
the remaining five in progress.
“Affordable housing is hard enough to build
and almost impossible to maintain because of
funding, so making sure materials are long-
lasting and easy to replace is a trend we see in
a lot of our affordable-housing projects,” says
Otte. “And yet, thereÕs a balance to strike: how
do you make something simple and durable,
but also make it feel dignified and not institu-
tional?” At 72Foster, Holst seems to have found
the sweet spot. n
124 ARCHITECTURAL RECORD OCTOBER 2019 BUILDING TYPE STUDY MULTIFAMILY HOUSING
 125

Ycone | Lyon, France | Ateliers Jean Nouvel

French Dressing
An apartment building sets itself apart in a rapidly developing waterfront district.
BY ANDREW AYERS
PHOTOGRAPHY BY ROLAND HALBE

When, in 43 bce, the Romans founded Lyon, in the Auvergne-Rhône-

Alpes region of France, it was in large part because of its strategic
position at the confluence of two major waterways, the River Saône and
the mighty Rhône, the latter of which is navigable all the way to the
Mediterranean. But Lugdunum, as the empire called the city, was lo-
cated some way from the actual confluence, on the right bank of the
smaller Saône, and it wasn’t until later that Lyon began to spread down
the long spit of land leading to the meeting point. Only in the 19th
century was the tip of the spit developed, with industrial, railroad, and
port activities—and, inevitably, after the industrial decline of the late
20th century, the city found itself with a large chunk of land ripe for
redevelopment. With that history as backdrop, Ateliers Jean Nouvel
(AJN) created Ycone, a new 174-foot-high residential tower of 92 apart-
ments that attempts to respond to the changing context of 21st-century
Lyon by posing as—and calling itself, in case nobody got it—an icon.
Launched in 1995 and baptized “Lyon-Confluence,” the redevelopment
is being carried out in two phases, both of which propose mixed-use
programs of housing, shopping, offices, and administrative buildings.
The first, completed in 2015 and covering 101 acres, was master-planned
by urbanist François Grether and landscape architect Michel Desvigne,
and includes contributions by the likes of MVRDV, Massimiliano Fuksas,
Jakob + MacFarlane (record, May 2011), and Odile Decq (record, May
2016). The second phase, launched in 2009 and planned by Herzog & de
Meuron (H&dM) with Desvigne, concerns 86 acres and, in contrast to the
first, proposes a mix of lower- and higher-rise structures, part of a recent
trend in French cities to relax traditional height restrictions and allow
taller residential buildings. Ycone is, of course, one of these, and its mor-
phology makes sense in terms of both imposing its presence next to
railroad tracks and the developer’s ambition to build some of the city’s
most expensive real estate (apartments in the upper floors sold for $1,113
per square foot, which is a record in Lyon).
But Ycone isn’t just about luxury condominiums, for not only does it
offer apartments ranging from studios to five-bedroom penthouses
(one with a rooftop solarium and pool), it also contains 27 social-sector
dwellings for rent (admittedly, at the top end of what is considered
“social”), in keeping with French ideas about mixitŽ sociale (discouraging
class/income ghettos through urban-planning decisions). There is, none-
theless, a form of physical and qualitative segregation within the tower
itself, which AJN describes as “two buildings in one,” since the social-
sector apartments occupy a separate zone on the northern flank. As
well as having its own entrance and elevators, this part of the tower
has different floor heights, 10 levels of 8½-foot-high stories having been
squeezed in. Adjacent to this zone are nine levels of market-rate apart-
ments for sale, with floor heights of almost 11 feet—the tallest in the
building, to bring in more light on the lower levels—and another four SECOND SKIN A partially glazed white aluminum frame shrouds the tower (opposite
levels of market-rate dwellings above, again in the 10-foot-plus range. and above). The pastel hues of glass and powder-coated aluminum panels also help
In order to make possible this segregation, Ycone was designed as to subtly distinguish the building amid a sea of new construction.
126 ARCHITECTURAL RECORD OCTOBER 2019 BUILDING TYPE STUDY MULTIFAMILY HOUSING

GO WITH THE FLOW  The building is part of ÒLyon-Confluence,Ó the

redevelopment of a spit of land between the Sa™ne and Rh™ne rivers
(above and this image). A large brise-soleil provides shade atop the
building (opposite, top). Wraparound balconies offer Òin-betweenÓ space
(opposite, bottom).
YCONE LYON, FRANCE ATELIERS JEAN NOUVEL 127

two structurally separate concrete-framed halves. To keep things light

and renewable, the facades are in wood, clad with aluminum panels. But
itÕs inaccurate to talk of just one facade, since, in classic Nouvel boundary-
blurring style, Ycone actually has two: balconies wrap around all four of
the towerÕs elevations and are faced with a white-lacquered aluminum
frame, which flares out at the top and is partially glazed with variously
colored and textured glass. Nouvel describes the balconies as an “in-
between” space—“what the Japanese call ma”—to which the outer skin
brings a measure of visual and solar protection while framing views and
adding a certain depth to the elevations. Further blurring occurs at roof
level, since Ycone is coiffed with an 88-ton steel brise-soleil that also gives
the building a distinctive sculptural silhouette.
Another way that Ycone seeks to distinguish itself is through color: in
addition to the outer envelopeÕs lightly tinted glass, the inner elevationÕs
powder-coated aluminum panels sport 21 pastel hues ranging from sky
blue to coral. Where phase 1 of Lyon-Confluence often exhibited formal
contortions and garish facade finishes (for example, Jakob + MacFarlaneÕs
orange and green cubes), phase 2, at H&dMÕs behest, is intended to be
more sober (indeed the phase-2 pilot city block that was directly over-
seen by the Swiss architects is completely monochrome). Ycone was
supposed to be purely white but, perhaps to prevent its being mistaken
for a Richard Meier building, Nouvel has added what he describes as
homeopathic touches of color—inspired by the Italianizing hues of old
Lyon—to make the buildingÕs whiteness vibrate in the manner of MonetÕs
128 ARCHITECTURAL RECORD OCTOBER 2019 BUILDING TYPE STUDY MULTIFAMILY HOUSING

3 2 1 3
4
4

0 30 FT.
SECTION A - A
10 M.

LA VIE EN ROSE The exterior’s muted palette is

echoed inside.

paintings of Normandy’s chalk cliffs.

In terms of the accommodation it offers,
there’s nothing particularly original about
Ycone in the French context—even the inclu-
sion of social housing in a private-sector
development is standard practice, although it’s
perhaps more subtly handled here to the ex-
tent that there is no visual distinction made
outside. The developer clearly chose Nouvel, as
the tower’s name makes evident (say it out
loud à la française), to help create a commer-
cially attractive “icon.” While the bet has paid
0 0 FT.
15 15 FT. off in the short term (the operation sold out six
PENTHOUSE
PENTHOUSE PLAN PLAN
5 M. 5 M. months before completion), it remains to be
seen how the building will age, both in terms
of construction quality—will all that exposed
metal weather well?—and the unfolding city-
scape as Confluence 2 develops around it. ■

credits
ARCHITECT: Ateliers Jean Nouvel — Jean Nouvel;
Samuel Nageotte, advisor to Jean Nouvel; Thomas
Amarsy, Alberto Rubin Pedrazzo, project leaders; Victoire
A A
Guerlay, Rui Pereira, Marie Charlotte Prosperi, Zou Qiang,
architects; Clarisse Estang, Guillermo Gonzales, Rémi
Lapostolle, Daniel Martinez, Onur Ozman, Giulia Piana,
Benjamin Alcover, Lionel Arnold, Mizuho Kishi, Sébastien
Rageul, Franklin Tresca, Alexandre Braleret, Laura Joo,
0 15 FT. Jim Rhone, Rafaëlle Ishkinazi, Marlene Gaillard, Eugénie
SECOND-FLOOR PLAN
5 M. Robert, Vatsana Takham, Sabrina Letourneur, team
ENGINEERS: Cogeci (structural); Katene (building
■ AFFORDABLE HOUSING 1 NORTH LOBBY services); Arcora (facades)
RENTAL UNITS 2 SOUTH LOBBY CLIENT: SCCV M3 Sud Confluence
■ MARKET RATE 3 COMMERCIAL SPACE SIZE: 70,000 square feet
CONDOMINIUMS COST: withheld
4 PARKING
5 TERRACE COMPLETION DATE: July 2019
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132 ARCHITECTURAL RECORD OCTOBER 2019
Life Lessons
Architects turn to biology for solutions to all that ails us.
By Katharine Logan
The earTh’s biological materials and the
processes through which theyÕre generated
represent the fruits of about 3.8 billion years
of research and development. As our species
approaches the limits of the earthÕs carrying
capacity, thereÕs a lot humans can learn from
them. ThatÕs the basic premise of biomim-
icry—design inspired by the way functional
challenges have been solved in biology.
BiomimicryÕs emphasis on problem solving
distinguishes it from related concepts, such as
BIOMIMETIC MATERIALS
biophilia (the hypothesis that humans have an
innate need for connections with nature and
other forms of life), biomorphism (design based
on natureÕs shapes and forms), bio-utilization
(the direct use of nature—in green infrastruc-
ture, for instance), and bio-inspired design (a
catch-all). The ideas these terms represent are
distinct yet compatible, and a given scheme
may combine more than one of them.
Biomimicry can generate solutions to a
gamut of design challenges ranging from
Jenny SabinÕs Ada, a digitally
knitted enclosure, is equipped
with sensors enabling its photo-
luminescent fibers to transform
and respond to visitors.
green chemistry to organizational develop-
ment. But of particular interest for architects
are biomimetic construction materials and
the ways they are leading to more sustain-
able—and even regenerative—buildings. For
example, looking to nature for ways to curb
runaway carbon emissions reveals that biologi-
cal processes kept pre-anthropogenic levels of
atmospheric carbon dioxide confined within a
narrow band for hundreds of thousands of
years. ThatÕs probably because, as CO2 levels
 133

