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NOVEMBER 2023
DEPARTMENTS
16 EDITOR’S LETTER
19 HOUSE OF THE MONTH: Stepped
House, Menorca, Spain NOMO STUDIO
By Andrew Ayers
27 LANDSCAPE: Mirage, Cupertino,
California ZELLER & MOYE By Matt Hickman
32 IN FOCUS: The Refinery at Domino,
Brooklyn, New York PRACTICE FOR
ARCHITECTURE AND URBANISM
By Matthew Marani
BUILDING TYPE STUDY 1,058
COLLEGES & UNIVERSITIES
66 NTU Business School, Singapore
TOYO ITO & ASSOCIATES, ARCHITECTS
By Naomi Pollock, FAIA
74 The Lindemann Performing Arts
Center, Brown University,
Providence REX By Joann Gonchar, FAIA
82 University of Valle d’Aosta
Campus, Aosta, Italy MARIO
CUCINELLA ARCHITECTS
113 CONTINUING EDUCATION:
From the Ground Up
TO HELP MEET AMBITIOUS CLIMATE GOALS,
UNIVERSITIES TURN TO DISTRICT-SCALE GEO-
EXCHANGE SYSTEMS.
By Katharine Logan
147 Dates & Events
152 SNAPSHOT: Johns Hopkins University
Bloomberg Center at 555 Pennsylvania
Avenue, Washington, D.C. ROCKWELL
GROUP & ENNEAD ARCHITECTS
By Matthew Marani

38 PRODUCTS: Walls & Ceilings By Leopoldo Villardi

By Sheila Kim
42 TRADE SHOW: CERSAIE, Bologna, Italy
By Linda C. Lentz
45 GUESS THE ARCHITECT
49 FORUM: Re: Classical By Kyle Dugdale
55 BOOK REVIEW: The Architecture of Sir
Edwin Lutyens, by A.S.G. Butler
Reviewed by Leopoldo Villardi
61 BOOK REVIEW: Architecture After God:
90 Associated Students Bike Shop,
University of California, Santa
Barbara JOHN FRIEDMAN ALICE KIMM
ARCHITECTS By Sarah Amelar
94 D.B. Weldon Library, University of
Western Ontario, Canada
PERKINS&WILL By Matthew Marani
100 ETH Zurich GLC Research
Building, Switzerland BOLTSHAUSER COVER: THE LINDEMANN PERFORMING ARTS CENTER,
ARCHITEKTEN By Andrew Ayers BROWN UNIVERSITY. BY REX. PHOTO © IWAN BAAN.

Babel Resurgent, by Kyle Dugdale 106 ETH Zurich Machine Laboratory,

Reviewed by Enrique Ramirez
Switzerland ITTEN+BRECHBÜHL
By Andrew Ayers
THIS PAGE: UNIVERSITY OF VALLE D’AOSTA CAMPUS, AOSTA, ITALY.
MARIO CUCINELLA ARCHITECTS. PHOTO © DUCCIO MALAGAMBA.
Expanded coverage at architecturalrecord.com.

11
 LEARN & EARN
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IN THIS ISSUE

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p135
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12 ARCHITECTURAL RECORD N OV E M B E R 2 0 2 3
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14 ARCHITECTURAL RECORD N OV E M B E R 2 0 2 3
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 From the EDITOR

In Fashion
“STYLE” is not a word we use often at this magazine. But it’s a word
that pops up a bit more frequently when we are putting together our
annual roundup of college and university buildings. After all, college
campuses are often home to an array of architectural styles.
When I studied architecture at Washington University in St. Louis
in the late 1990s, there was only a handful of contemporary buildings
on campus. Top on the list was Fumihiko Maki’s cantilevered con-
crete Steinberg Hall (1960). It was a bold choice of architect at the
time, giving the future Pritzker Prize winner his very first commis-
sion. The rest of the campus was covered with buildings in the
Collegiate Gothic style, the go-to choice among so many educational
institutions in the U.S. wanting to express august historic ties to

PHOTOGRAPHY: © JILLIAN NELSON

academe. That traditional style, unlike Modernism, endured on
WashU’s campus, from the first buildings erected over a century ago
to those built while I was a student there. In fact, my classmates and I
witnessed the construction of several Collegiate Gothic parking ga-
rages, which we all found very amusing.
After I graduated, WashU began to catch up with other colleges and
universities around the country that have, for a long time now, seen
contemporary architecture as a more forward-looking choice for ex-
pressing the innovative thinking that takes place on campus. Almost
half a century after his first building there, Maki completed another for the university in 2006. And
other contemporary buildings followed, including an overhaul of a major portion of the campus by
KieranTimberlake.
The university projects we feature in this issue innovate in a number of ways, pushing aesthetic,
material, and technological limits. At ETH Zurich, glass block reigns supreme. A new building
there by Roger Boltshauser takes inspiration from Pierre Chareau’s Maison de Verre in Paris, as well
as an older building on the ETH campus (recently renovated and also in this issue), though the new
structure incorporates the modular material into a ventilated double facade. In Italy, a swerving pile
by Mario Cucinella reflects its Alpine location—and it too puts its sinuous skin to work. Mass tim-
ber makes a statement in Singapore with a giant new building by Toyo Ito. Stateside, John Friedman
Alice Kimm Architects finds a bespoke solution to a pavilion-like structure for bicycles at UC Santa
Barbara. In Providence, a mysterious metal facade looms over Brown University’s campus.
All of these buildings are thoroughly “of their time,” but in many cases allude to earlier architec-
ture. The distinctive fluting on Brown’s new performing arts building by REX, featured on the
cover, could be seen as a Classical reference. In this issue’s Forum article, Kyle Dugdale, an architect
and historian who teaches the history of architecture at Yale University (where, incidentally,
Collegiate Gothic finds its way in buildings old and new) challenges us to rethink what we know
about Classical architecture—a “style” that’s gone in and out of fashion for centuries.

Josephine Minutillo, Editor in Chief

16 ARCHITECTURAL RECORD N OV E M B E R 2 0 2 3
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 HOUSE of the Month
EXPOSED CONCRETE BLOCKS AND TERRA-COTTA VAULTS DEFINE A SERENE ISLAND GETAWAY ON MENORCA. BY ANDREW AYERS
LOCATED 130 MILES from Barcelona in
the middle of the western Mediterranean, the
island of Menorca is famed for the beauty of
its coastline and for being quieter and better
PHOTOGRAPHY: © JOAN GUILLAMAT
preserved than Mallorca and Ibiza, its higher-
profile Balearic sisters. Alicia Casals San
Miguel and Karl Johan Nyqvist of NOMO
Studio have made something of a reputation
on the island for a series of vacation retreats
they’ve designed there. With this one, nick-
named Stepped House, the Barcelona- and
Stockholm-based architects turned the cli-
ents’ request for something low-maintenance
into a rigorous Miesian exercise in the assem-
blage of unadorned building blocks.
Situated in an early-2000s subdivision, the
6,500-square-foot plot slopes steeply, de-
scending about 30 feet between the streets
that bookend its shorter sides. With the sea
half a mile to the east, at the lower end, the
house steps cheerfully down the terrain to
take advantage of the views. “Our clients, a
couple with two teenage children, came to us
with a basic program, but otherwise gave us
FROM A HILLTOP site in Coves Noves, the
house offers panoramic views of the Port of
Addaia to the east.
fairly free rein,” recalls Casals. “One big
discussion concerned where to place the main
living space,” continues Nyqvist. “Some
clients want a connection to the yard, but
there’s a risk that another house gets built,
blocking their view.” In this case, because the
site’s slope and size made the yard difficult to
use, NOMO’s clients opted for a top-floor
19
 HOUSE of the Month

living area with bedrooms underneath, while

B parking and a swimming pool occupy the
lowest part of the property. Although the
local building code restricts the size of second
stories to just 15 percent of the plot, this
arrangement allowed for generous exterior
4 spaces above the bedrooms, “in a climate
5
where people spend most of their time out-
6
doors,” as Casals points out.
A 8 A
The house has two entrances, one on each
floor. Arriving from above, via a short foot-
4
bridge, one immediately enters the combined
kitchen, living, and dining space, whose
modest size is offset by its tall ceiling, clere-
7
story windows, and sliding glass doors that
dissolve the boundary between inside and out.
B As a result, space flows seamlessly onto the
0 15 FT. shaded veranda, which is followed by a large
LOWER-LEVEL PLAN
5 M. terrace with a built-in barbecue. To appease
the diktats of code, the veranda’s roof floats in
the middle of its concrete frame, so that no
building inspector might think it could be
enclosed to form an extra room. Downstairs,
three bedrooms are shaded by deep loggias,
while mechanical equipment is tucked under
the kitchen at the rear.
“Being small and rather isolated, Menorca
2 has a limited construction culture,” says
1 Casals. “Today the principal way of building
3
is with concrete and cinder block, so we took
that as our starting point.” But, eschewing the
usual rough workmanship hidden under a
thick coat of plaster (a finish that needs con-
stant repair and repainting in Menorca’s
unforgiving salt winds), NOMO selected
UPPER-LEVEL PLAN

1 1
2 3

8 4

SECTION A - A
0 15 FT.
SECTION B - B
5 M.

1 LIVING/KITCHEN 5 PRIMARY SUITE

2 SHADED TERRACE 6 POOL

3 TERRACE 7 PARKING

4 BEDROOM 8 LIGHT WELL

20 ARCHITECTURAL RECORD N OV E M B E R 2 0 2 3
THE HOUSE’S form was dictated by the
dimensions of standard concrete blocks (above
and right).

high-quality weather-resistant concrete

blocks that they left exposed inside and out,
combining them with equally naked ceiling
vaults in terra-cotta. As Nyqvist observes,
these basic choices affected the dimensions of
the entire house, whose room proportions
were dictated by the standardized 20-centi-
meter module of the concrete block and the
60-centimeter module of the terra-cotta
vaults (approximately 7¾ and 23½ inches
respectively).
Indeed, these decisions even determined
how the envelope was built: first, the load-
bearing inner walls were laid; then, plumb-
ing, HVAC, wiring, and a layer of insulation
were installed; and, finally, external walls
were raised to seal the structure. Since no
mistakes could be corrected afterward, the
architects had to detail the entire house
before construction began, from the layout of
the concrete and terra-cotta blocks to the
placement of sockets and switches. “It was
very labor-intensive up front,” recalls Casals,
“but on-site there was no discussion, because
there was nothing left to decide.” Though the
outer walls (which include lintel courses in
local marès sandstone) went up without the
need to cut a single concrete block, the odd
compromise was made when turning corners
inside. The result is an extraordinarily crisp
and clean building, whose sobriety is comple-
mented by matte concrete floors and mill-

21
 HOUSE of the Month

CLERESTORY windows flood living areas with

light (left). Concrete blocks, terra-cotta vaults,
and okoumé define interiors (above and below).

work in okoumé, an African hardwood

chosen for its resistance to the marine cli-
mate. NOMO’s mission even extended to
furniture, which they were asked to source
for under $10,000. “This is a beach house,”
Casals explains. “People like tough, inexpen-
sive furniture that can withstand water and
sand.” The clients also seem to enjoy a clut-
ter-free and rather impersonal vacation envi-
ronment, where nothing disturbs the visual
calm—not even a picture on the wall. n

Credits
ARCHITECT: NOMO Studio — Alicia Casals
San Miguel, Karl Johan Nyqvist, principals;
Mira Botseva, Jennifer Méndez, design team
ENGINEERS: Mus&Segui Arquitectos
Técnicos (civil); Windmill Structural
Consultants (structural)
CONSULTANTS: Gabinet Tècnic (survey);
PIMELAB (geotechnical)
GENERAL CONTRACTOR:
Construcciones Alpera
SIZE: 2,260 square feet
COST: $380,265
COMPLETION DATE: June 2022

Sources
MASONRY: Prefabricats Lleida
TERRA-COTTA: Cerámicas Lázaro
WINDOWS: Technal
HARDWARE: dnd (locksets)
FIXTURES: Faro Lantau (ceiling fan); Roca,
Blanco Lanora (faucets); TEKA Belinea
(basins)

22 ARCHITECTURAL RECORD N OV E M B E R 2 0 2 3
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 LANDSCAPE
ZELLER & MOYE’S SHIMMERING GLASS MIRAGE SNAKES ITS WAY INTO SILICON VALLEY’S APPLE PARK. BY MATT HICKMAN
“WE SEE IT as an invitation to slow down,”
says Zeller & Moye cofounder Ingrid Moye
of Mirage, a new public sculpture created by
the Berlin- and Mexico City–based architec-
tural studio in collaboration with Scottish
artist Katie Paterson. “People will view the
artwork, but also focus on nature by looking
to the sky, into the trees and landscape, and at
other people passing by—and even interact
with them.”
These activities—communing with nature
and face-to-face human engagement—typi-
cally require setting aside one’s handheld
device for a screen-free interlude to take it all
PHOTOGRAPHY: © IWAN BAAN
in. This is a tall order when considering that
Mirage is situated on the 175-acre Silicon
Valley campus of Apple, a company that
found its fortune in screens, mobile or other-
wise. Yet the mesmeric work seems up to the
task, taking form as a triptych of iridescent
glass-columned walls that stand nearly 7 feet
tall and weave sinuously through a grove of
olive trees to create pockets of open space
ideal for both moments of quiet solitude and
small group gatherings. From above, the
snaking shape of Mirage resembles a glazed
garden maze, albeit far less disorienting.
“There’s always an interconnection be-
tween inside and outside, and you’re never
lost” says Christoph Zeller, Moye’s partner in
life and in practice at the 2023 Design Van-
guard firm. “But there is one point within the
artwork where you’re fully surrounded by
glass and immersed in a world of color and
gradient of light.”
The first permanent public artwork com-
pleted at Apple’s corporate compound in
Cupertino, California, Mirage’s ribbonlike
glass partitions span a 2,250-square-foot site,
just across the way from Foster + Partners’
donut-shaped mother ship and adjacent to a
visitor center and café where orders are placed
via iPad and lattes are presented with Apple-
logo foam art. Mirage, however enigmatic,
isn’t hidden away on the campus.
“This existing part of the campus was a
space of transition,” explains Zeller of the
OLIN-designed landscape. “We wanted to
frame the section of the park so that people
view it not just as a piece of green to walk
through but as a destination.”
Mirage is ambitious both conceptually and
from sourcing and engineering standpoints.
The 400 cast-glass columns comprising the
sculpture were fabricated by the Oakland-
based studio of glass artist John Lewis, using
sand responsibly collected from desert regions
across the world with the aid of on-the-
ground partners, including UNESCO. No
pigments were employed to create the glass;
27
 LANDSCAPE

unique formulas for each desert were con-

ceived by the studio’s glassblowers, with
assistance from material scientists, to give the
pillars innumerable variations in natural color
and texture, contrasting with what Zeller
calls the sophisticated “invisible” glass at the
core of Apple products. (A previous public
artwork by Zeller & Moye in collaboration
with Paterson, Hollow at Royal Fort Gardens
in Bristol, England, incorporates samples
from more than 10,000 tree species.)
“The California sun plays a really strong
role, charging the glass and bringing the
colors to life,” says Zeller. At night, Mirage
remains aglow, thanks to integrated lighting
concealed by complex architectural detailing.
And although Mirage’s freestanding glass
columns emerge from the grass “just standing
there like stones” in the words of Zeller, the
project was meticulously engineered with
underground anchoring preventing the heavy
but fragile-looking walls from toppling over,
particularly during earthquakes. Says Zeller:
Twisting through an olive grove near the Apple Park visitors center, Mirage is a beguiling backdrop “It’s a very pure structure that looks like an
for strolls, picnics, and more. The undulating form of the sculpture mimics a wind-shaped dune. artwork, but is also a piece of architecture.” n

28 ARCHITECTURAL RECORD N OV E M B E R 2 0 2 3
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Brought to you by
 IN FOCUS
Sweet Spot
After nearly two decades dormant, the Domino Sugar Refinery reopens its doors on the Brooklyn waterfront.
BY MATTHEW MARANI
PHOTOGRAPHY BY MAX TOUHEY
IN 2004, Brooklyn’s Domino Sugar refinery
complex shuttered its doors after more than a
century in operation, heralding yet another
death blow to the formerly industrial
Williamsburg waterfront. The main build-
ing—dubbed the Filter, Pan, and Finishing
House and opened in 1882—loomed over the
East River as a ghostly relic of bygone days.
But now, after five years of design and con-
struction, it has finally opened its doors as
The Refinery at Domino, an all-electric
commercial office building featuring a dra-
matic vertical garden and myriad amenity
spaces. The project is designed by Practice for
Architecture and Urbanism (PAU) for devel-
oper Two Trees Management, and retains the
structure’s distinctive heavy masonry exterior
walls while inserting an entirely new 15-story
glazed tower within the tight 250-by-70-foot
confines of the historic brick shell.
The 11-acre site is roughly bounded by the
East River and Kent Avenue, to the west and
32 ARCHITECTURAL RECORD N OV E M B E R 2 0 2 3
east, and Grand Street and the Williamsburg
Bridge, to the north and south. At its peak,
the refinery housed 14 structures related to
aspects of sugar production and transport
and saw nearly 5,000 workers hum daily
across the industrial campus. The property
was acquired by Two Trees in 2012; that
company has steadily built up this prime slice
of riverfront real estate with mixed-use
towers by SHoP Architects, which also led
the Domino Sugar master plan, along with
COOKFOX Architects and Selldorf
Architects. The revived site also includes the
lauded Field Operations–designed Domino
Park, a concession extracted by the city from
the developer to permit the area’s rezoning
through the Uniform Land Use Review
Procedure.
As the Filter, Pan, and Finishing House’s
name suggests, the hulking structure—de-
signed by a team led by Theodore Have-
meyer (of the Havemeyer family that oper-
ated the refinery)—enclosed three conjoined
facilities, and, at a height of 155 feet, was
once the tallest building in Brooklyn. The
factory’s gargantuan equipment was housed
within their multistory spaces. Repetitive
rows of punched arched windows across the
four elevations, though misaligned, present-
ed an orderly appearance that masked the
confusing mess of machinery and differing
levels within. While the facade was land-
marked in 2007 and underwent intensive
restoration, the remainder of the old sugar
factory’s interior was not, and it made little
practical sense to retain any of the existing
structure or attempt to align new floor plates
to the window openings. Instead, PAU opted
for an approach that carefully gutted the
internal structure, with massive steel braces
keeping the now 141-year-old brick walls in
check as construction of the office tower
commenced within them.
According to PAU founder and creative
The project joins several office and
residential towers within Williamsburg’s
Domino Park (opposite and right).

33
 IN FOCUS

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34 ARCHITECTURAL RECORD N OV E M B E R 2 0 2 3
 The glass commercial tower is nestled within the
historic facade (opposite). Multistory interior
spaces formerly housed machinery (right).
Greenery now rings the project (bottom).

director Vishaan Chakrabarti, the width of

that gap between the masonry walls and new
glass curtain wall, which ranges from 10 to
12 feet, results from simulations PAU cre-
ated to determine the degree of light pen-
etration within that cavity. The analysis
ensured sufficient daylighting for occupants
on the lower floors and for the hanging
gardens designed by Field Operations; these
include diverse plantings as well as native
pine and oak trees and American sweet
gums. The brick masonry functions as a sort
of brise soleil for the operable-window-stud-
ded curtain wall within it and, owing to its
thermal mass, helps to passively cool and
heat the building’s interior, though a modern
HVAC system will still do the serious work.
The glazed tower emerges from the ma-
sonry pile as a distinct but complementary
structure. At its summit, the curtain wall
curves into a 30-foot-tall glass barrel vault,
and it was PAU’s intent for that sweeping
movement to reflect the Refinery’s American
round-arch style.
Silman, the structural engineer for the
project, devised a permanent steel-framed
superstructure, paired with a couple of cast-
in-place concrete lateral cores. Clear-
spanning steel girders run from the perim-
eter columns of the steel superstructure to
the building cores to maximize unobstructed
floor space. PAU principal Ruchika Modi
notes that “ring beams” circle the lightwell-
facing side of the masonry walls at multiple
levels and reach back through the curtain
wall to the superstructure with a horizontal
brace—this also required close collaboration
with the curtain wall fabricator to avoid
building-performance issues related to ther-
mal bridging.
The lobby and the first few floors of
office spaces are designed by bonetti/kozer-
ski architecture, with a corporate feel. As a
PHOTOGRAPHY: © TWO TREES MANAGEMENT (TOP)

speculative office tower, the bulk of the

building will be fit out by future tenants;
among the first announced is an Equinox
fitness club. Although the puritans of pres-
ervation politics may criticize the project as
an act of facadism—and while the jury is
out as to whether the market is there for
460,000 square feet of office space—the
Refinery is a clever reimagining of the
Williamsburg waterfront, and a technical
accomplishment to boot. n

35
GUESS THE ARCHITECT
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PHOTOGRAPHY: © WIIII, WIKIMEDIA COMMONS

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38 ARCHITECTURAL RECORD
Acoustic Pulp Bio Colours
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In.Contro
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42 ARCHITECTURAL RECORD N OV E M B E R 2 0 2 3
 Iridea Degradé
Established in 1741,
Marca Corona is said to
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works in Sassuolo, a
town at the heart of
Italy′s tile production.
Iridea Degradé (left)
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The ombré effect of
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Le Corbusier LCS Ceramics
With permission from Les Couleurs Suisse AG of Zurich, Gigacer devised a
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FORUM
Re: Classical
Kyle Dugdale argues for a shift in how we recall, retell,
and reimagine the story of classical architecture.
Drawings by Jerome Tryon
WHAT COMES TO MIND when we hear the words
classical architecture?
The answer to that question is often embarrassingly narrow.
The Parthenon and Pantheon are still there, of course, even if
the distinction between them is less vivid than it used to be. We
may still acknowledge, in private conversation, the value of a
shared canon, even if we are less sure than we were about what
might legitimately be included. And at certain moments—dur-
ing presidential inaugurations, perhaps—we still honor classical
commitments to a building culture that scans a longer horizon.
But, increasingly, our portrait of the classical takes upon itself
the nature of caricature, and—to paraphrase a recent descrip-
tion—we learn that, above all else, classical architecture repre-
sents state or capital power, and is associated with historical
European values.
These characterizations—the entanglement with power and
the history of Eurocentrism—are commonplace today, nowhere
more so than among students of architecture. Whether they are
entirely true is largely beside the point. If they are believed to be
true, they are likely to become true. If, upon hearing the words
“classical architecture,” the imagination supplies images of, say,
perfectly proportioned palazzi for acquisitive Medici financiers,
symmetrical shrines to social superiority, symbols of power
imposed upon victims of colonial despotism, or gargantuan
monuments to a new world order centered on the Third Reich,
then subsequent encounters with the classical are interpreted
accordingly.
And the language is abandoned to its stereotypes. Down-
market demagogues reach for the classical in hopes of reinforc-
49
 FORUM
ing the facade of legitimate
authority. The scandalously
wealthy agonize briefly over
the staggering cost of high
modernist austerity before
commissioning the high classi­
cism of carefully crafted
Corinthian. Race supremacists
pose for photographs in front
of the nearest available white
marble portico. And, along the
way, thousands of urban public
schools and libraries become
advertisements for exclusion,
millions of modestly detailed
front porches become monu­
ments to privilege, and the
entire architecture of Amer­
ica’s democracy becomes a
symbol of state and capital
power aligned with historical
European values.
This might be a problem.
After all, this country’s classical legacy is unlikely to
vanish any time soon. What is more, those representatives of
the profession who still consider themselves committed
classicists, and whose work is (let us admit it) not so fre­
quently illustrated in mainline architectural magazines, are
unlikely to deny service to their interested clients. The prac­
tice of classical architecture is unlikely to bring to a voluntary
close its long and complex history. On the contrary: it ap­
pears to be enjoying a renaissance of sorts among enthusiasts
who plumb its depths for a welcome contrast to the banality
of our more typical forms of practice. They note that classical
pedagogy may have been banished for much of the past
century, but that this represents a mere blip on the trajectory
of the tradition. They note also that the modernist pedagogy
that replaced it did not always prove immune to the blan­
dishments of state or capital power—or for that matter, quick
to diversify its European values.
Not only may it prove difficult to demolish the nation’s
classical heritage; it may not even be possible to stamp out
the lingering inclination, among architects, to reconstruct
the strict austerity of Georgian windows, to trace the
licentious curves of Ionic base profiles, or to foliate orna­
mental details with the curling leaves of Acanthus mollis (a
species native to territories including northern Africa and
Asia Minor, but tolerant of a wide range of soils). On the
other hand, it might just be possible to remind ourselves
that classical architecture has not always represented state
or capital power, and that it has not always been identified
with historical European values.
It would be nice, in fact, if somewhere near the top of
that list of mental precedents we might recall those ele­
ments of classical history that are insistently not Euro­
centric, that are not obviously aligned with capital, or that
resist the predictable narratives of state power.
These could include early precedents on the banks of the
Nile, where some of the oldest classical forms can be found
50 ARCHITECTURAL RECORD N OV E M B E R 2 0 2 3
carved into the rock of Africa’s continental mass, or lingering
echoes among the reed houses of the dwindling population of
Iraq’s Marsh Arabs. After all, what we think of as classical
can best be understood within a larger family of architectures
that share striking family resemblances. We could note the
obvious debt to the ornamental traditions of the Middle East
or sympathies with the surviving polychromy of shophouses
in Singapore’s Little India, arguably offering today’s closest
approximation to the vivid colors of ancient Greco­Roman
practice. We could even observe the striking similarities to
the trabeated forms of what are sometimes described as “clas­
sical Chinese” courtyard homes—not to mention the uncanny
correspondences to the underlying formal structures of pre­
Columbian architectures. These examples argue with striking
eloquence in favor of a common humanity and against an atti­
tude of tribalism.
Turning into the mainstream of classical form, we might
note that the history of the classical cannot be told without
reference to medieval churches carved out of the geology of
Ethiopia long before classical enthusiasms gripped the eccle­
siastical authorities of northern Europe. We might, for that
matter, recall those elements of classical architecture’s most
predictably European canon that are scaled precisely to the
lives of the defenseless—like the small framed opening at
the very far end of the portico of Brunelleschi’s hospital in
Florence. Drawing on more recent memories, we might pay
attention to Kabul’s Darul Aman Palace, which owes a
lesser debt to its imported architects than to its region’s
histories, its local builders, and, especially, the restorers who
made of it a monument to the short­lived reconstructive
efforts of Afghanistan’s women.
We could note, with both despair and optimism, that
significance can change over time. We could even note those
places where Nazism’s classical affectations have been reap­
propriated by subsequent generations, turning the glorifica­
tion of hatred into a more enduring celebration of exactly that
which the party sought to eradicate—witness Mel Bochner’s
Joys of Yiddish now permanently inscribed onto the entablature
of what was once Munich’s House of German Art. Or we
could dwell on classical architecture’s capacity to serve the
interests of the poor, the weak, and the vulnerable: the glori-
ously elaborate facades of early 20th-century tenements offer-
ing dignity for immigrants to America, the outrageously
colorful interiors designed by the indigenous populations of
the Andes, the classical confections built by the Roma of
eastern Europe—or the hundreds of thousands of lovingly
crafted funerary monuments dedicated to individual lives,
some of them very small, or irreducibly simple, like the
Malmström and Rettig mausolea by Lewerentz and Asplund.
We could stand to pay attention to some of the earliest
examples of this country’s African American built legacy,
often constructed with limited means but immeasurable
grace—a task for which the classical is strikingly well
equipped. We should recall those monuments that have taken
on significance for their roles in the history of civil rights—
roles made possible precisely by their classical monumentality:
the Lincoln Memorial as backdrop to singer Marian Ander-
son’s performance, or New Haven’s County Courthouse as
backdrop to Black Panther advocacy. We should also note
those relics of colonial-era architecture that have become
landmarks of independence, finding their ways to new identi-
ties and new publics—Chinese characters overlaid onto
Trajanic letterforms, just as the statue supported by Trajan’s
Column was itself supplanted long ago by its antithesis.
We could tell the story of the classical as a form of prac-
tice that learned to communicate not only through size but
also through the smallest of details, disposed with infinite
care, moulding profiles turning the simplest classical facade
into a living tableau of light and shadow, shifting as the sun
god works his way across the heavens.
This is an architecture that cannot be constrained by
capital or controlled by national borders, and that does not
proclaim exclusive allegiance to historical European values.
It can symbolize not only power but also restraint—the
restraint more characteristic of societies that did not aspire
to dominate the natural order with the nonchalance that has
proved so disastrous to our recent history. It is the story of a
form of practice that can draw on a posture of humility
toward its past, while still recognizing the need not only to
respect but also to repair, to rebuild, and to reimagine. The
challenge is ultimately one of expanding the public imagina-
tion. This is, for all of us, a design challenge. n
Kyle Dugdale is an architect, historian, and senior critic at the
Yale School of Architecture. His book, Architecture After God:
Babel Resurgent, is reviewed on page 61.
51
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 BOOKS
The Architecture of Sir Edwin Lutyens:
Volumes I & II, by A.S.G. Butler. First published
1950. ACC Art Books, 300 pages, $150 each.
REVIEWED BY LEOPOLDO VILLARDI
IN THE early 1980s, searching for out-of-
print books to resurrect, publisher John Steel
walked into the library of the Royal Institute
of British Architects in London and asked,
“What is the most requested rare book from
your collection?” The librarian quickly shot
back, “The Architecture of Sir Edwin Lutyens.”
Today, first-edition copies of this three-
volume memorial monograph from 1950 can
fetch well over a thousand dollars, and the
1984 and ’89 reprints from Steel’s publishing
house, ACC Art Books, have also become
increasingly difficult to obtain. The Institute
of Classical Architecture & Art (ICAA)
recently teamed up with ACC to reissue the
series once again, making newly accessible the
work of the accomplished British architect
and 1925 AIA Gold Medal winner.
S I T E FU R N I S H I NGS
IMAGE: THOMASTEAL.COM
The reissued volumes are slightly smaller than
the originals or previous reprints (above).
Lutyens did not live long enough to see the
original books finished—the idea to catalogue
his work emerged late in his life, in the 1940s,
as he fell ill and the blitz of the Second World
War threatened his buildings in London. But
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the volumes, initially printed by Country
Life, were a feat of architectural publishing.
To this day, alongside such works as Le
Corbusier’s eight-volume Œuvre complète,
they are among the most thorough contem-
poraneous records of any modern architect.
Each volume opens with elucidating
essays by architect A.S.G. Butler, written
with the editorial assistance of Lutyens
biographer Christopher Hussey, followed by
photographs and plates, which often com-
prise multiple drawings. Importantly, the
large trim size (12" by 16") allowed read-
ers—students and practitioners alike—to
carefully examine Lutyens’s approach to
composition and the strict geometries un-
dergirding his architecture, just as he had
studied the works of Christopher Wren.
The first volume in the series focused on his
idyllic country houses across the United
Kingdom and Ireland, while the second
concentrated on town plans and civic works,
including war memorials, the British em-
bassy in Washington, D.C., and the
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 BOOKS

By sacrificing margins, detailed plates (right)

were reproduced at approximately the same size.

Viceroy’s House in Imperial New Delhi.

The last delved into public buildings as well
as his proposal for the Liverpool Cathedral,
which would have eclipsed St. Peter’s
Basilica in scale had it been built.
Despite their rigor and educational impe­
tus, the monographs appeared at a time
when the profession had largely soured on

IMAGES: © COUNTRY LIFE/FUTURE PUBLISHING LIMITED

the Neoclassical and vernacular forms that
defined Lutyens’s career. With architects in
thrall to the International Style, his work
was widely disregarded, until the pendulum
of architectural style began to sway in the
other direction and he was rediscovered.
Robert Venturi’s manifesto Complexity and
Contradiction in Architecture highlighted
several Lutyens buildings, and Postmodern­
ists including Robert A.M. Stern and Allan
Greenberg later quoted him in their own
built output. New York’s Museum of Modern

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56 ARCHITECTURAL RECORD N OV E M B E R 2 0 2 3

The entrance to the pool garden at Marshcourt
(1901), in Stockbridge, England.
Art even went so far as to assemble an exhi-
bition of Lutyens’s work in 1978, and
London’s Hayward Gallery followed suit
three years later. ACC’s first reprint of the
series proved timely.
In an effort to remain faithful to the
originals, the newest reissues do not include
added texts or scholarship. However, they are
far from straightforward facsimiles—years of
meticulous research and legwork went into
their making. Butler’s essays were typeset
from scratch, maximizing legibility. Rather
than rescanning photographs from printed
editions, which would have resulted in a loss
of image fidelity, the ICAA tracked down
glass-plate negatives from the archives of
Country Life. As a result, the chalky facade
and twisted chimneys of Lutyens’s
Marshcourt, and the corbeled brick arches of
his Deanery Garden jump off coated matte
paper as never before, with astonishing clar-
ity. Amazingly, in the seven intervening
decades since initial publication, only a hand-
ful of negatives had been lost or damaged.
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The books’ detailed plates, originally
delineated by Lutyens associate George
Stewart, were scanned from a first-edition
set. To ensure that distinct lettering, dimen-
sions, and hatching were not too faint or lost
altogether, proofs were carefully studied.
“We compared the original monographs with
our digital reproductions using a magnifying
glass, to spot any identifiable differences,”
says Matthew Enquist, chair of the Books
Committee at the ICAA. “It took us a few
tries to get it right.”
One obvious difference between the first
edition and the recently reissued versions is
the smaller trim size (11¾" by 14⅛"). “Print-
ing is all about economies of scale,” James
Smith, current publisher of ACC Art Books,
told record. “We aim to have as little wast-
ed paper as possible, and printing at the size
of the original Lutyens books today is chal-
lenging—not only from a cost perspective,
but also because modern machines have
difficulty binding books that big.” But gen-
erous margins in the 1950 version allowed
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 BOOKS

ACC to largely maintain the scale of draw-

ings and photographs—in general, they are
only 1 or 2 percent smaller than their original
counterparts.
“There’s a strong appreciation for classical
architecture in the United States. That amaz-
es me as a British person—I’m not sure it’s
quite the same at home,” says Smith. So
strong is that appreciation that several indi-
viduals and architecture firms donated funds

PHOTOGRAPHY: © COUNTRY LIFE/FUTURE PUBLISHING LIMITED

to make the reprint, the largest book-repro-
duction effort the ICAA has undertaken, a
reality. “There is an educational mission
behind all our books,” adds Enquist—who
has now set his sights on republishing John
Russell Pope’s monograph about his work
(which includes the National Gallery in
Washington, D.C.)—“to promote ongoing
scholarship of classical architecture today.”
The first two volumes of The Architecture of
Sir Edwin Lutyens are now available, but read-
ers eager to complete their collection will
need to wait until next spring for the final Deanery Garden in Sonning, England, was designed for Edward Hudson, founder of Country Life and
installment. n longtime advocate of Lutyens’s architecture.