increased, blooms of coccoliths—marine

microorganisms that form their skeletons
from calcium carbonate, and become lime-
stone when they die—transferred carbon from
the atmosphere to the earthÕs crust, regulating
the balance. “Biology would solve the problem
of climate change by making a lot more stuff
out of atmospheric carbon,” says Michael
Pawlyn, author of Biomimicry in Architecture
and founding principal at London-based
Exploration Architecture.
The BioRock Pavilion, Exploration Archi-
tectureÕs concept for a small auditorium, does
just that. BioRock, a technology originally
developed by marine scientists and used in the
restoration of coral reefs, grows limestone in
seawater by running a low-voltage current
through steel filaments; the current causes a
chemical reaction that deposits carbon-seques-
tering limestone along the armature. And
Exploration Architec-
unlike, say, concrete manufacturing (which is ture’s proposal for a 
responsible for 4 to 8 percent of the worldÕs crow-skull-inspired 
CO2 emissions), this natural carbon-sequester- pavilion (above), 
depends on additive-
ing process is environmentally benign.
manufacturing 
“ThereÕs much to be gained from looking at processes to place 
the way materials are assembled in biology,” material precisely where 
says Pawlyn, listing some of the key principles: it is needed. The firm’s 
concept for an 
low-energy production with locally available
auditorium (left) uses a 
materials, the absence of persistent and bio- technology originally 
accumulative toxins, and interconnections developed to restore 
within a closed-loop system in which every- coral reefs.
thing can be—and is—reused.
A product generated according to these
principles—in a process developed by Brent
P H O T O G R A P H Y:  ©  J O H N  B R E C H E R  F O R  M I C R O S O F T  (O P P O S I T E ) ;  K E L LY  H I L L  P H O T O G R A P H Y  ( 2)

Constantz, founder of Blue Planet, a Los Gatos,

California, company focused on economically
sustainable carbon capture—is already being
used commercially. Blue Planet grows carbon-
sequestering aggregate for use in concrete or
roadbeds by converting CO2 from the air or
from flue gas—often from cement plants—into
limestone. Instead of a current-charged wire
armature, Blue Planet uses rock particles
from solid industrial waste (such as concrete-
demolition debris) to provide a nucleus around
which limestone builds in water-based mineral
solutions to sizes ranging from sand to gravel.
Because the aggregateÕs carbon-sequestering
coating is 44 percent CO2 by mass, the material
completely mitigates the carbon emitted in the
production and transport of the concrete itÕs
part of—and then some—to produce carbon-
negative concrete: 3,000 pounds of aggregate
in a cubic yard of concrete could sequester
1,320 pounds of carbon, more than offsetting
the 300 to 600 pounds of embodied carbon the
concrete would typically represent. It has been
used in such projects as the San Francisco
International Airport, and, if it were substi-
tuted for all 50 billion tons of aggregate
quarried each year worldwide, it would seques-
ter more than half the worldÕs annual
anthropogenic carbon emissions, bringing
atmospheric carbon down to preindustrial
levels by 2050 singlehandedly, according to an
estimate from the Foundation for Climate
Restoration. With production facilities able to
locate near ready-mix operations, the cost is
generally less than that of quarried and trans-
ported aggregate, says Constantz, so the main
challenge to widespread adoption is Blue
PlanetÕs ability to open enough plants.
In addition to growing material by the
strategic and adaptive accretion of available
substances, biology tends to generate efficient
but spectacularly complex, hierarchically
organized systems to efficiently carry loads
with minimal structure—an idea neatly
summed up in an aphorism attributed to
biologist and retired academic Julian Vincent:
“In biology, material is expensive, and shape is
cheap.”
One of the most elegant examples is birdsÕ
skulls, for which evolution has prioritized
lightness. Built up of fine layers of bone con-
nected by tiny struts, they combine dome and
space-frame technologies, says Pawlyn, whose
crowÕs-skull-inspired pavilion, now in design
(with a still-confidential commission in the
offing), demonstrates the principle.
“Conventionally, itÕs been very difficult to
mimic the complexity of biology without a
huge cost penalty,” he says. But now, with
additive manufacturing processes placing
material precisely and only where itÕs needed,
thereÕs no cost premium, says Pawlyn, “and
there is actually the potential to save money
by using less material.”
Recent innovations in brick also demon-
134 ARCHITECTURAL RECORD OCTOBER 2019
strate biomimetic structural hierarchies.
“Bricks have not changed in millennia,” says
Jenny Sabin, professor and researcher at
Cornell UniversityÕs College of Art, Archi-
tecture, and Planning, and principal of Jenny
Sabin Studio. “But now, with 3-D printing,
every single brick can be different,” she says.
In a product series called Polybrick 1.0, SabinÕs
interdisciplinary lab developed the algorith-
mic design and additive manufacturing of
cellular-form brick for mortarless assembly
and mass customization. Subsequent collabo-
rations led to the development of bricks
generated according to the principles of hu-
man bone formation: Polybrick 2.0 generates
osteoid bricks with densely structured lattices
for use where loads are greatest, at the base of
a wall, and increasingly porous lattices as
loads lighten toward the top. A further series,
BIOMIMETIC MATERIALS
Polybrick 3.0, incorporates synthetic DNA as a
“programmable glaze.” It emits biolumines-
cence in nano- to macro-scale patterns of the
designersÕ choosing. Ultimately Sabin sees this
technology having the potential to signal the
presence of certain air contaminants (and
perhaps even to mitigate them), or to encode
data to facilitate self-assembly.
With this, the series is beginning to
manifest other quintessentially biological
characteristics: sensing, responding, and
adapting. SabinÕs studioÕs most recent work,
Ada, a project developed within Microsoft
ResearchÕs Artist in Residence program, takes
these characteristics even further.
Now installed at the companyÕs campus in
Redmond, Washington, Ada is “a pavilion of
knitted light,” says Sabin, “a cyber-physical
architecture that immerses visitors in an
Jenny Sabin’s Polybrick series includes a mortarless 
masonry system developed with an algorithmic design 
(left) and bricks that have dense structural lattices for use 
where loads are greatest and more porous lattices for 
other areas (below).
interactive glow of photoluminescence.” Its
lightweight, digitally knitted structure con-
sists of responsive and data-driven tubular and
cellular components. Sensors in the pavilion
and throughout the building collect indica-
tions of emotion, such as facial patterns and
voice tones, from visitors choosing to partici-
pate. Artificial intelligence (AI) processes the
data, and scripts developed in SabinÕs architec-
ture firm translate it into three different
scales of lighting that transform AdaÕs
responsive materials (such as textiles and
photoluminescent fibers) to reflect individual
and collective sentiment. “ItÕs an interactive,
human-centered project that celebrates AI,”
says Sabin, “an architecture that is happy to
see you and smiles back at you.”
Where Ada deploys sensors and AI to elicit
a material response to affect-based inputs, the
work of DO|SU Studio (San Francisco) relies on
inherently responsive smart materials, such
as thermobimetal, to create dynamic building
envelopes that help to regulate conditions in
the interiors. Thermobimetal consists of two
metal alloys laminated together, each with a
different coefficient of expansion; as tem-
perature rises, one side expands more quickly
than the other, and the material curls. Using
alloys of nickel, manganese, iron, and copper,
DO|SU has developed assemblies that make
the most of the materialÕs kinetic properties
to mimic the way living things respond to the
sun—opening and closing—all without elec-
tricity or external control systems.
“ItÕs fantastic,” says Doris Sung, the firmÕs
P H O T O G R A P H Y:   C O U R T E S Y  S A B I N  D E S I G N  L A B ,  C O R N E L L  U N I V E R S I T Y
principal. “Here we are, dealing with global
warming and the need to conserve energy,
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136 ARCHITECTURAL RECORD OCTOBER 2019
and we can actually make a material that
reacts to changes in temperature autono-
mously.”
A result of DO|SUÕs wide-ranging research
into self-shading, self-ventilating, self-assem-
bling, and self-propelling projects, InVert, an
insulated glazing unit, is now market-ready.
Its integrated shading device consists of a
matrix of small, leaf-like pieces of thermobi-
metal inserted as an interlayer between the
panes. As the pieces heat up in the sun, they
toggle on a little pivot to lie perpendicular to
the sun angle, shading the inner pane; as the
BIOMIMETIC MATERIALS
sun moves on (or, rather, as the earth turns)
and the pieces cool, they toggle back.
Eliminating the need for films or coatings,
the system achieves a heat-gain coefficient of
0.37 while maintaining 70 percent visibility
and admitting full-spectrum daylight even in
shading mode. In addition to its functional
contribution to the building skin, InVert
contributes biophilic qualities as well. It pro-
vides a dynamic index of outdoor conditions
for people inside the building, connecting
them to their environment, and, because the
pieces operate individually rather than all at
DO|SU Studio’s InVert insulated glazing units incorporate 
leaf-like pieces of thermobiometal (above). As the pieces 
heat up in the sun, they toggle to provide shade. Even in 
shading mode (left), visibility to the exterior is maintained.
once, “itÕs almost like leaves fluttering on a
tree,” says Sung.
One of the best-known examples of a bio-
logical process is photosynthesis, the method
by which plants use solar energy to convert
water, carbon dioxide, and minerals into
oxygen and carbohydrates. In a hybrid ex-
ample of biomimicry and bio-utilization, a
building-skin material developed by London-
based ecoLogicStudio integrates algae (whose
photosynthesis produces about half of our
atmospheric oxygen) into a membrane that
serves as a shading device or cladding while
enabling buildings to improve urban air
quality.
“When you think of technology as some-
thing that is not separated from society, but
embedded in it, architecture—and the city—
is the perfect vehicle,” says Marco Poletto,
cofounder with Claudia Pasquero of ecoLogic.
“It exists in between, as a kind of interface
between technology and life.” As an interface
in itself at a finer level of scale, Photo.Synth.
P H O T O G R A P H Y:  C O U R T E S Y  D O | S U  S T U D I O
Etica, as the cladding system is called, com-
prises three components: hardware (the
membrane—now ETFE, with a 3-D-printed,
bio-based iteration under development),
wetware (a watery medium supporting a
culture of microalgae, which can be config-
ured to make a meaningful contribution to
the building design), and software (which
encompasses design, as well as monitoring
and management).
It works by admitting unfiltered city air at
the bottom of each biomodule; as the air bub-
 Out of sight.

Bobrick’s privacy partitions eliminate sight lines between

doors and stiles, and above and below panels.

Gap-Free interlocking design. Max. Height doors and panels.

Sight lines between doors and stiles are 4 5/16" floor clearance vs 12", and 72"
an emerging sensitivity in restrooms. Our panel height vs 58". Specify Gap-Free
Gap-Free design is an integrated solution. and Max. Height for double the privacy.

© 2018 BOBRICK WASHROOM EQUIPMENT, INC.

 LEED v4.1
is here.
LEED v4.1 helps you set and achieve
realistic goals for daylighting, acoustics
and thermal comfort to boost tenant
and employee satisfaction. We make
it easier to focus on improving indoor
air quality through more approachable
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Photo credit: Jasper Sanidad Photography

DELIVER ON: MATERIALS • PERFORMANCE • ENERGY • HEALTH & HUMAN EXPERIENCE • INTERIORS • SIMPLICITY • CARBON

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Natural Resources Defense Council, San Francisco office | LEED Gold

usgbc.org/LEEDv41
 ARCHITECTURAL RECORD OCTOBER 2019
A membrane that integrates algae (above) and can be configured to provide shading while improving urban air quality
has been developed by ecoLogicStudio. The system appeared on a facade in Dublin during a 2018 climate innovation
summit (right).
bles naturally through the wetware, CO2
molecules and air pollutants are captured and
stored by the algae, which grows into a bio-
mass that will contribute to existing supply
chains for biofuel, pharmaceutical, bioplastic,
or—since a teaspoon of spirulina contains the
same amount of protein as a T-bone steak—nu-
tritional uses. Air is then returned, filtered
and oxygen enriched, from the top of each
module to the city.
When Photo.Synth.Etica was retrofitted,
bannerlike, onto a two-story section of the
facade of the Printworks at Dublin Castle,
during that cityÕs 2018 climate innovation
summit, it captured CO2 from the atmosphere
at an estimated kilogram per day—equivalent
to 20 large trees. A subsequent installation in
Helsinki earlier this year configured the
photo-bioreactors more densely on the mem-
brane and then shaped and distributed the
components across the facade, in a design that
P H O T O G R A P H Y:  ©  N A A R O
remained effective from a functional perspec-
tive while responding aesthetically to its new
context. “Of course the project contributes to
the consumption of CO2 and the production of
oxygen and protein, but it can also contribute
to the psychology of the city,” says Pasquero,
“so aesthetics are important.” Currently avail-
BIOMIMETIC MATERIALS
able for custom applications in collaboration
with ecoLogicStudio, Photo.Synth.Etica is
expected to launch commercially in late 2020.
These examples of innovative materials—
from carbon-sequestering structures to sensing
and responsive skins—suggest the biomimetic
paradigmÕs profound potential. Yet obstacles to
its widespread development and uptake remain.
“We live in a bizarre age in which we have all
the solutions we need to make very rapid prog-
ress on tackling climate change and reversing
biodiversity loss,” says Pawlyn, “but itÕs not
happening at anywhere near the pace that it
should be.” He used to think it was fairly
straightforward things we need to get better at,
like advancing the economic arguments and
building some exemplary projects. About a year
ago, however, he reached the conclusion that
the problem exists at a higher, systemic level.
To induce rapid change, we need, on the one
hand, more adventurous exemplars and materi-
al-research projects like those profiled here,
and, on the other, he says, “some radical re-
thinking of the metaphors, values, and systems
by which we live.” n
Katharine Logan is a designer and writer focusing
on architecture, sustainability, and well-being.
139
Continuing Education
To earn one AIA learning unit (LU),
including one hour of health, safety,
and welfare (HSW) credit, read ÒLife
Lessons,Ó review the supplemental
material found at architecturalrecord.com,
and complete the quiz at continuingeducation
.bnpmedia.com or by using the Architectural
Record CE Center app available in the iTunes
Store. Upon passing the test, you will receive a
certificate of completion, and your credit will be
automatically reported to the AIA. Additional
information regarding credit-reporting and
continuing-education requirements can be
found at continuingeducation.bnpmedia.com.
Learning Objectives
1 Differentiate biomimicry from related
concepts such as biophilia, biomorphism, and
bio-utilization.
2 Explain how biomimetic materials can
sequester carbon.
3 Discuss the role of additive manufacturing
techniques in the fabrication of biomimetic
materials.
4 Describe biomimetic construction assemblies
that can improve building performance and
enhance occupant comfort.
AIA/CES Course #K1910A
 eventy five percent of
S New York City’s high-
rise office buildings are more
than a half a century old.
Most will still be standing in
2030, a milestone year on
the city’s roadmap to carbon
Transform
neutrality. Since buildings
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In this spirit, the 2020
Mic Patterson, PhD, LEED AP+, Facade Tectonics Institute
Design Challenge invites
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old buildings, creating an
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 EDUCATIONAL-ADVERTISEMENT 141

CONTINUING EDUCATION

CONTINUING EDUCATION
In this section, you will find four compelling courses highlighting creative solutions for tomorrowÕs buildings brought to you by industry leaders. Read a course, and
then visit our online Continuing Education Center at ce.architecturalrecord.com to take the quiz free of charge to earn credits.