58 ARCHITECTURAL RECORD N OV E M B E R 2 0 2 3
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BOOKS
Architecture After God: Babel Resurgent, by
Kyle Dugdale. Birkhäuser, 440 pages, $92.
REVIEWED BY ENRIQUE RAMIREZ
THE TOWER OF BABEL looms large
in the history of art and architecture,
whether as the subject of Pieter Bruegel the
Elder’s 1565 painting or as the main tower
at the heart of the hyperindustrial city in
Fritz Lang’s Metropolis (1927). It also takes
center stage in modern
and contemporary litera-
ture: Jorge Luis Borges’s
enigmatic (and architec-
tonic) short story “The
Library of Babel” (1941),
Juan Benet’s The Con­
struction of the Tower of
Babel (1990), as well as
“Tower of Babylon,” the
opening story in Ted
Chiang’s anthology Stories
of Your Life and Others
(2002). In all these ex-
amples, the architectural
conventions of structure
and form become meta-
phors for the limits of
language and knowledge.
The Tower’s significance
to contemporary architec-
tural audiences is implied, perhaps even
understood. We may not picture Bruegel’s
or Borges’s monumental and unfathomable
buildings whenever we encounter architec-
tural writing that is dense and prolix, but it
does make one wonder whether capital-A
architecture is a kind of Babel tower torn
apart by conflicting views about who de-
signs buildings and for whom.
A similar feeling of bemusement and loss
lies in the pages of Kyle Dugdale’s Arch­
itecture After God: Babel Resurgent. It is the
second book in Birkhäuser’s Exploring
Architecture series, which is dedicated to
encouraging new directions in architectural
scholarship. In its pages, readers discover an
unwavering sense that architecture has large-
ly failed us spiritually—that it has lost its
moral authority. For Dugdale, the Tower of
Babel is a powerful architectural metaphor
that embodies the various disaffections and
disenchantments at the heart of architectural
Modernism. If the Modern movement began
as a way to weave art and architecture into
the fabric of society, it would be compro-
mised during the interwar period thanks to
the rise of nationalism and militarization.
This is not an unfamiliar narrative. Plenty
of historians have considered how colonial-
ism and global war suited the aims of
Modernism quite well. Dugdale takes a
different route in that he seeks to find the
literal roots of this misalignment at the very
beginning, in the spiritual and sacred origins
of architecture. In this sense, the book con-
sists of two micronarratives, each entwined
with the other like the strands of a double
helix. The first is a theoretical and architec-
tural account of the
Tower of Babel. Dug-
dale’s rigor here is on
display as he takes readers
on a tour of the various
stories of the Tower’s
origins, from antiquity
onward. Lavishly illus- Shayle™ Wall Panels
trated spreads also show
how early modern archi-
tectural writers and
chroniclers, from Atha-
nasius Kircher to Johann
Bernhard Fischer von
Erlach, imagined the
building. The highlight
here, however, is a stun-
ning and engrossing
architectural interpreta-
tion of the Book of
Genesis. This is no mere
equating of language and building but a
tour­de­force argument that envisages the Old
Testament as a kind of architectural manual.
Through Dugdale’s exacting and careful
exposition, the architectonic lessons to be Kahn™ Wall Panels
gleaned from Genesis become clearer—at
Greta™ Wall Panel
one point, even the importance of walls and
partitions to the creation of Adam and Eve is
demonstrated. This is all precursory, serving
as a backdrop for the author’s excursions
around the ways the Tower of Babel has
persisted in the modern imagination.
Why, then, does Dugdale insist that the
Tower of Babel was not persistent but, rather
(as the book’s subtitle tells us), resurgent?
The answer lies somewhat in his second seamless gypsum for
micronarrative—a close reading of an over- continuous surfaces of any size
looked text, The Kaiser and the Architect
(1924), by the Austrian painter Uriel
Birnbaum—a figure largely absent from
architectural history. Dugdale sees
Birnbaum’s tale as a spirited response to the
secularism and paganism he associated with
German Expressionism. The son of Nathan
Birnbaum, one of the founders of Zionism,
Birnbaum’s own architectural travels read as
a counterpoint to architect Erich Mendel-
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 BOOKS

Pieter Bruegel the Elder’s identifies parallels between architecture and

Tower of Babel, painted religion. The book begins with a vivid de-
IMAGE: STUDIO TROMP, COURTESY COLLECTION MUSEUM BOIJMANS VAN BEUNINGEN, ROTTERDAM

circa 1565 (left). scription of artifacts on display at Yale’s

sohn’s friendship with future Israeli president
Chaim Weizmann and fascination with the
writings of the philosopher Martin Buber.
Much like Italo Calvino’s Invisible Cities, The
Kaiser and the Architect features a series of
Beinecke Rare Book and Manuscript
imaginary metropolises, Library, one in which curatorial ambition
all painted by Birnbaum and collection strategies transform a signa-
in a way that mimics ture Modernist building into a reliquary.
stained-glass windows And then there’s Uriel Birnbaum’s own
in Gothic cathedrals. exclusion from the architectural canon.
And, like the Tower of Readers already understand the ecclesiastical
Babel, Birnbaum’s work origins of “the canon” and “canonical,” words
was also subject to used to elevate extraordinary persons to
misinterpretation and immortality, now used to ensconce architects
disaffection. His books and thinkers in a mantle of professional
were mined (and mis- adulation. This is a book for readers of all
read) for ulterior pur- stripes, as Dugdale makes clear, but it is
poses, resulting in the suffused with a kind of conviction rarely seen
humanity-stripped in architectural writing these days. It is also
devotion exhibited a deeply personal book; Dugdale is trying to
by crowds during Albert Speer’s Cathedral understand his own journey in architecture
of Light at the Zeppelin grounds in and wants readers along for the ride. n
Nuremberg.
There are other ways to describe how Enrique Ramirez is a historian of art and archi-
Dugdale’s excellent Architecture After God tecture living in Brooklyn.

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Spruced Up
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BY NAOMI POLLOCK, FAIA
PHOTOGRAPHY BY KAI NAKAMURA

66 ARCHITECTURAL RECORD N OV E M B E R 2 0 2 3
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Nanyang Technological University (NTU)
Business School embodies the elegance of
Toyo Ito’s architecture as well as the know-
how of a cutting-edge engineering school.
This competition-winning scheme is the
Tokyo architect and Pritzker Prize–winner’s
latest addition to the Singapore campus, where
he previously built student dormitories, a
gymnasium, and a small restaurant. While the
new building’s gently arching form embraces
the school’s historic setting, its environmen-
tally sensitive construction points the way to
the future.
The 437,000-square-foot edifice occupies a
key location adjacent to the school’s first
building, the Chinese Heritage Center front-
ing the 22-acre Yunnan Garden—both built
in 1955 when NTU’s predecessor, Nanyang
University, opened. Although the Chinese
Heritage Center informed the height of Ito’s
building (out of respect for this campus land-
mark the new structure could not exceed 98
feet), the garden’s orthogonal layout fixed its
placement. “We don’t usually favor a rigid grid
or sharp lines in the landscape,” comments Ito.
Instead, he anchored his curved building by
aligning its center—marked by a covered main
entrance on one side and an outdoor amphi-
theater on the other—with an octagonal pavil-
ion at the southwestern end of the garden.
As security is not a big concern in
Singapore, the campus is very open to the city.
Similarly, the building can be accessed at
multiple points. In addition to the main en-
trance, secondary doors are located at the
south end, which is easily accessed from a
nearby bus stop, and at the north end, which
connects to a network of campus walkways.
“People move through the building as natu-
rally as the wind,” observes project architect
Julia Li. Inside, the undergraduate department
is concentrated in one half and the graduate
department in the other, with a shared triple-
height event space where the two meet.
The six-story building is further unified by
the interior’s straightforward logic. In cross
section, it consists of three 38-foot-wide layers
with two 16-foot-wide circulation conduits
between them—this organization runs the
entire length of the 689-foot building. The
two outer layers house academic spaces, with
teaching areas—such as seminar rooms, meet-
ing rooms, and lecture halls—on the first

THE FACADE is open to the elements (left and

opposite, right). A central space (opposite, top)
is three-stories tall, while lattice walls curve to
shape smaller study nooks (opposite, left).

68 ARCHITECTURAL RECORD N OV E M B E R 2 0 2 3
69
TIMBER ELEMENTS
carry through to the
auditoria (above) and
classrooms (right).

71
 COLLEGES & UNIVERSITIES

three floors, and faculty offices plus research

facilities on the top three floors. The middle
layer was conceived as an open space that
facilitates communication and binds the
programmatic components. On the lower
three levels, it incorporates lounges, audito-
ria, and enclosed courtyards. Upstairs, this
central spine opens to the sky, becoming a
stepped outdoor roofscape dotted with
planted terraces. Around it, “the faculty area
is kind of like a village,” explains Ito.
Resembling a manmade valley, this forma-
tion enables an exterior exposure for every
office. The amiable coexistence with the
outdoor environment, including daylight,
greenery, and airflow, is a quintessential
feature of Ito’s architecture.
Naturally, Singapore’s tropical heat and
humidity required consideration, yet Ito was
able limit the building’s energy consumption
with a variety of passive strategies. For start-
ers, he aligned the building’s long axis with
prevailing north–south breezes, which elimi-
nated the need for a mechanical HVAC
system in open communal areas. In teaching
spaces, offices, and other enclosed places, a
Passive Displacement Ventilation system
handles the required cooling. Developed at
NTU, this technology relies on hot air’s
propensity to rise toward the top of the room,
where it is cooled by coils filled with cold
water. This method necessitated deeper walls
to hold equipment, but it uses supplemental
energy only to chill the water. Another ener-
gy-saving measure was fronting the east and
west elevations with thick, coffered facades.
Measuring 5 feet deep, the crosshatch of hori-
zontal and vertical fins shields the interior
from direct sunlight, lessening heat gain.
These innovations helped the project land a
Green Mark Platinum designation from
Singapore’s government.
Per the energy-conscious client’s request,
timber construction was utilized wherever
possible—a pioneering move toward reducing
the school’s carbon footprint. “NTU always
wants to do the new, new thing,” explains Li.
Even the custom furnishings that Tokyo-
based Fujimori Atelier designed for the
ground-floor lounges are spruce. Aside from
the concrete emergency stair and elevator
cores, the structure features an enormous
spruce-glulam frame, with wood sheets
instead of beams spanning the short axis, a
strategy that adds stiffness while reducing
floor depth. Produced at an Austrian factory,
the prefab elements were milled by computer,
affixed with aluminum joint plates, and then
shipped to Singapore, where they were as-

72 ARCHITECTURAL RECORD N OV E M B E R 2 0 2 3
VERTICAL SHAFTS bring daylight deep into the
building (opposite), while the rooftop features
planted terraces (above).
sembled on-site, cutting down on both con-
struction time and cost. Curving the whole
assemblage enabled the architect’s goal of
softening the rigid frame’s brawny appearance.
Currently, the NTU Business School is the
largest wooden structure in Asia. “Of course,
creating such a huge building from timber
was a great challenge,” comments Li. “But it
also opens a lot of doors for timber construc-
tion to come.” n
Credits
ARCHITECT: Toyo Ito & Associates, Architects —
Toyo Ito, president; Takeo Higashi, chief architect;
Yoshitaka Ihara, Mitsuyo Yabuki, senior architects;
Julia Li Ka Yee, design lead; Yonosuke Fukuda,
Shuichi Kobari, Takayuki Ohara Martinez, Elain
Kwong, Joy Hu, design team
ARCHITECT OF RECORD: RSP Architects
Planners & Engineers
ENGINEERS: Aurecon Group (structural);
Takenaka Corporation Timber Innovation
Department (timber); Squire Mech Pte (m/e/p)
CONSULTANTS: Lighting Planners Associates
(lighting); Higini Arau Acustica, DB Acoustics
(acoustics); Maruyama Design (signage); STX
Landscape Architects (landscape)
CONTRACTORS: Newcon Builders (general);
Steel Tech Industries (timber)
CLIENT: Nanyang Technological University
SIZE: 437,000 square feet
COST: $88 million (construction)
COMPLETION DATE: March 2023
Sources
STRUCTURAL SYSTEM: Weihag
WINDOWS: Jinyue
CLADDING: Jinyue, Robin Village, Stora Enso
ACOUSTICAL SURFACES: Rockwool (ceilings);
Saint-Gobain Gyproc (walls)

73
 COLLEGES & UNIVERSITIES
THE LINDEMANN PERFORMING ARTS CENTER I PROVIDENCE I REX
Center Stage
A transformable performance space with a striking fluted skin gives
the arts top billing at Brown University.
BY JOANN GONCHAR, FAIA
PHOTOGRAPHY BY IWAN BAAN
THE ARCHITECTURAL assortment at
Brown University, in Providence spans
Georgian, Richardsonian, Neoclassical,
pseudo-Federal, Brutalist, and everything in
between. The latest addition to the College
Hill campus’s eclectic mix is a nearly indus-
trial-looking silvery aluminum-clad box—a
mysterious volume that is mostly blind, except
for a glazed ribbon that slices dynamically
through its fluted facades near the ground.
The enigmatic 75-foot-tall volume is The
Lindemann Performing Arts Center, de-
signed by REX, the New York–based archi-
tecture firm founded by Joshua Ramus. On
Angell Street—a main artery on the city’s
East Side—the 101,000-square-foot building,
striking in its simplicity, creates a scalloped
74 ARCHITECTURAL RECORD N OV E M B E R 2 0 2 3
profile against the sky, announcing the im-
portance of the arts at Brown, which prides
itself on its interdisciplinary approach to
higher education. “The arts permeate all
aspects of the curriculum,” explains Christina
Paxson, the university’s president.
In conceiving Lindemann, Brown’s first
priority was establishing a home for its or-
chestra, since the group had long been per-
forming in Sayles Hall. The late 19th-century
granite-and-brownstone edifice, centrally
located on the main college green, contains
one of the university’s largest assembly spaces,
but has substandard acoustics. The program-
matic requirements for the new building
didn’t stop there. His brief, says Ramus, was a
facility that could be intensively used, on a
THE VOLUME enclosing Lindemann is clad in
aluminum that is fluted, in part to disguise
the joints between panels (above and left).
75
 COLLEGES & UNIVERSITIES

10 11 11 10 10

6 6
9 9 6 6
9
4

B2-LEVEL PLAN

SECTION A - A

6
8 7 6 5
3 1

7
8

0 30 FT.
GRADE-LEVEL PLAN SECTION B - B
10 M.

1 LOBBY 7 LOWER LOBBY

3
2 MAIN HALL 8 UNDER STAGE

2 3 ASSEMBLY AREA 9 REHEARSAL ROOM

B B 4 CLERESTORY 10 PRACTICE STUDIO
5 BALCONY LOBBY 11 INSTRUMENT STORAGE

1 6 BALCONY

A
LOBBY-LEVEL PLAN

daily basis—by all the performing arts—rather than a space that would
be mostly dark except for the orchestra’s few concerts each year.
The answer was a building that could serve as several venues in one.
However, designing an exceptional multipurpose performance space
6
can be tricky, points out Ramus: “The classic problem with them is
5
that they are good for all but not great for anything.” At Brown, one of
the many challenges was creating the reverberation times and ensemble
conditions required by orchestral music, which are primarily dependent
on a large interior volume, without sacrificing the intimacy desired for
6
drama or dance.
With these competing desires in mind, the architects designed a
0 30 FT. concert hall with a relatively tight footprint, about 59 by 88 feet, and
FIRST-BALCONY-LEVEL PLAN
10 M. for a correspondingly small audience of 530 people. They then estab-

76 ARCHITECTURAL RECORD N OV E M B E R 2 0 2 3
THE BUILDING, sited on busy Angell Street
(right), has a lobby that cantilevers over the
entry stair and stadium seating (above).

lished the needed acoustical volume by mak-

ing it taller than they otherwise would have
(nearly 67 feet from the theater floor to the
underside of the roof structure). The resulting
space accommodates a stage for Brown’s
100-piece orchestra, along with a loft for its
70-person choir. The shoebox-shaped room,
rendered almost completely in an inky blue-
black, is ringed by four suspended balconies
(two for people and two for lighting and other
equipment). In turn, suspended from those
levels, just above the floor, are a series of
curved glass acoustical reflectors whose pur-
pose is to direct high-frequency sound back
into the room.
In addition to the concert-hall configura-
tion, Lindemann can also be transformed into
four other primary geometries: a large flat-
floor room; a 388-seat recital hall; a 275-seat
end-stage theater; and a “media cube” for
immersive digital and video art. And because

77
 COLLEGES & UNIVERSITIES

EXPERIMENTAL MEDIA

RECITAL

END STAGE

STRUCTURAL DIAGRAM

Credits SIZE: 101,000 square feet

ARCHITECT: REX — Joshua Ramus, principal
ORCHESTRA
in charge; Adam Chizmar, project leader; Maur
Dessauvage, Sebastian Hofmeister, Kevin
Thomas, Kelvin Ho, Nicolas Lee, Tim Carey, Davis
Richardson, project team
CONSULTANTS: Odeh (structural engineer
of record); Magnusson Klemencic (consulting
structural engineer); Arup (m/e/p); Atelier Ten
(sustainability); Front (facades); Theatre Projects
(theater design/stage equipment); Threshold
Acoustics (acoustical/AV); Acentech (acoustical
sub-consultant); L’Observatoire International
(lighting)
GENERAL CONTRACTOR:
Shawmut Design & Construction
FLAT FLOOR CLIENT: Brown University
COST: withheld
COMPLETION DATE: September 2023
SOURCES
ALUMINUM RAINSCREEN: Roschmann Group
INTERIOR GLAZING: Vitro, Safti First,
AGC Interpane
METAL DOORS: Assa Abloy
MAIN HALL SOUND REFLECTORS: Glenn Rieder
ACOUSTIC ISOLATION PADS: Kinetics
LIGHTING: Reflex Lighting, Lucifer Lighting, USAI,
B-K Lighting, XAL USA, BEGA, PureEdge Lighting,
Ecosense Lighting
HIGH-IMPACT WALLBOARD: National Gypsum

78 ARCHITECTURAL RECORD N OV E M B E R 2 0 2 3
BOGIES and winches (opposite, right), located
below the roof, enable the transformation of
the main hall (above). Basement-level rehearsal
spaces (right) double as performance venues.

the building is intended as a teaching facility,

it also has rehearsal spaces, for orchestra,
theater, and dance, in two below-grade levels.
Clad in perforated Douglas fir, equipped with
sprung floors, and constructed as “box in box”
rooms for acoustical isolation, all double as
performance venues.
The main hall’s conversion from one use to
another can be accomplished by eight people—
including riggers and stagehands—in four to
eight hours. The transformation is enabled by
an array of automated and manually operated
equipment, such as adjustable acoustic reflec-
tors and curtains, lighting bridges, stage lifts,
telescoping orchestra risers, and retractable
seating. Even normally stationary building
services, such as power, data, and water (for fire
suppression) have been designed to be moved
along with the other reconfigurable devices.
Lindemann is not Ramus’s first transform-

79
 COLLEGES & UNIVERSITIES

able performing arts building. The Dee and

Charles Wyly Theatre (record, February
2010), in Dallas, designed by him as partner
in charge of the project at REX/OMA, and
Rem Koolhaas, was completed in 2009.
REX’s Perelman Performing Arts Center
(record, October 2023), opened in Lower
Manhattan earlier this fall. Though contem-
poraneous with Perelman, Lindemann is
more akin to the older project—at least in
regard to its facade treatment. While
Perelman is shrouded in Portuguese marble,
Wyly has a glazed base that reveals what is
happening inside. Lindemann takes a similar
approach to transparency, but through an
element that Ramus refers to as a “clerestory.”
This glass-enclosed circulation space wraps
the building on three sides at stage level.
Depending on the time of day, interior con-
figuration, and the lighting arrangement, the
clerestory will showcase the activity within
to passersby and the university community.
The necessarily column-free volume that
houses the reconfigurable performance space
is made possible by Lindemann’s fixed struc-
ture. Underneath the aluminum skin, which is
fluted in part to help disguise the horizontal
joints between panels, steel belt trusses extend
the full height of the two long facades. They
span more than 111 feet between steel-framed
stair towers at each of the shorter ends. From
the eastern tower, the clerestory extends to
form the lobby—a floating glass box that
cantilevers 37 feet, making Lindemann ap-
pear to be reaching out gregariously, across a
campus pedestrian way, toward its neighbor-
ing arts facility, the Perry and Marty Granoff
Center, a 2011 Diller Scofidio + Renfro
project with studio, workshop, and lab space
for the visual and performing arts.
To enter Lindemann, performance-bound
users walk through the sheltered outdoor
area below its low-slung cantilever, which
hovers just 10 feet above the ground—a route
that, on a recent gray day, before the building
had officially opened, seemed uninviting.
However, Avery Willis Hoffman, the artistic
director of the Brown Arts Institute, which
manages the building, promises that the
students will devise installations and events
that will activate the compressed space.
Toward that end, it has infrastructure to
support a variety of activities, including
lighting, as well as stepped seating whose
horizontal surface has been cleverly sculpted
to incorporate the facade’s fluted profile.
If visitors may find the entry path less than
alluring, they will be rewarded once they
ascend the gently sloped flight of stairs to the

80 ARCHITECTURAL RECORD N OV E M B E R 2 0 2 3
AN INSTALLATION by Leo Villareal is mounted
on structural elements in the lobby (above). A
glazed “clerestory” (right and opposite) wraps
the building at stage level.

lobby. The room is only 8 feet 9 inches high

and filled with what appears to be a field of 30
closely spaced columns. Instead, they are the
vertical elements of a two-way Vierendeel
truss supporting the cantilever. But, despite its
modest scale and the number of structural
components, the space feels expansive, due to
its floor-to-ceiling glazing, reflective polished
concrete floor, and, in no small part, to a site-
specific installation by digital artist Leo Villa-
real. The piece, called Infinite Composition,
consists of LED panels mounted on the
column-like struts, displaying flowing and
shifting light patterns that serve to demateri-
alize them.
The shifting, non-repeating nature of
Villareal’s piece provides a fitting foreshadow-
ing for the mutable performance space beyond,
and the creative magic to take place within. n

81
 COLLEGES & UNIVERSITIES

UNIVERSITY OF VALLE D’AOSTA CAMPUS | AOSTA, ITALY | MARIO CUCINELLA ARCHITECTS

Tip of the Iceberg

Glacial forms inspired a classroom building deep in the Italian Alps, where it and a
forthcoming twin will anchor a university with lofty ambitions.
BY LEOPOLDO VILLARDI
PHOTOGRAPHY BY DUCCIO MALAGAMBA

82 ARCHITECTURAL RECORD N OV E M B E R 2 0 2 3
FOR CENTURIES, Forte di Bard has
stood watch over a narrow pass into the Aosta
Valley—a region in northwest Italy surround­
ed by Alpine mountain ranges. When Napo­
leon marched on the fortress in 1800, a few
hundred soldiers billeted there were able to
stave off the 40,000 at his flank. Today, the
journey into and out of the valley isn’t quite so
perilous—a car or train will do—but the
dramatic, isolating landscape has fostered a
unique culture. Scalloped slate shingles and
timber replace the terra­cotta roofs and stuc­
coed walls commonplace in the Italian coun­
tryside. Vineyards, planted in stone­walled
terraces, creep up hillsides. Italian and French
traditions meld, as do the languages (into a
regional dialect known as Valdotèn). The
province enjoys special administrative au­
tonomy from the national government, too.
“New York City seems closer to Milan, men­
tally, than Aosta does,” Italian architect
Mario Cucinella says with a laugh.
In the 33,000­person town for which the
valley is named, Cucinella’s Bologna­ and
Milan­based studio has been busy reimagin­
ing a former military barracks first built for
the Alpini—the Italian army’s specialized
mountain infantry—into a new campus for
the University of Valle d’Aosta. Situated just
outside the town’s historic Roman wall and
straddling its decumanus, the original 7½­acre
encampment included four rectangular build­
ings that together formed a large courtyard,
Piazza d’Armi. An administration building at
the southern end of the square is being retro­
fitted as a library; to the north, a dormitory
for soldiers will soon serve as faculty and
administrative offices. The two longest build­
ings, running north–south on either side of
the piazza, were demolished to make way for
a pair of ground­up classroom buildings, the
first of which has been completed and will
welcome students next year.
The edifice is compact—a decision in­
formed by Cucinella’s in­house team of build­
ing­science specialists, who assist with energy
analysis and modeling. What began as a
rectangular bar with cantilevered classrooms
(and too many thermal breaks) iteratively
morphed into a building reminiscent of an ice
shelf. The horizontally striated facade—
mainly ribbons of insulated aluminum panels
and glass with stepped ledges surfaced in a
stonelike solid acrylic—appears to have been
eroded by wind, or to be melting into the
landscape. The designers fully leaned into the
glacial metaphor, using a palette of white,
light gray, and aquamarine that seems plucked
directly from the nearby snowy mountaintops.

83
 COLLEGES & UNIVERSITIES

THE TOWN-FACING
facade bifurcates to
shelter entrances
and create terraces
(opposite). A campus
plan shows both
classroom buildings
and a pedestrian
plaza (left).

1
3

GROUND-FLOOR PLAN

1 ATRIUM

2 CAFÉ

3 SUNKEN COURT

4 CLASSROOM

0 30 FT.
SECOND-FLOOR PLAN
10 M.

84 ARCHITECTURAL RECORD N OV E M B E R 2 0 2 3
Curvilinear elements soften the entire composition—walls turn corners
with rounded fillets, as do stair treads and risers. And the facade that
faces away from the campus, toward the town, gently bifurcates to
create covered walkways and upper-story terraces.
As solid as the building may seem, four entrances ensure porosity,
and a publicly accessible café will encourage light foot traffic. Inside, a
cavernous four-story atrium, running along the entire western edge of
the building, is the architectural highlight. A series of S-shaped steel
ribs, fixed to the ground with pin connections, structures the sinuous
outer skin. Although this facade is 70 percent opaque, the space behind
it is astonishingly bright. The solid-surface ledges act as solar shelves,
bouncing light and creating a diffuse, atmospheric interior. At the very
top, operable circular skylights vent warm, rising air.
From the ground floor, an elliptical stair spirals downward, leading
to five laboratories and a 200-seat lecture hall (called the aula magna),
which is lined with deep-blue microperforated acoustic panels. The
same stair also swirls upward, providing access to smaller seminar
spaces and classrooms on the higher floors. Here the balconies push
into, and pull away from, the atrium—in tension with the facade and,
every so often, grazing it. As students and faculty walk these floors,
they will pass framed vignettes of the Mont Blanc group in the dis-
tance, which separates Italy from neighboring France. There are an
impressive 31 classrooms of varied arrangements packed into the vol-
ume—the smallest ones accommodate 20 students; others fit larger
groups with raked seating. In some cases, they spill out onto terraces
offering panoramic vistas of the surrounding mountains.
85
 COLLEGES & UNIVERSITIES

Using public funds, the facility is a nearly

zero-energy building (NZEB)—today a
requirement in the European Union, but at
the time of construction, only a request by the
client. Although geothermal wells, cold-water
extraction from the ground, graywater collec-
tion, materials with high R values, and photo-
voltaic panels on the roof all help achieve this,
the optimized envelope, which minimizes
heat gain, and the naturally ventilating atrium
do a yeoman’s work. “Architects in general
have become too attached to the idea that
technology can solve all problems. When a
building is designed poorly from the start, no
amount of technology is enough to fix it,”
Cucinella says. “And,” he points out, as a
reason why he founded the postgraduate
School of Sustainability in Milan in 2015,
“there are few university programs in Italy
that help students learn how to design build-
ings in relationship to climate and energy.”
In a country where most universities oc-
cupy disparate spaces in historic buildings
across their home cities, a proper campus with

STEEL RIBS in the atrium support the facade

(left and opposite). Classrooms look out at the
historic townscape and Alps (below).

86 ARCHITECTURAL RECORD N OV E M B E R 2 0 2 3
87
 COLLEGES & UNIVERSITIES

1 ATRIUM

2 CAFÉ
4
A 3 AULA MAGNA

4 CLASSROOM
4
5 PARKING

5
3

0 15 FT.
SECTION A - A
5 M.
B

brand-new facilities is a rare and valuable asset—one that administra-

tors of the relatively young University of Valle d’Aosta (classes began in
2001) are seeking to leverage. In recent years, many Italians have in-
creasingly looked elsewhere in Europe for educational opportunities;
the university is also aiming to attract talent from across the border for
its programs in political science and international relations, economics
and management, and languages and communication for business and
tourism, among others. But the school also has local ambitions: the
reimagined campus will double as an urban park for residents, and the
decumanus directly south, now used as a car thoroughfare, will be
rendered into a pedestrian plaza, with two levels of parking relocated
under Piazza d’Armi.
Amid such a traditional townscape, the new building at the
University of Valle d’Aosta markedly stands out—but, as the architect
C
explains, that’s precisely the point. “After all these years, I still think
back on my kindergarten—it left such a strong impression on me,”
Cucinella says of the circular experimental school he attended, de-
D
signed by the daring Bolognese architect Giuseppe Vaccaro. “Archi-
E
tecture, especially educational buildings, should prompt curiosity and
spark imagination, and—hopefully—those memories stick with stu-
dents. That’s why I design buildings like this.” n

Credits
ARCHITECT: Mario Cucinella
Architects — Mario Cucinella,
principal; Giulio Desiderio, Donato
Labella, Julissa Gutarra, Michele
Olivieri, Nada Balestri, David Hirsh,
Rigoberto Arambula, Fabrizio
Bonatti, Luca Stramigioli, Giulia
Pentella, Alberto Bruno, design
team; Yuri Costantini, model-maker
WALL SECTION
COLLABORATING ARCHITECTS:
Studio Pession Associato,
Tetrastudio Architetti Associati,
A SKYLIGHT D INSULATED ALUMINUM PANEL Roberto Rosset Architetto
B STRUCTURAL STEEL E GLAZING ENGINEERS: Sintecna (structural);
C STONELIKE ACRYLIC LEDGE Maurizio Saggese, Giuseppe Amaro
(m/e/p)
CLIENT:
Société Infrastructures Valdôtaines
SIZE: 56,400 square feet
COST: $36.9 million (construction)
COMPLETION DATE: August 2023
Sources
CURTAIN WALL: Betacryl
(stonelike acrylic ledge)
FLOORING: Forbo
FURNITURE: Aresline
ACOUSTICAL PANELS:
Saint-Gobain

88 ARCHITECTURAL RECORD N OV E M B E R 2 0 2 3
89
 COLLEGES & UNIVERSITIES

UNIVERSITY OF CALIFORNIA, SANTA BARBARA ASSOCIATED STUDENTS BIKE SHOP I JOHN FRIEDMAN ALICE KIMM ARCHITECTS

A Bespoke Solution
A coastal university campus gains a bike-repair hub suited to its strong cycling culture.
BY SARAH AMELAR
PHOTOGRAPHY BY BENNY CHAN/FOTOWORKS

90 ARCHITECTURAL RECORD N OV E M B E R 2 0 2 3
THE UNIVERSITY of California, Santa
Barbara (UCSB) claims the heaviest bicycle
traffic of any campus in the state system, with
7 miles of Class-1, or dedicated, bike paths,
over 20,000 bicycle parking spots, and more
than half of its 26,000 students—by some
estimates, closer to 70 percent of its under-
graduates alone—riding there. “When
school’s in session,” says Adam Jahnke, man-
ager of the campus bike shop, “you’ll see a
river of cyclists rolling down these paths—it’s
such a massive flow that pedestrians often
have to wait for an opening to cross.” UCSB’s
cycling culture goes back decades. In 1974, it
inspired undergrads to establish the Associ-
ated Students Bike Shop, providing repairs in
a modest cracker box of a building, left from
the campus’s days as a military base. Thirty-
two years later, in 2006, the shop upgraded to
a double-wide trailer on the same site. Still, as
generations of students continued to staff it,
the quarters remained cramped and quirky—
and, by 2017, serious conversations with the
university were under way to create a better,
more “bespoke” home for this beloved institu-
tion. Finally, through an RFQ process, Los
Angeles–based architects John Friedman
Alice Kimm (JFAK) won the commission.
Their 3,000-square-foot pavilion opened last
September, launching the school year.
Remarkably, the new $3.66 million build-
ing is wholly student owned and financed—
funded by the Associated Students of UCSB,
a nonprofit that collects (and invests) an
annual fee from all undergrads to provide
services, opportunities, and advocacy not
offered by the university.
Among a dozen potential sites, the one
JFAK chose is a flat, centrally located rect-
angle along a major bike path and roadway.
It’s also beside the Student Affairs and Ser-
vices Building (SAASB), which includes the
campus visitor center and admissions office.
Initially, some pushback came from those
who envisioned an “oil-and-lube shop” with
dirty, broken bikes blighting this prominent
area. But the admissions leadership soon
embraced the clean-lined design, with its
focus on sustainability, wellness, entrepre-
neurship, and community.
The resulting one-story white-stuccoed
building—rising to a flat-roofed drum, with a
spoked, circular canopy—references both
bicycles and the roundabouts throughout cam-

THE SHOP features a walk-up service window

and queuing area (opposite), spacious plazas
with seating areas (top), and access to bike
paths on the west side of the building (right).