Photo courtesy of Tile of Spain USA

Photo courtesy of Scranton Products

p142 p148

Taking Accessibility to a New Level Technology Transforms Tile

Sponsored by Inpro Architectural Products and Scranton Products Sponsored by Tile of Spain USA

ACC LS PM CREDIT: 1 AIA LU/ELECTIVE
IN PM RR CREDIT: 1 AIA LU/HSW
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Photo courtesy of Huber Engineered Woods LLC

p150 p 152

Flooring for Laboratory Designs Continuous Insulation in Framed Exterior Walls

Sponsored by nora by Interface Sponsored by ZIP System® building enclosures

IN PM SU CREDIT: 1 AIA LU/HSW LS PM BE CREDIT: 1 AIA LU/HSW; 1 GBCI CE HOUR

CATEGORIES
ACC ACCESSIBILITY LS LIFE SAFETY AND CODES RR RENOVATION AND RESTORATION
BE BUILDING ENVELOPE DESIGN PM PRODUCTS AND MATERIALS SU SUSTAINABILITY
IN INTERIORS

Courses may qualify for learning hours through most Canadian provincial architectural associations.
142
CONTINUING EDUCATION
With minimal sightlines, durable bathroom
partitions, such as this one made from HDPE
material, also lend a contemporary look.
Taking Accessibility to a New Level
Driven by standards, demographics, and economics, demand is increasing for stylish
yet functional ADA-compliant and universal bathroom designs
Sponsored by Inpro Architectural Products and Scranton Products
D
riven by aging Baby Boomers, longer
life expectancies, and shifting
economic demographics, accessibility
and universal design trends have never been
more necessary than they are now.
Currently, nearly one-third of Americans
are between the ages of 55 and 73, and by the
year 2035, the U.S. Census Bureau estimates
that there will be 78 million people who are 65
years and older. 1 Additionally, the 2017 World
Economic Forum forecasts that by 2050, the
number of people in this age bracket in the
workforce will increase fourfold.
Furthermore, a study in The Lancet peer-
reviewed medical journal reports that by the
year 2030, American women are expected to live
more than 83 years, and the average American
man approximately 80 years.
Along with this aging demographic,
disabled and impaired individuals make up
a large percentage of the population. For
example, the Arthritis Foundation reports that
approximately 54.4 million of U.S. adults have
doctor-diagnosed arthritis.2 Close to 8 million
of Americans are blind or visually impaired, as
EDUCATIONAL-ADVERTISEMENT
reported by Cornell UniversityÕs Employment
and Disability Institute, and just over 6.8 mil-
lion Americans utilize wheelchairs, scooters, or
other mobility devices to support movement,
according to the University of CaliforniaÕs Dis-
ability Statistics Center. 3
So not only are widespread Americans with
Disabilities Act (ADA) requirements directing
accessible design, but universal design principles
are also driving building owners to provide
easier access, mobility, and usability, particu-
larly within public restrooms.
And when they fail to provide these accom-
modations, social media is calling them to task.
ÒPublic places and infrastructure are being
shamed on the internet when the location or
condition of an accessible facility is exposed as
inequitable,Ó reports Susan Heersema, senior
project architect, Perkins+Will, New York. ÒThis
increased social awareness has prompted the pub-
lic and design community to demand flexible,
appealing, equivalent facilities for all users.Ó
ÒThere is a growing financial incentive for
owners to reduce falls and injuries from non-
complying bathrooms between reimbursement
Photo courtesy of Scranton Products
CONTINUING EDUCATION
1 AIA LU/ELECTIVE
Learning Objectives
After reading this article, you should be able to:
1. Discuss the trends and statistics driving
greater ADA accessibility and universal
design trends in todayÕs bathrooms.
2. Describe insights on product and material
selection for accessible bathroom designs.
3. List common cases where designs may be
ADA compliant but not fully functional.
4. Explain ADA requirements for privacy doors,
wheelchair turn radiuses, grab bars, showers,
seats, and signage.
5. Identify the need for bariatric bathrooms and
key design requirements.
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 #K1910H
Does your shower measure up
to ADA regulations?
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Accessible does not mean compliant. The Americans With Disabilities Act (ADA)
mandates a 36" wide minimum entry at the shower compartment. Which is why our
Transfer Shower Bases have a true 36" opening. Other shower bases might measure
36" total, but with a smaller entry, they just don’t measure up to regulations.