91
 COLLEGES & UNIVERSITIES

pus. Decorative patterning on the cylindrical form borrows from wheel-
tread patterns. Under the canopy is a DIY area with free access to tools,
enabling community members to do their own repairs. Inside, the pavil-
ion, with entry-area storefront glazing, is bright and airy—essentially one
big room with a service counter and open storage space, keeping bikes
and parts visible to staff and customers. There’s also a small office, con-
ference area, and bathroom (a precious amenity that the original shop
lacked). The main space is high-ceilinged, with retractable air hoses
dangling overhead, providing for up to 11 workstations. Underfoot,
rubberized flooring helps minimize worker muscle fatigue, as well as
noise levels and oil cleanup challenges. Plywood wall panels—economical
and befitting a workshop—add visual warmth.
“We also wanted a service window with outdoor queuing, a key
element of our earlier location,” says Jahnke. “It enabled us to triage
repairs and give advice, and was integral to the culture of the place,
creating a real social hub.” JFAK improved on the original with a
12-foot-long counter and tri-panel window that slides open, alongside a
roll-up door to receive bikes for servicing. The queuing area—on the
building’s west side, paralleling a bike path a few feet away—has shad-
ing triangles of stretched fabric overhead. On the pavilion’s east side is
a 200-foot-long oval test track, allowing customers to check out their
repairs. Nearby is a bioswale, one of many sustainable features of this
LEED Platinum–certified project.
At the admissions director’s request, JFAK created a sculptural
freestanding screen, facing the SAASB. With plates of steel set in a
concrete bench (and inspirational words provided by the university), it
has become a popular “selfie wall.”
“The way the shop forms a gateway, gently framing the administration
building, is a great double-use of a small structure,” says campus architect
Julie Hendricks, who oversaw the project. “Biking is obviously essential
to UCSB, and the new pavilion becomes its vortex—a dynamic hub that
welcomes prospective students and engages those already here.” n

16

1 WORKSHOP
A 2 PUBLIC COUNTER

3 DIY AREA
2 4 ELECTRICAL ROOM
4 5 BIKE STORAGE

6 OFFICE
5 15
7 JANITORIAL CLOSET
11
8 RESTROOM

9 CONFERENCE ROOM
6
7 10 STAFF PATIO
8 11 QUEUING AREA
14
9 12 PEDESTRIAN SIDEWALK

13 BIKE PATH

14 TEST TRACK

15 EAST PLAZA

13 12 16 NORTH PLAZA/SELFIE WALL

0 30 FT.
SITE PLAN
10 M.

10 1
9 8 7 2

0 10 FT.
SECTION A - A
3 M.

92 ARCHITECTURAL RECORD N OV E M B E R 2 0 2 3
 THE MAIN repair space is large enough to
accommodate 11 individual workstations while
the front entry area (below) features a service
counter and open storage space.

Credits
ARCHITECT: John Friedman Alice Kimm
Architects — Alice Kimm, principal in charge;
Alice Kimm, John Friedman, lead designers
ENGINEERS: Nabih Youssef & Associated
Structural Engineers (structural); Introba
Engineers (m/e/p); KPFF (civil)
CONSULTANTS: Studio–MLA (landscape
architecture); Seeking Balance (sustainability
and LEED certification); SGH (building envelope)
GENERAL CONTRACTOR:
Cal-City Construction
CLIENT: Associated Students of UCSB
SIZE: 2,950 square feet (building); 21,473 (site)
COST: $3.66 million (construction)
COMPLETION DATE: August 2023

Sources
STUCCO CLADDING:
Omega Products International
ROOFING: Hunter Panels (built-up roofing);
Sika (elastomeric)
WINDOWS & ENTRANCES: Arcadia
ROLL-UP DOOR: Cookson
INTERIOR RUBBER TILES: Tarkett
GLAZING: Viracon (glass); Velux (skylights)

93
 COLLEGES & UNIVERSITIES

94 ARCHITECTURAL RECORD N OV E M B E R 2 0 2 3
D.B. WELDON LIBRARY | LONDON, ONTARIO | PERKINS&WILL

A New
Chapter
Perkins&Will breathes new life into a Brutalist
campus landmark.
BY MATTHEW MARANI
PHOTOGRAPHY BY SCOTT NORSWORTHY

FOR MUCH of its first 100 years, the University of Western

Ontario, in London, was a relatively small outpost of Canada’s public
university system. Founded in 1878 and situated at the fork of the
Thames and Medway Rivers, the campus consisted almost entirely of
Collegiate Gothic halls of modest scale. But the D.B. Weldon
Library—designed in the Brutalist style by renowned Australian
architect John Andrews, with local practice Murphy, Schuller, Green
and Martin as part of an ambitious expansion of the campus—marked
a dramatic departure from that existing character.
Andrews, born in Sydney and mentored by José Luis Sert at
Harvard’s Graduate School of Design, would go on to design the
GSD’s Gund Hall (1972), Toronto’s CN Tower (1976), and many
other projects in both North America and Australia.
Though the fortresslike edifice, with its monumental central atri-
um, received much acclaim when it opened its doors in 1972, over the
succeeding half century, numerous ill-conceived design interventions,
as well as the evolution of pedagogical demands on academic libraries,
rendered Weldon functionally and aesthetically outdated. That was
until earlier this year, when the Toronto studio of Perkins&Will
wrapped up the first part of a multi-phase revitalization project.
For Perkins&Will, the goal is, when working with such structures,
to, in effect, convince the client that the performance flaws can be
reversed without fundamentally altering the “bones” of the original
design.
The 220,000-square-foot behemoth rises six stories, with a ter-
raced form that reduces the impact of its scale on the otherwise low-
slung campus. The building’s almost entirely poured-in-place con-
crete structure has stairs and mechanical shafts housed within oblong
towers at the exterior corners and post-tensioned floor slabs sup-
ported by precast single tees. Their load, in turn, is transferred to
perimeter beams at the edge of the floor plates, which provide for the
library’s largely column-free interior. The double-height atrium,
which contained a large portion of the library’s collection and later
evolved into a study space, is topped by a waffle slab ceiling.
The finish of the concrete varies across the library; interior spaces
have a smooth wood grain formed by plywood and timber boards, as
do the great exterior horizontal spans that sandwich the library’s
ribbon windows. Other exterior elements, like the towers, are striated
and sandblasted, in a treatment similar to bush-hammered, or “cor-

95
 COLLEGES & UNIVERSITIES

duroy,” concrete. The resulting array of surfaces demarcates the build-

ing program and visually breaks up the otherwise monolithic mass.
Andrews envisioned Weldon as something of a hub within the
university’s campus; however, at the start of the renovation, it resem-
bled anything but. It was, for all intents and purposes, a concrete ware-
house with enfilades of cubicles and partitions, minimal natural light,
and inadequate building climate controls.
The first step for this phase of the project, which focused only on
the interior, was to declutter; those cubicles and other barriers, as well
as a reference desk that had gradually subsumed an ever-larger share of
the atrium’s floor space, were removed. Linoleum flooring was ripped
out and replaced with grayish-white porcelain tiles that harmonize
with both the color and rectilinearity of the existing concrete. Below

4
3

3 7

MEZZANINE-LEVEL PLAN

1 MAIN ENTRANCE 6 ARCHIVES ADMINISTRATION

2 INFORMATION DESK 7 COLLABORATION SPACES

3 STUDY AREA 8 WORKSHOP ROOM

4 CAFÉ 9 CONSULTATION ROOMS

5 COMMUNITY ROOM 10 MOTORIZED HIGH-DENSITY

STORAGE SYSTEM
0 75 FT.
GROUND-FLOOR PLAN
25 M.

10

SECTION

96 ARCHITECTURAL RECORD N OV E M B E R 2 0 2 3
THE LIBRARY bears an imposing presence and is sectionally complex
(opposite). Study spaces were revamped (above and right).

grade, in an existing basement formerly used to warehouse micro-

fiche, the team compressed the library’s collection with a motorized
high-density storage system. The move freed up floor space above
for study rooms, collaborative spaces, and administrative offices.
Perkins&Will also reintroduced a curved stair linking the atrium
to the mezzanine that, at some point, had been demolished. The
stair, formerly exposed concrete, is now clad in white oak, matching
new millwork found throughout the library, which replaces a prior
hodgepodge of dark-stained cherry finishes. Bright upholstered
furniture adds color to the otherwise muted interior.
For lighting, the team suspended an array of orb-shaped pen-
dants, chosen for their soft and diffused light, within the coffers of
the atrium’s ceiling, creating much-needed contrast to the heaviness
of the concrete without detracting from the existing details.
Electrical conduits were painted to match the exact color of the
concrete, and carefully routed, to be as inconspicuous as possible.
Larger fixtures, custom made by the same manufacturer, are located
above key nodes, such as the information desk.
The project included a comprehensive upgrade of the building’s
aging mechanical equipment. The original climate-control system
consisted of four zones, that, considering the scale of the building,
left users overheated or cold, depending on their location within the
library. The architects, in collaboration with local engineer Chor-

97
 COLLEGES & UNIVERSITIES

98 ARCHITECTURAL RECORD N OV E M B E R 2 0 2 3
THE RENOVATION improved circulation and office space (above and Credits
opposite, top). Stacks are consolidated in the basement (opposite, bottom). ARCHITECT: Perkins&Will — Andrew
Frontini, managing principal; Jon
ley+Bisset, adopted a more granular approach to provide control within Lowen, associate principal; Martha
del Junco, interior design lead; Alan
smaller zones. Additionally, the architects and engineers threaded a Mortsch, project manager
new service spine through the concrete structure to provide enhanced
ASSOCIATE ARCHITECT:
electrical, IT, and AV services for existing and anticipated needs. All in Cornerstone Architecture
all, the infrastructural improvements are expected to reduce energy use ENGINEERS: Vanboxmeer
by 30 percent. & Stranges (structural);
Chorley+Bisset (m/e/p)
The architect and client are currently finalizing the scope and
GENERAL CONTRACTOR:
budget for the second phase of the project, which includes the renova-
Tonda Construction
tion of study and collection areas, integrating new teaching, learning,
CLIENT:
and research spaces, and programmatic support for evolving staff University of Western Ontario
operations. But with the first phase completed, Perkins&Will has SIZE: 80,000 square feet (Phase 1)
already succeeded in transforming an undervalued and outmoded
COST: withheld
building into a relevant cornerstone of the University of Western
COMPLETION DATE: October 2022
Ontario’s campus. n
Sources
ACOUSTICAL CEILINGS:
Armstrong Ceilings
DEMOUNTABLE PARTITIONS:
Kawneer/Glass Canada
CABINETWORK AND CUSTOM
WOODWORK: Archmill House
PAINTS AND STAINS: Dulux
INTERIOR SURFACING: Centura,
Fenix NTM
RESILIENT FLOORING: Khars,
Upo Flooring
CARPET: Tarkett
FURNITURE: Haworth, Keilhauer,
Teknion
PENDANTS:
Camman Lighting

99
 COLLEGES & UNIVERSITIES

ETH ZURICH GLC RESEARCH BUILDING I SWITZERLAND I BOLTSHAUSER ARCHITEKTEN

Crystal Palace
Glass block forms the outer layer of an innovative double facade for a laboratory building.
BY ANDREW AYERS
PHOTOGRAPHY BY KUSTER FREY

“WHEN I STUDIED architecture at ETH Zurich, my professor,
Peter Märkli, took us on a trip to Paris,” recalls 59-year-old Roger
Boltshauser, founder of Zurich-based Boltshauser Architekten, of his
days at Switzerland’s Federal Institute of Technology. “The first thing
we saw was the Maison de Verre.” Pierre Chareau and Bernard Bijvo-
et’s 1932 magnum opus would leave a profound mark on the impres-
sionable student, sparking a lifelong passion for glass blocks. Bolts-
hauser’s other obsession is rammed earth, a material he has used on
numerous occasions and whose low-carbon potential he pushed to the
limits at Haus Rauch (Schlins, Austria, 2008), a family home largely
built from soil excavated on-site. Although it might not seem so at
first, these two interests intersect at this ETH Zurich research build-
ing, whose sleek, high-tech appearance belies its passive approach.
Shared by the departments of health science, IT, and electrical
engineering, the $220 million Gloriarank Laboratory Center (GLC)
sits about a quarter mile uphill from ETH Zurich’s Gottfried Semper–
designed main building, next door to Zurich University’s campus. For
ETH Zurich, which wanted to develop research partnerships with its
sister institution, the location was so strategic that it was prepared to
demolish a 1920s building to squeeze the GLC into a site that was too

100 ARCHITECTURAL RECORD N OV E M B E R 2 0 2 3

A MONUMENTAL stair (opposite)
leads up to the courtyard (this
image). With its red-and-black
columns, the new building freely
quotes the Maison de Verre.

101
NESTLED into a hillside, thanks to a giant
retaining wall (bottom), the GLC features
ingenious HVAC and ventilated glass block
facades (right).

maintain stable indoor temperatures. With its

abundant glass blocks, Boltshauser’s proposed
envelope paid tribute not only to the Maison
de Verre but also to ETH Zurich’s nearby
Maschinenlaboratorium (page 106), a 1930s
building that he greatly admires.
Seduced by the concept, ETH Zurich
awarded Boltshauser Architekten first
prize—ahead of David Chipperfield and
Caruso St. John—on the condition that they
prove their air-circulation concept would
actually work. On the advice of engineers, the
architects dropped the idea of pumping the
retaining-wall air into the envelope, instead
using it to ventilate the building’s interior, and
turned to natural forces to regulate the facade
temperatures: in summer, the envelope cavity
draws up cooling air like a chimney through
external openings at its base, while in winter
electrically operated flaps close it off, floor by
floor, so that it becomes a heat trap (the flaps
also shut in the event of fire). “It may seem
paradoxical, with all that concrete, but if we
hadn’t done Haus Rauch, we couldn’t have
designed the GLC,” says Boltshauser, who
hopes the building will achieve energy sav-
ings of at least 25 percent.
“Our work isn’t just a question of carbon
reduction—it’s always about architecture too,”
he continues. “Jean Nouvel, Chareau, and of
course Le Corbusier—this was my school,”
and the influence of all three is palpable in
the beautifully handled facades, which recall
both Nouvel’s Institut du Monde Arabe and
Corbu’s Immeuble Molitor. “We wanted to
treat these elevations like a palazzo,” he con-
tinues, referring to the combination of narrow
operable windows and square fixed panels
decorated with larger glass blocks at their
center, which together act like phantom
pilasters, bringing a sense of verticality to an
otherwise very horizontal composition.
Inside, a spacious entrance hall leads to an
airy top-lit atrium, at whose center rises a
bravura stair in steel and glass block. As well
as reflecting Boltshauser’s aesthetic obses-
sions, the atrium responds to the client’s
request that the different research teams be
encouraged to mix and meet. To provide
stability for sensitive lab equipment, the
GLC’s basic structure comprises steel col-
umns and concrete floor slabs, with concrete
stair cores for wind bracing. “Foreign archi-
tects always tell us how crazy Swiss regula-
tions are,” laughs Boltshauser. “ ‘All these

103
 COLLEGES & UNIVERSITIES

THE ENTRY leads to a daylit atrium (opposite).

Inside, the architects left concrete ceilings, core
walls, and floors exposed (left and bottom).

layers you’re forced to add,’ they say. Here, we

tried to strip away as much as possible.” As a
result, everything is exposed for what it is,
with ceilings and core walls proudly bearing
their board marks, floors in honed concrete,
and columns that are painted red and black
like those at the Maison de Verre. Hardly a
sack of plaster entered the building site, since
the architects used either glass block or sand­
wich partitions faced in perforated metal
(another nod to Chareau) to divide up the
interior.
“A laboratory is a machine, and we wanted
the architecture to reflect that,” says Boltshaus­
er. “But if you’re too ‘chatty,’ it’s not so interest­
ing.” After the classical calm of the courtyard,
and the equally quiet entrance hall, HVAC and
plumbing begin to be revealed as you progress
through the building, with full exposure on the
lab ceilings. Indeed, Boltshauser Architekten
obsessively designed every square inch of the
GLC, from the restaurant furniture to the
Chareau­ and Le Corbusier­inspired lighting,
which integrates smoke and movement detec­
tors to free up the ceiling. A classic total­design
Gesamtkunstwerk, this was a true labor(atory)
of love. n

Credits
ARCHITECT: Boltshauser Architekten —
Roger Boltshauser, principal; Armin Baumann
(project manager); Fabio Tammaro, Stephan
Schülecke, Angela Tsang, Simon Spring, Adrian
Zimmermann, Erica Pasetti, Sascha Laue,
Emanuel Stieger, design team
ENGINEERS: IBG Engineering (electrical);
Waldhauser + Hermann (HVAC); Basler +
Hofmann (civil); Balzer (sanitary); SSE (building
automation)
CONSULTANTS: Feroplan Engineering (facade);
Mettler (landscape); Tonelli (laboratory);
Reflexion (lighting); Gruner (fire protection);
Durable (sustainability); Urs B. Roth (geometry);
Muehlebach Parter (acoustics); Hydraulik
(drainage)
GENERAL CONTRACTOR: Steiner
CLIENT: ETH Zurich, Real Estate Management
OWNER: Swiss Confederation
SIZE: 243,000 square feet
COST: $220 million (total)
COMPLETION DATE: March 2023

Sources
BUILDING ENVELOPE: AEPLI Metallbau,
Semadeni Gasbeton, Ruch Metallbau, Gilgen
INTERIOR FINISHES: Artigo, Forbo (flooring);
Lindner (modular walls); Inventron, se
Lightmanagement (lighting)

104 ARCHITECTURAL RECORD N OV E M B E R 2 0 2 3

105
 COLLEGES & UNIVERSITIES

PHOTOGRAPHY: © FRANZ RINDLISBACHER; LUCA ZANIER (OPPOSITE, 2)

106 ARCHITECTURAL RECORD N OV E M B E R 2 0 2 3

Itten+Brechbühl restores a landmark of
Swiss Modernism on the ETH Zurich campus
BY ANDREW AYERS
When Roger Boltshauser began designing
ETH Zurich’s GLC research building (page
100), one of his contextual references was
the school’s nearby Maschinenlaboratorium,
an early 20th-century complex now recog-
nized as a key landmark in Swiss Modernism.
Begun in 1895, just a stone’s throw from
ETH’s main building, the ensemble was radi-
cally overhauled in 1929 by Otto Rudolf
Salvisberg (1882–1940), a professor of archi-
tecture at the school. Completed in 1935, and
admired by both Picasso and Le Corbusier, the
closely packed group of buildings comprised
four main parts: a long, sleek wing of class-
The chimney, cooling tower, and boiler house of the former district heating plant has been
converted into a Student Project House (opposite). Its concrete stair core was added (right) and the
interior of the machine hall restored (above).
rooms and lecture halls on Sonneggstrasse to
the east; a glass-roofed hall for testing motors
and other machinery at the center; a glass-
fronted block of textile laboratories on Clau-
siusstrasse to the west; and, just next to it, a
district heating plant, whose concrete chim-
ney and cooling tower have been a distinctive
presence on the Zurich skyline ever since. In
2013, when the heating plant’s aging boilers
were definitively decommissioned, ETH
embarked on a major adaptive-reuse and
overhaul program entailing everything but
the former textile laboratory (which will be
renovated at a later date). A decade later, this
$127 million first phase of work has finally
reached completion.
“We did so much, and yet you don’t see
anything,” laughs architect Marcus Klink of
Itten+Brechbühl, the Swiss firm that carried
out the renovation and whose cofounder, in
1922, was none other than Salvisberg (origi-
nally called Salvisberg Brechbühl, the office
changed its name after his death). ETH’s brief
laid out three main objectives: restoring the
machine hall and converting it for use as a
space for exhibitions, receptions, and experi-
ments in robotics; converting the heating
plant’s glass-fronted boiler house into a
107
 COLLEGES & UNIVERSITIES

The machine hall (above, left) and workers in

1933 creating the Luxfer glass and concrete
roof over the hall (above). The same roof now
refurbished (opposite), and a classroom with a
new fire exit and resized seating (left).

Student Project House (SPH); and ensuring

that all three buildings conform to today’s fire
and safety regulations. For Itten+Brechbühl,
the biggest challenge was preserving the
Maschinenlaboratorium’s interwar character,
since the entire complex is landmarked, and
the Denkmalpflege Abteilung—Zurich’s
historic-monument commission—was watch-
ing closely.
Despite the difficulty of carrying out work
above continuously operating infrastruc-
ture—the heating plant’s basement now
contains the district steam converter, with
Salvisberg’s chimney serving to evacuate
excess heat—conversion of the former boiler
house was probably the most straightforward
of the three tasks. Conceived as a place to
encourage individual startup initiatives (such

COURTESY ETH LIBRARY ZURICH, IMAGE ARCHIVE (TOP, LEFT AND RIGHT)
as recycling waste plastic from Lake Zurich),

PHOTOGRAPHY: © FRANZ RINDLISBACHER (OPPOSITE AND BOTTOM);

the SPH required meeting and seminar rooms
and makerspaces, which Itten+Brechbühl
supplied by adding a simple stack of open
concrete floors within the boiler house’s
volume. A new concrete fire stair ensures
emergency evacuation, while energy-con-
sumption targets are met by way of a modern
glass skin built just inside the historic original.
Though it’s the one building that’s still used
for its original purpose, the Sonneggstrasse
classroom wing proved far trickier to reno-
vate, largely because of changes in code with
respect to fire safety and accessibility.
Original doors had to be made flame resistant
and/or widened for wheelchair access; class-

108 ARCHITECTURAL RECORD N OV E M B E R 2 0 2 3

rooms and lecture halls supplied with an extra
exit for emergency evacuation; and airy cor-
ridors that once flowed seamlessly into stair-
wells divided with fire breaks. Employing all
sorts of ingenious subterfuges, and reusing
as much original material as possible,
Itten+Brechbühl have largely succeeded in
rendering these substantial interventions
invisible to the uninitiated eye.
Conversion of the majestic machine hall
posed its own particular challenges, not least
the restoration of its glass block roof, one of
the first in Switzerland. Too damaged to be
retained, the original Luxfer glass prisms
have been replaced by a double-skin system
whose cavity contains inert gas to ensure
thermal insulation, with the prism pattern
replicated in the sandwich. Since the new
covering is far heavier and more voluminous
than the old, Itten+Brechbühl had to make
sure the supporting structure could bear its
weight, as well as that of the 4 inches of snow
stipulated by code. Building regulations also
complicated the addition of HVAC: machinery
had to be installed on the roof at one end, but
without its being considered an extra story—
otherwise, the hall’s capacity would be re-
duced from 300 people to just 50. To ap-
pease the building inspectors, a giant steel
truss, invisible from below, now bridges the
space between the classroom wing and the
heating plant.
As interwar buildings approach their
centenary, complex heritage issues like these
arise. Conceived for an age of abundant fossil
fuels, early Modernist landmarks can prove
particularly difficult to adapt. Unlike older
buildings, which hide their obsolete equip-
ment behind a layer of decoration, these
reveal everything for what it is and make their
mechanics an integral part of their design.
Updating them is a delicate trade-off be-
tween preservation and use, a negotiation
that Itten+Brechbühl have brokered here with
admirable dedication and tact. n
109
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 CEU CAMPUS GEO-EXCHANGE SYSTEMS
From the Ground Up
To help meet ambitious climate goals, universities turn to district-scale geo-exchange systems.
BY KATHARINE LOGAN
ANYONE WHOSE university residence
was heated by steam probably remembers well
the nighttime clanging and banging of pipes.
But in addition to those noisy nights, steam
systems depend on combustible fuel, making
them one of the biggest obstacles to reducing
carbon emissions that universities with ambi-
tious climate goals typically face. Now, how-
ever, the days of fossil fuel-based heating and
IMAGE: COURTESY ZGF
cooling may be numbered—a growing cohort
of schools is pioneering district energy sys-
tems based on geo-exchange instead.
Geo-exchange takes advantage of the fact
that, below the frost line, the ground holds a
fairly steady temperature. (In the northern
United States, it’s about 45 to 50 degrees
Fahrenheit, and in the southern U.S., it’s
about 50 to 70.) Because heat wants to move
from warmer molecules to cooler ones, sur-
plus building heat can be conducted into the
ground during hot weather, and ground heat
can be extracted when it’s colder up top. And
if you’re thinking 50 degrees in winter is no
good to anyone, here’s the kicker: the magic
of heat pumps and compressors is that they
amplify the base temperature, producing
levels of heat (or, in summer, cooling) that are
all that’s needed to maintain comfortable
EXPANSES of glazing allow passersby to see
the colorful infrastructure housed within the
TIGER facility on Princeton’s main campus.
indoor temperatures. Returning three to four
units of energy for each unit of electricity used
to operate them, geo-exchange systems are
widely considered to be the most efficient,
environmentally clean, and cost-effective
space conditioning available today.
At its simplest, a geo-exchange system
consists of buried pipe loops, a heat pump,
and distribution pipes. The buried pipes can
be laid horizontally, in a shallow configura-
tion, or, where more capacity is needed within
a constrained footprint, vertically, hundreds
of feet deep. (In vertical installations, bore-
hole thermal energy storage [BTES] can bank
113
 CEU CAMPUS GEO-EXCHANGE SYSTEMS
THE UTILITY building for the geo-exchange
system on Princeton’s new campus responds to
its more pastoral setting with gabled roofs.
summer’s heat for months in supplementary
thermal masses installed in the ground.) The
heat pump circulates a fluid—often water,
sometimes a refrigerant—through the buried
pipes to stash or retrieve heat, amplifying the
differentials. The distribution pipes deliver
heating and cooling where they’re needed.
Assuming clean electricity operates the pump,
it’s a zero-carbon setup.
record recently checked in on three uni-
versity projects that are integrating geo-
exchange into their campus energy infrastruc-
ture. Princeton University, whose system
features prominent new utility buildings
completed this year by ZGF Architects, is
aiming to become carbon neutral in time for
the institution’s 300th anniversary, in 2046.
The University of Toronto—taking advantage
of a major upgrade designed by KPMB
Architects and Michael Van Valkenburgh
Associates (MVVA) to the landscape of its
historic central campus—is installing a geo-
exchange system (now under construction) to
advance its goal of becoming carbon positive
by 2050. Colorado Mesa University, which
first installed geo-exchange in 2007 and is on
114 ARCHITECTURAL RECORD N OV E M B E R 2 0 2 3
track to become the first all-geo campus in
the U.S., is serving as a living lab for re-
searchers and advocates seeking to improve
the understanding and uptake of this emis-
sions-free energy.
“It’s not a new technology. What’s new is
the infrastructure overhaul at this scale,” says
Mar yam Katouzian, a principal at ZGF
Architects. Building on its success with geo-
exchange for individual buildings, Princeton’s
new 1,200-bore district-energy system con-
sists of two drill fields with bores up to 850
feet deep, one on the university’s main cam-
pus and the other on its new campus across
Carnegie Lake, in West Windsor, New Jersey.
Each drill field has an associated utility
building that houses heat pumps, chillers, and
electrical equipment, and two tanks that store
heated and chilled water ready for circulation.
On Princeton’s densely built main campus,
locating these facilities presented both a chal-
lenge and an opportunity. The drill fields
themselves are sited beneath playing fields and
a parking garage. The utility buildings, in-
stead of being tucked away, are prominently
located at campus gateways. “From the begin-
ning, our approach was that Princeton is at the
forefront of this technology, and we need to
use these buildings as showcases,” Katouzian
says. “It was an architectural strategy.”
The form of each building differs in re-
sponse to its context. The one on the main
campus—known by the acronym TIGER
IMAGES: COURTESY ZGF/ATCHAIN; INTROBA (OPPOSITE, TOP); ZGF (OPPOSITE, BOTTOM)
(thermally integrated geo-exchange resource)
in a reference to Princeton’s mascot—takes a
long, horizontal form, and is wrapped in box
rib metal panels and capped with a glazed
clerestory. The new campus’s facility—known
as TIGER CUB (central utility building)—
responds to its more pastoral setting with
gabled, barnlike roofs and terra-cotta clad-
ding. The storage tanks have been half-sunken
to bring them into scale with their surround-
ings. At both buildings, the landscape archi-
tecture directs passersby along the facades,
where expanses of glazing invite the curious to
peer in and discover colorful, annotated pipes
explaining the system at work. Inviting and
rewarding curiosity was a key goal for the
design, says Katouzian: “These facilities need
to serve as teaching opportunities and help to
put this technology out there.”
PRINCETON’S LAKE CAMPUS GEO-EXCHANGE DIAGRAM
With this project complete, Princeton
plans to convert its natural gas–powered,
steam-based cogeneration plant (chilled water
and combined heat and electricity) to geo-
powered hot water, linking it to TIGER so
the two can partially back each other up. The
conversion will also include the installation of
more than 13 miles of new underground
distribution pipes suitable for the lower tem-
peratures of geo-exchange. (These will re-
place the thermally inefficient steam-compat-
ible ones.) By 2046, according to Princeton’s
HYBRID COOLER
ROOF UNITS
HOT & COLD
WATER DISTRIBUTED
TO CAMPUS
PRINCETON TIGER CUB SYSTEM DIAGRAM
master plan, all of the university’s more than
180 buildings will convert to geo-exchange
and other renewables, offering what ZGF
describes as “a compelling example of how
infrastructure projects can advance missions,
embody values, and create distinct identity for
the institutions they serve.”
Central to the identity of the University of
Toronto, both literally and figuratively, are 20
acres of linked landmark green spaces defin-
ing its historic downtown campus. A consor-
tium of KPMB and MVVA has designed a
CHILLER CHILLER CHILLER
PUMP PUMP PUMP
major upgrade to this landscape to become a
more completely walkable realm of granite
pathways, gardens, and trees. Cars, which for
decades have been jamming up the heritage
precinct of King’s College Circle, will be
relegated to a below-grade parking garage.
And, under the garage, 800 feet deep and
more, a new 370-bore drill field will supply
energy to replace steam heating for the new
and existing buildings of the central campus.
One of architects’ most vital yet unsung
roles is coordination, and that was especially
THERMAL ENERGY THERMAL ENERGY
STORAGE STORAGE
BOILER BOILER
GEO-EXCHANGE FIELD
115
 CEU CAMPUS GEO-EXCHANGE SYSTEMS
WHILE REVAMPING King’s College Circle (top), the University of Toronto is building new below-
grade parking entered via a transparent pavilion (above). A 370-bore drill field is under the garage.
true for KPMB on this project, says Shirley
Blumberg, a founding partner of the firm.
Close coordination of the geotechnical and
structural engineers’ designs was needed to
ensure that bore holes were drilled in compli-
ance with the garage’s final grade and clear of
future footings. Intensifying the challenge,
value engineering reduced the structural
interval to the point where, in order to steer
clear of the increased number of footings
while still accommodating the required num-
ber of boreholes, some along the perimeter
had to be drilled at an angle. Complicating
the job even further, existing underground
infrastructure and tunnels presented “a lot of
116 ARCHITECTURAL RECORD N OV E M B E R 2 0 2 3
interesting surprises,” says Blumberg.
From a design perspective, the most chal-
lenging decisions revolved around how pedes-
trians enter and exit the underground garage,
given its location beneath a central green.
(Cars will come and go via one of the circle’s
original access routes, sloped for the change in
level.) With so many significant heritage
buildings framing the lawn, the architect
located a glazed entrance pavilion in front of a
Brutalist medical-sciences building set back
from the circle. Highly transparent, with
slender steel columns, the pavilion is designed
to preserve views for pedestrians approaching
the circle from the building. Similarly, exit
stairs have been discreetly located around the
periphery. From the stairs of the entry pavil-
ion, large windows into the geo-exchange
mechanical room will showcase the equipment
it takes to run the system. The space is also
designed for teaching and demonstrations.
Geo-exchange is expected to reduce the
university’s emissions by the equivalent of
15,000 metric tons of carbon dioxide per year,
making it the single biggest contributor to the
institution’s annual reduction target of 44,567
metric tons. At the same time, the project is
demonstrating the viability of the technology
for retrofitting existing and historic buildings
at scale in a tight urban context. “That’s the
relevance of this,” says Blumberg. “There’s a
massive urgency as the climate crisis speeds
up, and one hopes that in the not-too-distant
future, all buildings will be built with renew-
able energy.”
The experience of Colorado Mesa Uni-
versity (CMU), an early adopter of geo-
exchange, suggests that the hope is not unre-
alistic. A 125-acre campus in Grand Junction,
Colorado, CMU completed its first bore field
in 2007, in response to a state requirement for
all new publicly funded buildings to achieve
LEED Gold certification. The subsequently
IMAGES: COURTESY KPMB ARCHITECTS
expanded system now provides heating and
cooling for 16 academic and auxiliary build-
ings totaling 1.2 million square feet. It sup-
plies 90 percent of the energy the campus
needs to operate, saves the university some
$1.5 million in heating and cooling costs each
year, and has reduced the carbon footprint
of the campus by about 17,750 metric tons of
CO₂ annually. Some of the nearly $12 million