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144 TAKING ACCESSIBILITY TO A NEW LEVEL
Photo courtesy of Scranton Products
CONTINUING EDUCATION
Commercial facilities are governed by the Americans with Disabilities Act (ADA)
compliance in bathrooms.
penalties and desire to improve patient satis-
faction surveys,Ó observes Sam Burnette, AIA,
NCARB, EDAC, principal, ESa, Nashville.
Other interesting variables playing into this
need are a strong aging-in-place trend, higher
levels of disposable income amongst seniors, and
their desire to remain active.
Regarding the latter, AARP reports that upon
retirement, 80 percent of seniors prefer to grow
old in their own homes.4 As such, the home must
be designed to support declining functional limi-
tations while still enhancing quality of life.
As for economics, Baby BoomersÕ real
median household income is 35Ð53 percent
higher than their parents, and this demographic
accounts for more than half of all spending in
the United States. In fact, this has spawned a
newer development called the Ògray market,Ó as
consumers over the age of 65 have the highest
discretionary income in the country.
Consequently, this affluent and active
generation has little interest in old-age homes or
Òproducts for the elderly,Ó thus driving manu-
facturers to deliver a variety of aesthetic yet
functional options.
In fact, a 2016 analysis of census data by Pew
Research Center found that a record 64 million
Americans currently live in multigenerational
households, as compared to 51 million in 2009.5
ÒGenerally speaking, universal design is an
approach that improves accessibility of prod-
ucts, spaces, and building elements to ensure
they are useable to the greatest extent possible by
people of all ages and abilities,Ó Heersema says.
While these design trends apply through-
out the parking, entrance areas, and facilities
themselves, nowhere are they more evident than
the bathrooms.
Consider this. Laboratory for Efficient and
Accessible Design conducted research on people
aged 18 to 88 living in a multigenerational com-
munity and reported that the factors most limiting
a personÕs ability to function include their overall
strength; bending, stooping, kneeling, or sitting;
walking, standing, and maintaining balance;
grasping or lifting objects; coordinating move-
ments; and seeing, hearing, and moving the head.
With multiple senses and motor skills re-
quired to function within restrooms, accessible
design in these places is critical.
EDUCATIONAL-ADVERTISEMENT
ADA OVERVIEW
Before delving into the specifics of how the
ADA directs building teams to design and
install compliant bathroom facilities, some
background and an overview is in order.
The Americans with Disabilities Act of
1990 was originally signed into law during the
George H. W. Bush administration, amended
in 2008, and updated in 2010, 2011, and 2013.
Essentially, the requirements protect
individuals with a wide range of disabilitiesÑ
including mobility, stamina, sight, hearing,
and speech, as well as emotional illness and
learning disordersÑproviding enhanced
accessibility within employment settings and
situations involving goods and services.
The following entities are governed by
ADA requirements:
¥ State and local government facilities, in
new construction and alterations, includ-
ing schools, hospitals, public housing,
courthouses, and prisons. Although fed-
eral facilities are technically not covered
by the ADA, they must meet Architectural
Barriers Act standards, which are very
similar.
¥ Places of public accommodation and com-
mercial facilities. This encompasses office
buildings, industrial facilities, stores and
shops, restaurants and bars, sales or rental
establishments, service establishments,
theaters, places of lodging, recreation fa-
cilities, assembly areas, private museums,
and places of education.
¥ Transportation facilities, including bus
stops and stations, rail stations, airports,
and larger transportation vehicles.
Offering some perspective, Brian Sykes,
associate principal, Perkins+Will, Wash-
ington, D.C., relates that in the early days,
owners were simply interested in checking off
the box to ADA compliance, whereas today,
organizations are more interested in accom-
modating the needs of building occupants.
More building owners are proactively
addressing special needs groups, including
children, the elderly, caregivers, and preg-
nant/nursing mothers.
SELECTING THE RIGHT PRODUCTS
When it comes to designing ADA and uni-
versal design projects, there are a number of
things to keep in mind when evaluating and
ultimately specifying bathroom products.
For starters, products should be durable,
aesthetically pleasing, and easily maintained.
ÒRestroom/toilet partitions should be kept
simple and yet be able to support the weight
of grab bars, toilet-paper holders, and cloth-
ing hooks,Ó adds Mary Fisher Knott, CID,
allied ASID, CLIPP, CAPS, CEO of Ergonomic
Design Center, Scottsdale, Ariz.
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146
Beyond ADA requirements, which will be
discussed in detail below, Burnette explains
CONTINUING EDUCATION
that common-sense ergonomics should go into
product selection. A few pointers include:
¥ Incorporate comfortable grip diameter and
surface finishes.
¥ Include intuitive usage details, such as simple
dispensing or hands-free dispensing of paper
towels, soap, and hand sanitizers.
¥ Avoid large, bulky, vendor-supplied towel,
soap, and napkin dispensers that take a dis-
proportionate amount of wall space, thereby
causing reach conflicts or unsightly fixtures.
¥ Incorporate hands-free faucets and auto-
flush to not only minimize the need to reach
from a wheelchair but also reduce health-
care associated infections (HAI) by eliminat-
ing surface touching.
Meanwhile, Eric Koffler, AIA, IIDA, EDAC,
LEED AP, WELL AP, senior associate designer,
NBBJ, Columbus, Ohio, emphasizes safety and
infection prevention. For instance, floor surfaces
that meet or exceed dynamic coefficient of friction
requirements should be specified to reduce the
likelihood of slips and falls.
Furthermore, it is important to reduce areas
that can harbor microbesÑsuch as depressions,
corners, and anywhere two different finishes/
products come togetherÑas they can be hard
to clean and harbor unwanted microorganisms
over time. ÒSelecting monolithic finishes, such
as large-format tile on walls, will reduce grout
lines, and specifying countertops with integral
sinks are a few measures that can assist enhanced
hygiene,Ó Koffler says.
A common stereotype is that ADA and
universal designs are cold and institutional.
Not only is this no longer the case, but manu-
facturers also continue to introduce attractive,
aesthetic product options.
For example, new solid-surface and man-
made materials are available in solid and
subdued patterns that can be used in a simple,
monochromatic scheme to create a more elegant
feel, relates Fisher Knott. Porcelain tiles can also
be employed on horizontal and lateral surfaces
to create a warm subtle pallete.
FUNCTIONAL AND STYLISH
In line with general industry trends blurring the
lines between commercial and residential design,
manufacturers are offering high-performance
finishes, fixtures, and accessories with a wider
range of styles, finishes, and colors.
In addition to selecting the right products,
Burnette recommends a few ways to enhance the
overall ambiance and aesthetics of the bath-
Bathrooms in health-care facilities are opportunities for universal design, which may include
additional grab bars, turning space exceeding ADA minimums, and ample space for caregivers to
provide assistance.
room. For example, safe lighting levels can be
achieved with warmer color tones in the 2,700
to 3,000 Kelvin range. Similarly, warmer colors,
and sometimes brighter-colored hardware can
be considered for grab bars, dispensing, and
fixtures to add a stylish touch that deviates from
the expected stainless steel, chrome, and other
institutional color options.
Burnette also points out that because base
cabinets under sinks in ADA bathrooms are not
allowed, the plumbing below the fixture is typi-
cally very visible. Adding a shroud over the hard-
ware and P-trap will hide unsightly plumbing.
Overall, Burnette applauds the industry
for introducing a variety of visually appealing
bathroom products. But even so, designers are
still grappling with the challenge of success-
fully integrating these products into the full
bathroom setting.
For instance, finding and locating attractive
dispensers for toilet tissue, paper towels, soap,
and feminine napkins that do not conflict with
maximum reach or clearances between grab
bars can be a challenge. Generally, this will take
more wall space than anticipated, so early de-
signs of wall elevations for each bathroom wall
are recommended.
ÒProviding ADA-compliant turning space
and fixture clearances that do not make the
ADA-compliant bathrooms feel stigmatized or
overly institutional compared to other bath-
rooms is another challenge,Ó Burnette relates.
ÒOne way to offset the ADA bathroom from
feeling oversized is to increase the clearances in
all bathrooms to be universally designed for most
movement needs, a.k.a., Ômobility friendly.ÕÓ
Another point of potential difficulty can
occur specifying finish transitions; in particular,
incorporating a water-resistant flooring finish
Photo courtesy of Inpro
in the bathroom and finish transition at the door
threshold to the bedroom zone. ÒQuite often, a
thicker tile product is used and must be transi-
tioned at the door threshold with a solid-surface
sill to provide the finish transition,Ó Burnette adds.
This sill, even with a sloped edge, can still be a
trip hazard. Fortunately, there are more products
that can replace tile that are closer in thickness
to the typical sheet goods or luxury vinyl tile in
commercial applications; for example, resinous
flooring and newer sheet goods that can with-
stand the water overspray, says Burnette.
ÒThe same challenge is true at the shower
edge. ADA guidelines allow a curb in non-roll-
in showers with a transfer movement into these
showers. This curb presents a trip hazard to all
patients with trouble lifting their feet, or with
vision impairments,Ó he explains.
To address this, there are numerous shower
products that provide a trench drain shower
design with no raised curb between the shower
and bathroom floor.
ADA-COMPLIANT YET NOT FULLY
FUNCTIONAL SPACES
The above example illustrates another challeng-
ing aspect of ADA designs, which is the fact that
code compliant does not always translate into fully
functional spaces, and this is where designers need
to step in to make these designs really work.
Granted, the ADAÑor more specifically, the
U.S. Department of JusticeÑhas established a
line of communication with the design com-
munity for continual feedback and refinements
on behalf of disabled advocacy groups, owners,
and designers. But even so, issues and challenges
still arise.
Continues at ce.architecturalrecord.com
 ADVERTISEMENT 147

PRODUCT REVIEW
Taking Accessibility to a New Level

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Image courtesy of Inpro Corporation

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148 EDUCATIONAL-ADVERTISEMENT
CONTINUING EDUCATION
Technology Transforms Tile
Today’s precision-engineered ceramic tiles can go where
no tile has gone before
Sponsored by Tile of Spain USA
C
eramic tile has been prized over
countless generations for its beauty and
utility, in buildings from modest houses
to spectacular palaces and cathedrals. Recent
advances in manufacturing technology are
making the current generation of tile the most
remarkable yet.
This course will give architects and designers
the information they need to take full advantage
of a wide range of new options in size, thickness,
weight, surface, and function. Ultra-thin porce-
lain tiles are engineered to have the structural
strength and resilience of heavier conventional
tile, yet are so thin that they can dramatically
reduce costs and expand design possibilities, not
only in traditional uses like walls and counter-
tops but also in new uses, such as laminates over
existing tiles in renovation, veneers on furniture
and cabinetry, worktops with integral induc-
tion heating elements, surfaces for ceilings that
can dampen sound, innovative new building
facades, and many others.
High technology meets the enduring appeal
of ceramic tile, indoors and out.
Thicker porcelain slabs and pavers are struc-
turally strong and stress resistant enough for use
in exterior structures, such as terraces, plazas,
and rooftop decks, and in seamless transitions
between indoor and outdoor spaces. In exterior
hardscapes, the thicker tiles can be set like any
other paver in sand, grass, or gravel, requiring
no mortar, or supported by adjustable pedestal
systems for raised access flooring. Yet they are
light enough to transport in a service eleva-
tor, weighing significantly less than traditional
exterior materials like marble and granite. They
are also easier to cut and handle.
As the performance boundaries of ceramic
tile are being pushed by technology, the aes-
thetic options are expanding too. New digital
decoration techniques and digitally applied 3-D
effects mean that tile surfaces can reproduce
the precise look and even feel of other materials,
including not only stone or wood but also steel,
concrete, textiles, and fusion surfaces that have
just been invented. Beyond skin deep, advanced
All images courtesy of Tile of Spain USA
CONTINUING EDUCATION
1 AIA LU/HSW
Learning Objectives
After reading this article, you should be able to:
1. Explain how the inherent physical
characteristics of ceramic tile relate directly
to its long-term durability, resilience, safety,
and aesthetic appeal.
2. Discuss how recent advances in
manufacturing technologies are building
on and expanding the current benefits of
ceramic tile.
3. Evaluate emerging formats and categories
of advanced ceramic tile, with a focus on key
technologies.
4. Identify expanded opportunities to apply
technical breakthroughs in ceramic tile by
examining built examples where innovative
tile surfaces are impacting building
performance and occupant health, comfort,
and safety.
5. Expand your understanding of applicable
areas for ceramic tile beyond traditional uses
like residential kitchens and bathrooms.
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 #K1910P