COLORADO MESA UNIVERSITY’s geo-exchange system uses its swimming pool as a heat sink.
that CMU has saved since 2008 has been
shared with students in the form of reduced
tuition increases.
“The most basic principle of our system is
that it allows us to move heat energy across
campus,” says Kent Marsh, CMU’s vice
president of capital planning, sustainability,
and campus operations. For example, at the
beginning of November, single-occupancy
offices on the north side of a classroom build-
ing will be calling for heat, while a full lec-
ture hall with ample glazing on the south side
of the building will still need cooling. “Our
system allows us to grab that excess heat
from the lecture hall and simply move it to
the offices on the north side,” says Marsh.
“That’s the basic transfer, what we call ‘least-
energy path.’ ”
The system can also transfer surplus heat to
another floor, or pipe it to another building
altogether via a central loop 5 feet below grade.
PHOTOGRAPHY: COURTESY COLORADO MESA UNIVERSITY
If heat isn’t needed in any of those places, it’s
sent to a heat sink, such as the university’s
800,000 gallon swimming pool or the domes-
tic hot-water preheating system. If there’s
energy left over after those uses—and with
Grand Junction’s summer temperatures hitting
100 degrees-plus for weeks on end, there often
is—it gets stashed in one of eight bore fields
for retrieval when the seasons change.
Over the course of the system’s 15 or
so years of operation, some lessons have
emerged. One is that smaller loops within the
larger system help distribute energy more
efficiently. That’s because the rate of heat
transfer is highest when temperature differ-
ence, known as ∆T (delta T), is greatest. If a
loop is pulling heat from building after build-
ing, there comes a point when there isn’t
enough ∆T between the water in the loop and
the next overheated building for heat to trans-
fer effectively. Better instead to have a smaller
number of buildings on a smaller loop, collect
the heat, dump it in a nearby sink or drill
field, and send the cooled water around again
(or, in winter, the reverse).
The other discovery has been that a thor-
ough understanding of how heat is translated
among various uses doesn’t necessarily exist
yet, says Marsh. “As I connect a new building,
I monitor the temperature of our loop pipe,”
he explains. “When the water in that loop
gets too warm, then I know that we’ve con-
nected too much load to the system, and I
need another drill field or another sink to
dump some of that waste heat.” CMU is now
collaborating with researchers to make this
process operate less through trial and error by
developing ways to quantify how much heat
from a building of a certain occupancy type,
size, and heating or cooling load can be trans-
ferred to meet other needs.
Continuing to expand what is already one of
the largest geo-exchange systems in North
America, CMU has recently secured funding
to complete the connection of the campus’s
remaining 14 buildings. The drilling and
infrastructure are expected to be largely fin-
ished next summer, with building connections
to be completed in the following two to three
years. Beyond that, Marsh wonders what the
potential is for expanding the campus system
to the broader community—to serve a new
high school now being built across the street,
for example, or a municipal swimming pool a
quarter mile away. “When you think about this
in the broader context of decarbonization,” he
asks, “could, one day, a municipality that
provides sewer and water services, or an energy
utility that provides gas and electricity, provide
a geo-resource in the same way?”
Taking notice of the potential that CMU’s
system represents, the governor of Colorado
has become an advocate for what he has
tagged “the heat beneath our feet” across
Colorado and among the Western states. In
Canada, even before its system is complete,
the University of Toronto has already exposed
thousands of students of multiple disciplines
to the potential of geo-exchange—a form of
advocacy that may well have greater impact
than the system itself. In New Jersey, the
architectural treatment and prominence that
Princeton has given its system is a similarly
powerful form of advocacy. As a growing
number of campuses convert their systems, it’s
not unreasonable to hope that geo-exchange-
based district energy will gather steam—and
eventually replace it too. n
CONTINUING EDUCATION
To earn one AIA learning unit (LU), including one hour
of health, safety, and welfare (HSW) credit, read “From
the Ground Up,” review the supplemental material found
at architecturalrecord.com, and complete the quiz at
continuingeducation.bnpmedia.com. Upon passing the
test, you will receive a certificate of completion, and
your credit will be automatically reported to the AIA.
Additional information regarding credit-reporting and
continuing-education requirements can be found at
continuingeducation.bnpmedia.com.
Learning Objectives
1 Describe how district-scale geo-exchange
systems work to efficiently deliver building-space
conditioning.
2 Explain how such systems can be operationally
zero-carbon.
3 Describe how geo-exchange infrastructure can
be integrated into campus architecture and
landscapes.
4 Discuss geo-exchange design and operating best
practices.
AIA/CES Course #K2311A
117
Academy of Digital Learning

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NOVEMBER 15, 2023 @ 2:00 PM EST
Built to Protect: Durable Wall
Protection for Durable Buildings
EARN: 1 AIA LU/ELECTIVE; 0.1 ICC CEU
Science teaches us that matter moves from
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Building owners could simply surrender to it
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EARN: 1 AIA LU/HSW; 0.1 ICC CEU
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The presentation will be followed
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In this course we will discuss integrated doors systems, sustainability, Join our expert panelists as they explore cutting-edge is part of
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CONTINUING EDUCATION
In this section, you will find nine compelling courses highlighting creative solutions for tomorrow’s buildings brought to you by industry leaders.

CONTINUING EDUCATION
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.
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p122 p129 p135

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that Enrich Health and Wellness Sponsored by Propane Education and Research Membrane Aluminum Frame
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CREDIT: 1 AIA LU/HSW; 0.1 ICC CEU; 1 EDAC CREDIT: 1 AIA LU/HSW; 0.1 ICC CEU; Sponsored by Sprung Structures, Inc.
1 GBCI CE HOUR CREDIT: 1 AIA LU/HSW;
ACC LS PM EM PM SU BE ST SU
0.1 ICC CEU; 1 GBCI CE HOUR

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p136 p138 p140

Universal Design and Aging in Place Designing Spaces for Behavioral Contending with Corrosion
Sponsored by Benjamin Moore and Mental Health Treatment in Metal Exteriors
CREDIT: 1 AIA LU/HSW; 0.1 ICC CEU; Sponsored by Tarkett Sponsored by DuPont
1 IDCEC CEU/HSW CREDIT: 1 AIA LU/HSW; 0.1 ICC CEU; CREDIT: 1 AIA LU/HSW; 0.1 ICC CEU;
IN PM SU 1 IDCEC CEU/HSW; 1 EDAC IN LS PM 1 IDCEC CEU/HSW; 1 IIBEC CEH IN PM SU

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p141 p142 p145

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Foundation for the Healthy Buildings Era Sponsored by Bradley Corporation Sponsored by Think Wood
Sponsored by Armstrong World Industries CREDIT: 1 AIA LU/HSW; 0.1 ICC CEU CREDIT: 1 AIA LU/HSW; 0.1 ICC CEU
CREDIT: 1 AIA LU/HSW; 0.1 ICC CEU
BE PM SU EM IN PM LS PM SU

CATEGORIES
ACC ACCESSIBILITY IN INTERIORS ST STRUCTURAL
BE BUILDING ENVELOPE DESIGN LS LIFE SAFETY AND CODES SU SUSTAINABILITY
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121

CONTINUING EDUCATION
Photo courtesy of Inpro
From Survive to Thrive:
Buildings that Enrich
Health and Wellness
Approaches and products allowing
healthcare design to better achieve
today’s industry expectations
Sponsored by AMBICO, ASI, Inpro | By Amanda Voss, MPP
T
he COVID-19 pandemic has shifted
the dynamics in the U.S. healthcare
value chain, reports McKinsey &
Company.1 Since 2020, the healthcare
industry has experienced radical changes
and challenges. The enhanced role of
technology and a shift towards value-based
care have been transformative. Value-based
payment models now reimburse healthcare
providers based on the quality, rather than
the quantity, of care delivered. Therefore,
understanding and evaluating the patient
experience is indispensable to improving
healthcare quality and enabling healthcare
partners to make the shift toward patient-
centered care.
In addition to these changes, today’s
healthcare spaces also face increasing
regulations. Despite the challenges, design
122 ARCHITECTURAL RECORD N OV E M B E R 2 0 2 3
EDUCATIONAL-ADVERTISEMENT
Enriching the patient experience is a
growing focus for healthcare design.
and construction product industries have
responded, allowing healthcare profession-
als to better adapt and accommodate to
heightened and changing expectations.
ENHANCING PATIENT COMFORT
WITH INNOVATIVE PRODUCTS
When it comes to a hospital stay, research
from the Wexner Medical Center shows
patients and family members care deeply
about privacy, accessibility, and comfort
in their rooms, and that these very attri-
butes can help patients recover from illness
or surgery.2 “When we’re sick and feeling
vulnerable, it’s especially important to feel in
control of our surroundings—privacy, room
temperature, lighting, window blinds, and
having our things within reach,” says Emily
Patterson, an associate professor at The Ohio
CONTINUING EDUCATION
1 AIA LU/HSW 0.1 ICC CEU
1 EDAC
Learning Objectives
After reading this article, you should
be able to:
1. Describe how patient privacy and
comfort are linked and how new
product ranges, including door
assemblies and curtains, can better
enhance patient comfort.
2. Specify artwork and wall protection
that both enrich the healthcare
environment and add to the durability,
resilience, and sustainability of the
facility.
3. Select specialized door product
assemblies to meet more stringent
building requirements in the
healthcare sector.
4. Partner with product designers
and developers to secure the best
product assembly and materials to
meet high performance or regulatory
requirements, including specifications
for acoustics, radio frequency, and
security.
To receive AIA credit, you are required to
read the entire article and pass the quiz.
Visit ce.architecturalrecord.com for the
complete text and to take the quiz for free.
AIA COURSE #K2311U
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CONTINUING EDUCATION
Privacy curtains create a valuable sense of place for patients, however managing their impact
on auditory loads is an important–and overlooked–design factor. New materials and design
facilitate quieter operation that minimizes noise disturbance.
Photo courtesy Inpro
State University College of Medicine, School
of Health and Rehabilitation Sciences.3
Research findings from Patterson and
her colleagues show that patients expect a
hospital room that provides them with the
core components of comfort to support heal-
ing, a space that facilitates a strong sense of
connection to people and the outside world,
a layout that enables quick and independent
access to the patient’s things, and design that
offers suitable levels of control to the patient
throughout their hospital stay.4
The team at Wexner analyzed the
comments and data collected during
their research to create codes grouped on
physical room space or need. From this, the
researchers developed a theoretical design
framework showing the key expectations for
hospital room elements.
To help patients feel more comfort-
able, the research from Wexner found
that patients need to have control of their
privacy, including avoiding being “on
display” to people in the hallway by having
a privacy curtain at the room door, which
they can control. Inside the room, patients
want to use the bathroom without being
seen or heard by visitors. In the highly
Minimizing disruption to patient rest is criti-
sensitive healthcare environment, the effect
cal in the healthcare setting. Cubicle cur- of unwanted noise or exposure can be
tains also create privacy and can enhance significant, aggravating patients’ health
the ambiance of the environment. issues and impacting staff performance.
124 ARCHITECTURAL RECORD N OV E M B E R 2 0 2 3
EDUCATIONAL-ADVERTISEMENT
The Unseen Impacts of Noise in
Healthcare Spaces
Securing a healing environment from
unwanted noise and interruption can be
challenging. In 1859, Florence Nightingale is
credited with focusing attention on the im-
pact of noise, saying “Unnecessary noise, or
noise that creates an expectation in the mind,
is that which hurts a patient.” Unfortunately,
the auditory environment of the 21st century
hospital is substantially louder, more com-
plex, and more difficult to control than that
of Nightingale’s time. While curtains offer
added privacy for patients, their operation
can compound this environment.
The noise generated by privacy curtains
is often overlooked. The opening and
closing of privacy curtains in a patient’s
room contributes to noise levels. Traditional
aluminum track noise ranks somewhere
between the decibels generated by a busy
residential road (80 dBA) and the inside of a
bus (90 dBA). Numerous reports and studies
point to the harmful effects of escalating or
sudden noise, which include fractured sleep
and slower healing. Long-term exposure to
noise has been connected to a host of nega-
tive health impacts, from sleep disturbance
and annoyance to the less-studied impacts
on cardiovascular health, the metabolic
system, and the cognitive development of
children, notes Debra Levin.5
Sleep interruption caused by noise has
a significant negative impact on health and
healing. Intensive care psychosis or delirium
has been directly linked to environmental
stressors, including noise, sleep deprivation,
and social isolation.
However, with innovations in mate-
rial and product technology, the design
community has more resources to secure
privacy while also combatting noise in
healthcare environments. Advances in
curtain track design and materials, which
allow the track to be bendable, also offer
much quieter operation. New bendable
curtain track operates at the more comfort-
able level of conversational speech (70 dBA)
or less. Not only does the track minimize
unwanted noise, but it also conforms to
unique designs, allowing for better control
of the space and movement for care.
A bendable curtain track was selected for
all areas requiring privacy curtains at the
St. Joseph Medical Center NICU in Tacoma,
Wash. The track uses a recycled aluminum
core coated in ABS to significantly reduce
the decibels associated with curtain
operation. The curtain track and carriers
OPENING DOORS TO HEALTHIER SPACES

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proved to be 75% quieter than the carrier-
COMBINING HEALTH AND AESTHETICS style track they replaced. The old curtain
CONTINUING EDUCATION

rail and carrier relied on a plastic carrier in

a metal track, which tended to get stuck and
slide, creating rattling. The plastic and metal
together produced excessive noise. Average
curtain noise, pre-renovation, was measured
at 67 dB(A). Average measurement after the
completed renovation, in areas using new,
bendable curtain track, showed a standard
measurement of 48 dB(A).

Securing STC Ratings

As efforts accelerate to improve the patient
experience and generate better IEQ and safe-
ty, the standards applied to healthcare build-
ings across the board are becoming more
stringent. The noise normally occurring
inside rooms is often referred to as “back-
ground noise,” notes a research team headed
by Timothy Hsu. “In hospitals, background
noise can result from a variety of sources
Preserving patient privacy creates a higher level of comfort during hospital stays. including air-conditioning systems, medical
devices such as respirators, and occupant
sounds, such as conversation. Impulsive
In the dynamic world of healthcare, where patient comfort and safety are paramount, noises, or very loud, short duration events,
every element plays a crucial role. Among these elements, cubicle curtains have emerged are also commonly found in hospitals (e.g.,
as an innovative way to create privacy and enhance the overall ambiance of healthcare doors slamming, metal-to-metal contact,
environments. alarms).”6 The World Health Organization
Custom printed cubicle curtain fabric offers a new opportunity to personalize and recommends maximum daytime background
customize these materials, adding a further product to revolutionize the aesthetic noise in hospital patient rooms of 35 decibels
possibilities in healthcare interiors. during the day and 30 decibels at night.
In addition to customized images, new curtain fabric is equipped with built-in Under the weight of research and recom-
antimicrobial technology that actively combats the growth of bacteria, fungi, and viruses. mendations, acoustic requirements for
This feature enhances infection control measures, promoting a cleaner and healthier healthcare spaces have been raised. The Sound
environment for patients and staff. New fabrics can also meet stringent flame resistance Transmission Class (STC) levels have been
standards, ensuring compliance with regulations and contributing to overall safety. In raised by a minimum of 5 points in both
healthcare facilities, fire safety is of utmost importance. patient spaces as well as in examination areas.
Enhanced curtain fabrics are also more effectively managing light transmission, allowing To help design professionals engineer
healthcare professionals to regulate the amount of natural light within a space while better acoustical environments, ASTM
preserving patient privacy. This balance creates a calming and comfortable atmosphere in E90, ASTM E413, and ASTM E2964 assign
which patients can recover. High-performance fabric attributes, such as superior strength products an STC rating, which is an average
and resistance to wear and tear, guarantee extended lifespans and reduce replacement of their acoustic performance across 18 dif-
costs over time. ferent sound frequencies. In a product with
Integrating custom imagery into cubicle curtain environments allows a further an STC rating of 50 or above, even very loud
opportunity to create a therapeutic ambiance. From soothing nature scenes to inspiring sounds such as operating machinery, musical
artwork, these visuals have a positive impact on patient well-being and can even aid in the instruments, and high-volume stereos are
healing process. Additionally, personalized designs on cubicle curtains evoke a sense of reduced to tolerable background sounds.
familiarity and comfort, contributing to a more positive patient experience. The inclusion of
calming and visually engaging elements can alleviate anxiety and promote relaxation.
The integration of custom imagery in healthcare settings not only enhances aesthetics
but also contributes to patient comfort, privacy, and overall well-being. By embracing Amanda Voss, MPP, is an author, editor, and
customization, healthcare facilities can redefine their interiors and elevate the standard of policy analyst. Writing for multiple publications,
care they provide. she has also served as the managing editor for
Energy Design Update.