New technologies like ultra-slim-gauged porcelain tile, digital methods that can reproduce
virtually any surface, and advanced glazings are opening up new possibilities for performance
and aesthetics.
mineral additives can produce tile that destroys
contaminants, improves slip-resistance, and
cleans itself.
The following sections will demonstrate how
the inherent physical characteristics of ceramic
tile relate to performance, and how advanced
technology is taking those characteristics to new
levels, with a particular focus on the benefits
and applications of new gauged porcelain tiles,
including current specifications and standards.
PERFORMANCE CHARACTERISTICS OF
CERAMIC TILE
Different tiles have different properties, based
on their exact composition, firing temperatures,
and manufacturing processes. Some of the
advanced gauged porcelain tiles discussed in
this course have exceptional hardness and other
advantages. But even the newest technologies are
an evolution of the remarkable inherent charac-
teristics of all ceramic tile.
Tile is composed of 100 percent natural min-
erals and materials, primarily clay, silicates, and
feldspar. The extremely high firing temperatures
required to fuse or ÒsinterÓ these materials into
a ceramic body preclude the use of any chemi-
cals or organic-based compounds. Even the
A global industry leader, Tile of Spain is the international brand representing 125 ceramic tile manufacturers belonging to the
Spanish Ceramic Tile ManufacturersÕ Association (ASCER). Its objective is to support and promote SpainÕs tile manufacturers and
industry worldwide. www.tileofspainusa.com
new performance additives discussed here are
mineral, not chemical. This inert composition
and unique firing process are the basis of tileÕs
performance in a number of key areas.
Resilience and Durability
Mechanically, tile is one of the strongest, most
durable and resilient finishing materials, both
in interior and exterior applications. In the
environmental product declaration (EPD)
product category rules (PCRs) for flooring
materials, products must document their en-
vironmental impact starting from production
at source and including a multiplicative factor
to account for replacement frequency through
a 50-year timeframe, the average lifespan of a
building. Ceramic tile is one of the few materi-
als requiring no multiplier since its useful lifes-
pan far outlasts most of the buildings where
it is used. The ability of ceramic tile to last for
many generations, surviving fire and flood,
can be seen in numerous examples still in place
after centuries. In one beautiful example, the
Aljafaria Palace in southern Spain still has the
original tile cladding on the balcony where Co-
lumbus knelt in 1492 to accept the commission
that led to the discovery of the Americas.
EDUCATIONAL-ADVERTISEMENT 149
More than 500 years later, fire and flood re-
main thoroughly modern challenges to building
CONTINUING EDUCATION
materials. Tile does not burn at any temperature,
absorb smoke, or produce toxic fumes. It often
does not need replacement even after a flood or
fire. In fact, a tiled surface often protects the sub-
strates and structures behind or beneath it in such
disasters. Other materials not only need replace-
ment, but adjacent areas often have to be replaced
as well since spot repairs are not possible.
Unlike most other commonly used materials,
tile is not affected by UV exposure. Colors in ce-
ramic tile are permanent, not faded or changed
by sun exposure. Spot repairs to tiled spaces can
be done even decades after initial installation
with little visible effect. Owing to this quality of
the material, many artisanal ceramic companies
exist today throughout Europe with a specialty
in creating classic tile for heritage buildings.
GaudiÕs beloved Parc Guell is among many
historic buildings where areas of tile have been
commissioned and replaced by such companies
in the past few decades, with strict attention
to compatibility, often capturing the same size
and overall aesthetic but endeavoring to keep
the original pure and distinct by intentionally
leaving out some decorative components in the
restoration materials.
Clean, Healthy Lifespan
Tile is one of the only finishing materials with
zero volatile organic compounds (VOCs). Due
to its inorganic and inert nature, tile is neither
a primary or secondary source of VOCs. An
addendum to LEED first added in 2010 states
that tile is one of a small number of products
that do not require VOC testing to contribute
to points under Indoor Environmental Quality
Credit 4.3.
Tile does not harbor bacterial contami-
nants or allergens. Tile surfacesÑespecially
when glazed, which creates an impervious
surfaceÑcan be entirely hypoallergenic. Glazes
are largely composed of glass, thus the entire
surface of glazed ceramic tile is nonporous.
As discussed below, advanced antimicrobial
components can now be added to tiles that
destroy contaminants on contact for the life of
the material.
Minimal Maintenance
TileÕs hard nonporous surface naturally resists
stains and abrasion, and is easy to clean and
maintain, normally requiring only water or
steam, and occasionally pH-neutral cleansers.
Continues at ce.architecturalrecord.com
150 EDUCATIONAL-ADVERTISEMENT
Photo courtesy of nora by Interface
CONTINUING EDUCATION
Flooring for Laboratory Designs
Rubber flooring products offer more options and better
performance than some traditional materials
Sponsored by nora by Interface | By Peter J. Arsenault, FAIA, NCARB, LEED AP
S
ome building uses are inherently tough
on flooring. A very good example are
laboratory settings that can be the func-
tion of an entire building (i.e., higher education
science/research buildings, bio-pharmaceutical
facilities, etc.) or part of another building (i.e.,
health care, manufacturing, etc.). All of these
settings typically involve processes or activities
that can require the use of chemicals, biological
organisms, or heavy traffic from people and/
or equipment. The flooring in these spaces, in
particular, needs to hold up to these conditions
in a way that is good for not only the buildings
but also the people who use them. This means
architects and designers are often challenged
to find flooring solutions to meet the rigorous
demands of these spaces while still achieving
human comfort, excellent appearance, ease of
cleaning, and long-term durability. This course
will look a bit closer at these demands and assess
some of the common flooring choices that have
been used in the range of buildings where labo-
ratory settings are found. In particular, we will
investigate the growing use of rubber flooring
products that have emerged as a proven alterna-
tive to some other traditional flooring materi-
als and the qualities that have made them the
preferred choice of many architects, designers,
and building owners in laboratory settings.
LABORATORY FLOORING OVERVIEW
While the specific uses and types of activities
can vary widely between different laboratory
settings, the one thing they all have in com-
mon is that they need to address conditions
that are not typical outside of the laboratory.
Science and research laboratories located at
college and university buildings may contain a
Floors in laboratory settings are sub-
jected to a lot of challenging conditions.
Choosing a material that works well in
addressing physical as well as human
needs can make a notable difference in
the success of laboratory designs.
CONTINUING EDUCATION
1 AIA LU/HSW
Learning Objectives
After reading this article, you should be able to:
1. Identify and recognize the aesthetic
significance of laboratory and industrial floor
surfaces as part of the overall interior design
and project documentation process.
2. Assess the health and safety performance
aspects of laboratory and industrial floor
surfaces as they relate to durability, suitability,
and sustainability.
3. Explain the importance of proper flooring
preparation and installation techniques
to enhance overall flooring and assembly
performance.
4. Determine ways to incorporate the principles
and topics presented into building design
and documentation as evidenced in project
case studies.
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 #K1910N

range of substances that need to be very care-
fully isolated and controlled since they can be
damaging to materials or harmful to people.
Bio-pharmaceutical companies may have some
of the same substances and chemicals but are
often processing them at a much larger scale
and in higher concentrations. Health-care
facilities have labs (either within the facil-
ity or remotely located) that may be focused
on other organisms and substances but have
similar needs for containment. Clean rooms in
manufacturing facilities can take the separa-
tion and isolation to an extreme in the interest
of maintaining as nearly perfect an indoor
environment as possible.
All of these facilities need people and equip-
ment to operate them, which can mean a lot
of foot traffic and rolling loads. They usually
need to be kept quite clean too to avoid any
unplanned interactions between chemicals or
harm to people. In some cases, such cleanliness
may be for sanitation to avoid any biological
growth or chemical interactions that would
jeopardize the operation of the lab. That can
mean introducing some harsh cleaning agents
that just add more complexity to maintaining
and managing these facilities.
Recognizing the breadth and depth of all of
these challenges that can be present or intro-
duced into laboratory settings, there are two
general categories of considerationsÑphysical
and humanÑthat often influence the choice
of flooring for these spaces, both of which are
discussed in the following sections.
Physical Considerations
The physical, built conditions inside laborato-
ries are usually designed to address a range of
concerns, including the following:
Photo courtesy of nora by Interface
Physical conditions in a laboratory can vary
greatly, meaning that the flooring needs to
resist many different types of spills, chemicals,
and operations.
nora by Interface is the commercial rubber flooring brand of Interface, Inc. Produced in Germany for more than 65 years,
nora premium rubber helps to support operations, efficiencies, health, safety, and well-being with sustainable flooring that
eases maintenance, reduces noise, and provides added comfort underfoot. www.interface.com
¥ Spill resistance: In the normal course of any
given day, an accidental spill of some materi-
al can happen. If the spill is a nonsignificant
material such as water or an inert substance,
then itÕs not necessarily a problem. But if the
spill involves chemicals, abrasives, disinfec-
tants, or other harsh materials, the flooring
may be damaged, stained, or even ruined.
¥ Chemical resistance vs. stain resistance:
Chemicals may or may not cause a reaction
and create physical damage (e.g., a dete-
riorated floor surface). Such deterioration
could cause a problem with the integrity of
the flooring and potentially create a safety
hazard as well. But even if that never hap-
pens, there is a good chance that the chemi-
cals may leave a visual stain on the floor.
That may not seem like a big deal in other
spaces, but management and maintenance
staff often see this as a big concern in labs.
Beyond the unsightly nature of the stain, it
may also affect their ratings as a laboratory
by accrediting bodies or inspectors, such
as pharmaceutical lab audits by the Food
and Drug Administration (FDA). Outside
agencies like this include the appearance of
the lab surfaces as part of their procedures
and ratings. Hence, both chemical resistance
and stain resistance from spills or operations
need to be considered.
¥ Long-term durability: The owners of
buildings that contain laboratory facilities
are typically long-term owners that have a
vested interest in the building remaining
operational and durable for extended peri-
ods of time. This means that they want the
materials, especially the flooring, to hold
up and look good for as long as possible,
without having to budget for interruptions
and flooring changes.
¥ Lab space turnover: While the focus is on
the long-term, there are often short-term
changes within a building. This can mean
that a lab designation may change from
needing to be a more sterile environment
than it was previously. The type of lab may
get upgraded or downgraded in terms of its
use or classification. This may impose condi-
tions on the space that did not exist before
for greater control, resistance, or cleanliness.
The lab space may then need to be retrofit-
ted with a change of materials, including a
change of the flooring. Being able to either
do this quickly or provide flooring that can
accommodate a range of needs can help
minimize the down time of the lab and
control the cost of the retrofit.
EDUCATIONAL-ADVERTISEMENT 151
Photo courtesy of nora by Interface
CONTINUING EDUCATION
Lab spaces are operated by people who need
the spaces to meet their needs not only for
health, safety, and welfare but also for a posi-
tive workplace environment.
¥ Regulatory conditions: Certain labs may need
to meet federal or other regulations in order
to operate or for the products that come out of
those labs to be used commercially. Bio-phar-
maceutical labs in particular are very much
regulated and need to comply with the feder-
ally mandated current good manufacturing
practices (cGMP) in order to stay in business.
Some of those practices relate to the materials
used in the labs and the details of how they
are installed to address Òbioburden.Ó This is
defined in the context of testing to determine
the number of bacteria living on a surface that
has not been sterilized. Bioburden testing is an
important quality-control tool for pharmaceu-
tical and medical products and relates directly
to eliminating material seams or other condi-
tions that can harbor bacteria.
Human Considerations
We have noted that people need to use these
laboratory spaces, often for extended periods of
time and on a repeated, regular basis. Hence, all
of the usual workplace criteria for meeting hu-
man needs of health, safety, welfare, and general
comfort also apply, including:
Continues at ce.architecturalrecord.com
Peter J. Arsenault, FAIA, NCARB, LEED AP,
is a nationally known architect, consultant, presenter,
and author of more than 200 continuing education
courses focused on creating better buildings.
www.pjaarch.com, www.linkedin.com/in/pjaarch
152 EDUCATIONAL-ADVERTISEMENT

Photo courtesy of Huber Engineered Woods LLC

CONTINUING EDUCATION

CONTINUING EDUCATION
Photo courtesy of XXXXXXX

The energy performance of exterior walls is

enhanced by including exterior continuous 1 AIA LU/HSW
insulation. With new integrated sheathing,
this layer is built into the back of the nail- 1 GBCI CE HOUR
able sheathing that goes directly against
the framing. Learning Objectives
After reading this article, you should be able to:
1. Explain the concept of thermal bridging and
how it impacts building energy usage.

Continuous Insulation in 2. Define the commercial and residential

wood-framed wall insulation requirements
found in the 2015 International Energy

Framed Exterior Walls Conservation Code (IECC).

3. Discuss how condensation forms in wall
cavities, and investigate strategies to
mitigate risk of damage to construction
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environments.
4. Compare green or sustainable building

B
uilding codes and green building
standards are continuing to raise the
bar on energy efficiency and high
performance in contemporary buildings.
In wood-framed buildings, designing for
thermal and moisture management in
wall cavities, as well as the airtightness of
the entire building envelope, are all core
components of creating advanced building
enclosures that withstand the elements.
This course will discuss the need for
exterior insulation to manage heat transfer
and reduce condensation in exterior walls
by providing step-by-step examples of how
to determine the amount of continuous
insulation required to meet prescriptive
building code requirements depending on
climate zone.
Continues at ce.architecturalrecord.com
characteristics of various continuous
insulation alternatives as part of the exterior
wall assembly.
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 #K1909J
GBCI COURSE #0920019916

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 153
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154 ARCHITECTURAL RECORD OCTOBER 2019
dates&events

New and Upcoming
Exhibitions
Marc Yankus: New York Unseen
New York
October 3ÐNovember 16, 2019
This collection of photographs by Marc Yankus
includes portraits of some of New YorkÕs most
recognizable structures, along with other
examples of urban architecture from the last
century. The exhibition will be shown at the
ClampArt gallery. More at clampart.com.
Passages of Light
Mexico City
November 22, 2019ÐMarch 29, 2020
A survey of James TurrellÕs works will be held
at Museo Jumex. The exhibition will span two
floors and show new pieces by the artist—who
uses light as a medium—featuring immersive
installations that test the limits of human
perception. For more information, go to
fundacionjumex.org.
Eco-Visionaries
London
November 23, 2019ÐFebruary 22, 2020
The Royal Academy of Arts will present an
exhibition examining humankindÕs ecological
impact on the planet, tackling issues from
climate change and food shortage to species
extinction and resource depletion. Works on
these subjects by 21 artists, including Rimini
Protokoll, WORKac, and Virgil Abloh, will
be on display. For tickets and details, visit
royalacademy.org.uk.
Ongoing Exhibitions
Vienna Biennale for Change: Brave New Virtues
Vienna
Through October 6, 2019
This third Vienna biennale explores what an
economically just, socially fair, and ecologi-
cally sustainable future could be. Artists,
designers, and architects from all continents
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 13, 2019
Focused on the decade following the 2008
economic crash, Our Happy Life investigates
todayÕs “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.
Drawing Codes: Experimental Protocols of
Architectural Representation, Volume II
Coral Gables, Florida
Through October 9, 2019
This exhibition, presented by the University of
Miami School of Architecture and California
College of the Arts/Digital Craft Lab, features
experimental drawings by architects who
explore the impact of new technologies on
the relationship between code and drawing.
Information at digitalcraft.cca.edu.
Big Ideas, Small Lots
New York
Through November 2, 2019
Showcasing the five winning proposals of the
Big Ideas for Small Lots NYC competition—
organized by the NYC Department of Housing,
Preservation, and Development (HPD) and AIA
New York—this exhibition at the Center for
Architecture includes finalistsÕ innovative
ideas on developing affordable housing. More
information at aiany.org.

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 Eureka.
In Frederic ChurchÕs Ombra: Architecture
in Conversation with Nature
Hudson, New York
Through November 3, 2019
Showcasing multimedia design concepts and installations, this exhibi-
tion at the Sharp Family Gallery by guest curator Barry Bergdoll
combines hand-drawn sketches, painted renderings, three-dimensional
Laminators brings you the industry’s first
models, and animations examining the relationship of architecture
and landscape at Olana. See more at olana.org. fully designed, fully integrated, fully tested
ACM Panel and Field-Fabricated Installation
Second Home Serpentine Pavilion Systems, including continuous insulation!
Los Angeles
Through November 24, 2019 We’re making history by offering you a whole
Second Home and the Natural History Museums of Los Angeles
new level of confidence and convenience.
County bring SelgasCanoÕs 2015 installation to Los Angeles. The pavil-
ion will be at the La Brea Tar Pits, with public programs and events
focusing on the intersection of art, design, science, and nature. See
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
Meets
with the sea. See luxembourgpavilion.lu. NFPA 285!

David Hartt: The Histories

Elkins Park, Pennsylvania
Through December 19, 2019
This exhibition by David Hartt is installed throughout the Beth Sholom
Synagogue—a National Historic Landmark, and the only synagogue
designed by Frank Lloyd Wright—outside Philadelphia. The installation
focuses on 19th-century composer Louis Moreau Gottschalk and also
draws inspiration from landscape painter Martin Johnson Heade. More
at bethsholompreservation.org.
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cooperhewitt.org. n Proven to meet competing fire, drainage, ventilation,
structural, and continuous insulation requirements
Resident Alien: Architects in America
New York n Eliminates the guesswork that can come with the
Through February 29, 2020 use of multiple proprietary solutions
At the Austrian Cultural Forum New York, this exhibition—curated by
Stephen Philips and Axel Schmitzberger—illustrates the cultural contri-
butions of Austrian-American architects from early Modernism
through today. Find more information at acfny.org. At Laminators, we believe in fully integrated,
fully tested solutions. We’re ready to help you go
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information and a free brochure.
Tallinn Architecture Biennale 2019
Tallinn, Estonia
September 11, 2019ÐNovember 17, 2019
Organized by the Estonian Center for Architecture, the international
architecture and urban planning festival—with the theme Beauty
Matters: The Resurgence of Beauty—consists of an exhibition, sympo-
800.523.2347
 dates&events
sium, and competition (all arranged by
biennale head curator Dr. Yael Reisner), and an
international architecture schoolsÕ instal-
lation. Satellite exhibitions, installations,
architectural film projections, and events will
be spread around the city for the duration of
the Biennale. Learn more at tab.ee.

Architecture & Design Film Festival

New York
October 16Ð20, 2019
The festival, which runs five days, is returning
to New York for the 11th year. Beginning with
the U.S. premiere of The New Bauhaus, attend-
ees can expect a variety of films, panel
discussions, director Q&AÕs, a pop-up store,
and more throughout the week. Information
and tickets at adfilmfest.com.

Sojin Kim at the Smithsonian Center for

Folklife and Cultural Heritage
Washington, D.C.
October 16, 2019
Private Office Space - G.P. Schafer Architect
As part of the USC Architecture fall lectures
and events series, Sojin Kim—curator at the
Smithsonian Center for Folklife and Cultural
Heritage—will speak on her projects focusing
on migration, music, and public history, with

Find these and many more available Lunch & Learn presentations at

ce.architecturalrecord.com/ee
CUSTOM HIGH-PERFORMANCE SOLUTIONS FOR SINTERED STONE: A NEW MATERIAL CATEGORY
ACOUSTIC ARTISTRY ENTERS THE MARKET
1 AIA LU/Elective; 1 IDCEC CEU 1 AIA LU/Elective
Presented by: Decoustics Presented by: Lapitec

MAKING THE RIGHT CHOICE: WINDOW WALL, CURTAIN INTEGRATED CLADDING SUPPORT SYSTEMS FOR
WALL OR STOREFRONT BETTER THERMAL PERFORMANCE
1 AIA LU/HSW 1 AIA LU/HSW; 1 GBCI CE Hour
Presented by: Oldcastle BuildingEnvelope Presented by: CL-Talon

VINYL IN DESIGN: THE MATERIAL FOR 21ST CENTURY MOISTURE MANAGEMENT FOR MULTI-FAMILY,
BUILDING & CONSTRUCTION MIX-USE AND LIGHT COMMERCIAL
1 AIA LU/HSW; 1 IDCEC CEU 1 AIA LU/HSW
Presented by: Lonseal Flooring Presented by: TAMLYN
particular attention to the production of
collective memory through performance,
archives, and the use of public space. More
information at arch.usc.edu.
Aging in [a] Place: Planning, Design &
Spatial Justice in Aging Societies
Cambridge, Massachusetts
October 18, 2019
Because of socioeconomic differences and
structural inequalities, not all older adults in
the U.S. can live in age-supportive communi-
ties. Cosponsored by the Harvard Joint Center
for Housing Studies and the Hastings Center,
the symposium will examine the challenge of
creating accessible age-friendly housing for
older adults on fixed incomes. Learn more at
jchs.harvard.edu.
Monterey Design Festival
Monterey, California
October 25Ð27, 2019
The biennial conference, founded in 1978, will
once again bring architects and designers
together on the Asilomar Conference Grounds
for a weekend of continuing-education ses-
sions and events. This yearÕs speakers include
Yvonne Farrell, Neri&Hu, and Alberto Kalach,
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montereydesignconference.org.
Competitions
The Home Competition
Deadline: October 7, 2019
The competition brief calls for designers to
submit their ideas of domestic architecture
for the future. Submissions should define,
through images or text, how residents interact
with the proposed living space. For more infor-
mation, see thehomecompetition.com.
Harvard GSD Richard Rogers Fellowship
Deadline: October 27, 2019
Open to all practitioners and scholars working
in fields related to the built environment, each
of the six selected fellows receives a three-
and-a-half-month research residency at the
Wimbledon House in London as well as a cash
stipend and paid travel expenses. Learn more
at richardrogersfellowship.org.
AIA Dallas Ken Roberts Memorial
Delineation Competition
Deadline: October 31, 2019
GRIFFOLYN®
DIVISION OF REEF INDUSTRIES, INC.
cRAWL SPACE
GRASSPAVE2
GRAVELPAVE2
RAINSTORE3
Students and professionals may submit entries
in a number of categories, including Digital/
Hybrid Media, Hand Delineation, Physical
Delineation, Travel Sketch, and the new cat-
egory for Animation. All entries must be
received by 5 p.m. CST on the deadline date.
The ceremony will be held at the Architecture
and Design Exchange on November 14. For
more detail, visit krobarch.com.
2019 Stewardson Keefe LeBrun Travel Grant
Deadline: November 1, 2019
This grant, awarded by the Center for
Architecture, provides up to $25,000 for early
to midlevel architects who wish to further
their personal and professional development
through travel. Applicants must be U.S. citi-
zens with a professional degree in
architecture, and can be licensed or unli-
censed. Academics may apply as long as they
are practicing as well. See aiany.org.
Redefining Learning Spaces: A Competition
for a New School at the University of
Louisiana Learning Lab
Deadline: November 15, 2019
The University of Louisiana at Lafayette is
accepting submissions to a design competition
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 dates&events
for a new Learning Lab on campus. Broken
INSTANT DOCK down into two stages, the first, due by October
1, is open to any entries from teams with a
licensed architect. Of those, several finalists
will be chosen to receive a cash stipend for
phase two, with final proposals due on
November 15. For more, see ULlearninglab.org.

LafargeHolcim Awards for Sustainable

LAG IT DOWN & PLUG IT IN YOU HAVE AN INSTANT DOCK!
Services Any & All Height Trucks
Construction
Deadline: February 25, 2020
The LafargeHolcim Awards seek leading proj-
ects of professionals as well as bold ideas from
the next generation that combine sustainable
construction solutions with architectural
excellence. The competition foregrounds
projects and concepts from architecture, engi-
neering, urban planning, materials science,
construction technology, and related fields.

View All 26 Models At Submissions are free, and a total of $2 million

in prize money is offered. Reed Kroloff will
advancelifts.com lead the jury for North America. For more,
visit lafargeholcim-awards.org.

E-mail information two months in advance to

areditor@bnpmedia.com.

1-800-THE-DOCK

[ärk’töbər]
New York City’s
Architecture
and Design Month
Celebrate design
and the built
environment this fall!
October 1–31
archtober.org
 159

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160 ARCHITECTURAL RECORD OCTOBER 2019 PROJECT UNCERTAIN JOURNEY
snapshot LOCATION TOKYO
ARCHITECT CHIHARU SHIOTA

P H O T O G R A P H Y: © S U N H I M A N G / M O R I A R T M U S E U M
To arTisT Chiharu Shiota, red—the color of blood—symbolizes the
human condition. In her installation Uncertain Journey, over 170
miles of red wool are suspended from the ceiling and walls to
create cavernous forms inside the Mori Art Museum as part of The
Soul Trembles, the artistÕs largest-ever solo exhibition. Below sinu-
ous, veinlike arches, black metal wires create skeletons of boats,
which anchor the suspended wool structures to the floor, and,
Shiota says, act as metaphors for what propels us through life. “I
think we are all connected—an invisible string links our lives,”
says the artist. “The boats carry us through a journey of uncer-
tainty and wonder. They carry our collective dreams and hopes for
the future.” The piece is on view in Tokyo through October 27.
Kara Mavros
 FIRE-RESISTANT AND
FORMALDEHYDE-FREE.

WHO CARES?
WE DO AND SO DO
BUILDING OCCUPANTS.
The Owens Corning® Thermafiber® FF Perimeter
Fire Containment System allows more time for
occupants to escape a building in the event of a fire.
The innovative system combines formaldehyde-free
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spreading flames.

For product recommendations, design consultation

and expert engineering advice, speak with a
member of our Thermafiber InSolutions® team or
visit www.owenscorning.com/ff for more info.

The color PINK is a registered trademark of Owens Corning. © 2019 Owens Corning. All Rights Reserved.
 Beautiful Renders
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