126 ARCHITECTURAL RECORD N OV E M B E R 2 0 2 3

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From Survive to Thrive: Buildings that Enrich Health and Wellness
CONTINUING EDUCATION

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128 ARCHITECTURAL RECORD N OV E M B E R 2 0 2 3


Photo courtesy of PERC
Addressing embodied carbon in construction materials as well as
the operational carbon from energy consumption are both needed
to achieve full carbon neutral results.
Keeping It Neutral–
On Carbon
Both embodied carbon and operational
carbon need to be addressed
Sponsored by Propane Education and Research Council (PERC) and Sloan
By Peter J. Arsenault, FAIA, NCARB, LEED AP
C
arbon dioxide is a natural gas that
is present in the atmosphere. It
has been extensively documented,
though, that there is currently too much
of it present in the air due to the extensive,
sustained burning of carbon-rich fossil fuels
over the past 150 years or so. Buildings are
a significant contributor to this problem
in two ways. First, is the amount of carbon
that is burned in the process of acquiring,
manufacturing, and transporting key build-
ing materials such as concrete, steel, and alu-
minum. This “embodied carbon” has been
shown to be quite significant in terms of en-
vironmental impact. The second contributor
is the need for buildings to consume energy
for their operations heating, cooling, light-
ing, ventilation, etc. When such consumed
energy comes from fossil fuel sources,
either on site or at an electricity-generating
power plant, the building becomes a direct
contributor to the overall problem through
normal building operations. In this course,
we look at some ways that both problems can
be addressed. Architects and other design
EDUCATIONAL-ADVERTISEMENT
professionals have been addressing opera-
tional energy and carbon for several decades.
The time is also past due for addressing the
embodied carbon in our buildings as well.
EMBODIED CARBON
The issue of addressing embodied carbon in
buildings has received a fair bit of attention
in recent years. One of the leading sources for
accurate information on this topic is the not-
for-profit organization known as Architecture
2030 (https://architecture2030.org/) founded
by AIA Gold Medalist Ed Mazria, FAIA. The
organization points out, “Embodied carbon
represents the carbon emissions associated
with making building products and con-
struction, from raw material extraction to
manufacturing, transportation, and end of
life disposal or recycling.” How significant is
the role of embodied carbon? Architecture
2030 reports, “Annually, embodied carbon is
responsible for 11% of global GHG emissions
and 28% of global building sector emissions.
It is anticipated that embodied carbon will be
responsible for 72% of the carbon emissions
CONTINUING EDUCATION
CONTINUING EDUCATION
1 AIA LU/HSW 0.1 ICC CEU
1 GBCI CE HOUR
Learning Objectives
After reading this article, you should
be able to:
1. Identify and recognize the significance
of embodied carbon in buildings
and its short-term and long-term
detriments to the natural environment
and human welfare.
2. Assess the ways that design
professionals can discern and specify
building products and materials
that contain less embodied carbon,
improve human wellness for health,
and meet green building goals.
3. Explain the importance of still
addressing carbon emissions related
to building operations including those
coming from energy use, water use,
and related factors.
4. Determine ways to incorporate
carbon-reducing strategies into
current building projects by focusing
on sustainable products, alternative
energy, and renewable energy sources
that improve safety and welfare for all
users.
To receive AIA credit, you are required to
read the entire article and pass the quiz.
Visit ce.architecturalrecord.com for the
complete text and to take the quiz for free.
AIA COURSE #K2311S
129
 KEEPING IT NEUTRAL–ON CARBON
Images courtesy of Sloan
CONTINUING EDUCATION
The use of third-party verification programs, such as those represented here, can help
designers explore and understand which products have lower embodied carbon compared
to others.
associated with global new construction
between now and 2030.” Recognizing this
significance, examples of ways to address
embodied carbon in buildings are discussed in
the following sections.
BUILDING PRODUCTS AND MATERIALS
Architects and designers routinely select and
specify the materials and products that are
used in building projects. Therefore, we also
have an incredible opportunity to reduce the
amount of embodied carbon in buildings
through well-informed material selection,
sustainability-focused specification writing,
and, of course, through design. The result
can be significant since embodied emissions
are locked in once the building is constructed
and cannot be taken back or reduced at that
point. It is not uncommon for that embodied
carbon to be the equivalent of over 20 years’
worth of the carbon produced by building
operations – concentrated in the few years of
manufacture and construction.
Architecture 2030 points out that the use
of just three materials–concrete, steel, and
aluminum–are responsible for 23% of total
global emissions. Note that it is not 23% of
all building materials, it is a staggering 23%
of all of the emissions from all sources on the
planet. Beginning with designs and specifica-
tions that reduce or minimize the use of these
three materials is a good start in all cases.
While there are alternative materials that can
be considered for some things (see https://
materialspalette.org/ ), some amount of
aluminum and steel will certainly be needed
and used in most buildings.
Based on the above, the first step in
specifying more carbon-neutral products is to
understand how manufacturers measure and
then reduce or offset their carbon footprint
with sustainable manufacturing processes.
Many tools are now available to assist in this
process, including requirements for meeting
green building certification standards such
as LEED which is anticipating updates to
address the ongoing push for decarbonization
130 ARCHITECTURAL RECORD N OV E M B E R 2 0 2 3
through electrification, fossil fuel elimina-
tion, and on-site and offsite renewables all
leading to carbon neutrality in buildings.
LEED and other rating systems (i.e., Green
Guard, BREAM, WELL, etc.) rely on the
use of Environmental Product Declarations
(EPDs) or the human-centered Health
Product Declarations (HPDs). All of these
tools are based on third-party verified data
related to the makeup and quantity of the
different components or ingredients of a
building material or product. By using this
information, different products can be re-
viewed and compared to make an informed
decision on which ones are closer to carbon
neutral, and environmentally preferable
overall, than others.
Carbon Offset by Manufacturers
As architects and designers become more
aware of the breadth of sustainable commer-
cial products, the construction industry is
meeting the demand for further growth. This
is particularly true among manufacturers of
products for restrooms. In this case, there
are fewer material choices that work well for
things like plumbing fixtures, sinks, controls,
etc. Manufacturers that are committed to
The use of carbon-sequestering trees to offset the carbon dioxide emitted during the
manufacture of products is one of several strategies to help drive the world to a more
carbon-neutral state.
EDUCATIONAL-ADVERTISEMENT
meeting sustainability and carbon neutral
goals can use the EPDs for their products
to first assess the carbon footprint of their
products and second, decide how to address
or reduce that carbon footprint.
Architecture 2030 states, “Achieving zero
embodied emissions will require adopting
the principles of reuse, (including renovating
existing buildings, using recycled materials,
and designing for deconstruction); reduce,
(including material optimization and the
specification of low to zero carbon materi-
als); and sequester, (including the design
of carbon sequestering sites and the use of
carbon sequestering materials.)” (https://
architecture2030.org/embodied-carbon-
actions/ ). Based on this, it is good for design
professionals to look at how reuse and reduce
principles can be worked into a design. The
third stated approach to addressing carbon
is to consider sequestration of carbon and
carbon dioxide, either as part of the project
or through the efforts of manufacturers.
Sequestration involves using materials
that can absorb carbon as part of a normal
process. The best example of this comes
from nature where vegetation, and trees
in particular, use the normal process of
photosynthesis to absorb carbon dioxide
out of the air, split the molecules to store or
sequester carbon in the wood, and release
the freed oxygen back to the atmosphere.
It is recognized that by planting new
trees, companies can effectively offset the
amount of carbon dioxide released into the
atmosphere from other sources, such as the
manufacturing of building products.
For example, at least one manufacturer
of restroom products and fixtures has
initiated a process of offsetting the carbon
Photo courtesy of Sloan
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 KEEPING IT NEUTRAL–ON CARBON
produced from their production process.
They utilized data from their EPDs to
CONTINUING EDUCATION
identify exactly how much carbon is
generated per product produced. Then they
partnered with the not-for-profit Arbor Day
Foundation to purchase an equal number
of reforestation credits in order to offset the
carbon generated. In their case, it worked
out to 2-1/2 trees for each flushometer pro-
duced and similarly for other products. All
of their current and future forestry carbon
credits are listed with the American Carbon
Registry, which oversees the registration and
verification of carbon offsets. It also meets
the strict guidelines of the British Standards
Institute (BSI) PAS 2060 standard. This
standard sets the requirements for achiev-
ing and demonstrating carbon neutrality.
This approach is certainly a positive step,
especially when combined with other carbon
neutral initiatives.
CARBON IN ENERGY SOURCES
The popular view of how to reach carbon
neutral buildings is to avoid fossil fuels
altogether by using all-electric techniques
and strategies. This is logical – as long as
the source of the electric power does not
require fossil fuels to generate that electric-
ity. Currently, that is not yet the reality since
about 60 percent of electrical generation in
the United States is powered by natural gas
and oil, although progress is being made to
reduce that usage. In general, there are two
approaches to achieving increased carbon-
free electricity generation:
• Site-Generated Renewable Energy:
This is appealing to design profession-
als because it is something that we can
control as part of a total project design. It
has also become financially appealing for
building owners of all types (commercial,
residential, institutional) due to signifi-
cant cost reductions and the availability
of income tax credits. In particular, this
has caused a boom in the installation of
solar-electric (i.e., photovoltaic (PV))
systems on buildings. Each building that
has such a PV system incorporated into
it then has its own carbon-free source of
power generation to supply some, if not
all, of the electricity needed. While this
sounds ideal, the reality is that well over
90 percent of all such solar installations
132 ARCHITECTURAL RECORD N OV E M B E R 2 0 2 3
Site-generated renewable energy has the potential to provide as much energy from a
carbon-free source as is consumed by a building.
connect to the electric power grid. This
means they are actually shedding or even
“selling” electricity to the grid during
peak sunlight periods and then buying
the electricity they need during times
without adequate sunlight, including
evenings, night-time, and early morning.
While some systems are “stand-alone”
and not connected to the grid, those
require significant additional invest-
ments in batteries and control equipment
to work properly.
• Grid-Generated Renewable Energy:
Virtually all buildings are connected to
either a public or private utility company
in order to meet their electricity needs,
whether that building has any on-site
generation or not. The electricity being
delivered by that utility originates at any
number of power generating plants and
is controlled by a grid system that can
pull electricity from various sources and
route it to where it is needed. While the
hope is that grid-supplied electricity will
one day be 100 percent free of fossil fuels,
the current reality (as of 2020) is that
approximately 60 percent of all electrical
power generation in the United States
still comes from burning fossil fuels.
Advocates of full electrification using
non-polluting renewable energy predict
that it will likely take over 20 years to
realistically reach carbon-neutral goals
based on current conditions.
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Photo courtesy of PERC
These realities provide some insight into
alternative strategies to pursue to achieve
carbon-neutral building design. The strategy
of 100 percent onsite renewable energy
production completely separate from the
grid may be an option in some instances and
should be pursued where feasible, but that is
not currently a widespread solution. The next
best thing is to have a grid-connected onsite
renewable energy system that can meet all of
the energy needs of the building by using and
selling to the grid the equivalent amount be-
ing consumed (i.e., a net difference of zero).
This, of course, is only fully carbon neutral
currently if the building owner subscribes
to purchasing only renewable energy-based
electricity (i.e., non-fossil fuel-based
energy) where that is available or practical.
Otherwise, the grid-supplied electricity may
still be a majority of fossil fuel-based energy.
A Hybrid Approach
There is another approach for bridging the
gap between current energy production pro-
cesses and the goal of full net zero emissions
that has been implemented in some places
around the country.
Peter J. Arsenault, FAIA, NCARB, LEED AP is
a nationally known architect and a prolific author
advancing carbon neutrality by design.
www.pjaarch.com www.linkedin.com/in/pjaarch
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PRODUCT REVIEW
Keeping it Neutral—on Carbon
CONTINUING EDUCATION

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134 ARCHITECTURAL RECORD N OV E M B E R 2 0 2 3


Photo courtesy of Sprung Structures, Inc.
Revolutionary, Permanent
Tensioned Membrane
Aluminum Frame
Supported Structures
A permanent solution for architects
seeking rapid, cost-effective, sustainable,
and energy-efficient construction
Sponsored by Sprung Structures, Inc. | By Celeste Allen Novak, FAIA, LEED AP
F
ast tracking, value engineering, sus-
tainability, and integrative design
are driving the delivery of most 21st
century buildings. These initiatives are
supported and encouraged by architects
and owners racing toward ever-tightening
project-delivery schedules, budgets, and
energy-efficient mandates.
It takes a remarkable structure to meet
the goals of a remarkable company. When
constructing their headquarters in Kent,
Washington, Blue Origin opted for a
solution that incorporates energy efficiency,
sustainability, and speed: a tensioned mem-
brane aluminum supported structure.
Design teams often confront owners
with a “devil’s bargain.” There is too often a
Sprung is the world leader in the design and manufacture of engineered frame supported tension membrane structures.
Significant advantages over conventional construction include speed to market, energy efficiency, long-term flexibility, and
lower overall project costs.
EDUCATIONAL-ADVERTISEMENT
trade-off between two of three choices: cost,
schedule or quality. Design and technological
advances in tensioned membrane aluminum
frame supported structures may provide an
alternative for owners and architects who
want it all. From TESLA to SpaceX, Harvard
to Blue Origin, homeless navigation centers to
ice arenas, clients are choosing to fast-forward
into the 21st century with sustainable build-
ings that deliver on cost, quality, and schedule
without sacrificing permanence and beauty.
Celeste Allen Novak, FAIA, LEED AP, is a
Michigan architect, author, and advocate for
sustainability and universal design.
www.linkedin.com/in/celestenovak
CONTINUING EDUCATION
The 270,000-square-
foot head office for
Blue Origin in Kent,
Washington, erected
from ground breaking
to completion in just
eleven months.
CONTINUING EDUCATION
1 AIA LU/HSW 0.1 ICC CEU
1 GBCI CE HOUR
Learning Objectives
After reading this article, you should
be able to:
1. Describe the architect’s role in
managing the installation of rapidly
constructed tensioned membrane
aluminum frame supported structures.
2. List performance standards, including
improved daylight, acoustic, and
fire-safety measures, engineered into
these high-performance buildings to
enhance the physical environment and
provide emotional and social well-
being to occupants.
3. Identify strict code-compliance
regulations for these buildings that
benefit the physical environment
through increased energy efficiency
and recyclability.
4. Discuss project management and
design of these buildings from pre-
design to post-occupant evaluations
that allow for a wide range of
configurations, including multistory
interiors, various surface colors, and
massing alternatives.
To receive AIA credit, you are required to
read the entire article and pass the quiz.
Visit ce.architecturalrecord.com for the
complete text and to take the quiz for free.
AIA COURSE #K2303W
135
 EDUCATIONAL-ADVERTISEMENT

In this image, the light

color of the moulding
CONTINUING EDUCATION

and baseboard contrast

with the darker tone of
the wall to provide easy
visual definition of the
room's layout.
Photo courtesy of Benjamin Moore

Universal Design CONTINUING EDUCATION

and Aging in Place

1 AIA LU/HSW 0.1 ICC CEU

1 IDCEC CEU/HSW

Addressing color and finishes to improve Learning Objectives

the quality of life of an aging population After reading this article, you should
be able to:
Sponsored by Benjamin Moore | By Erika Fredrickson 1. Discuss how color design impacts
mental health and well-being in an
aging population.
2. Explain how the appropriate selection

I
mproved medical care, diet, and healthy
living have benefitted our human spe-
cies by steadily increasing our collective
life expectancy. We are living longer, more
active lives, with more independence and a
greater opportunity to age in place. How-
ever, with a growing population, new chal-
lenges and considerations must be addressed
to provide a supportive and healthy living
space. Older adults often suffer from declin-
ing vision and an increased respiratory
sensitivity to environmental influences like
pollen, dust, and VOC’s. These vulnerabili-
ties can be addressed through the thoughtful
specification of paints and finishes that
leverage appropriate colors, are durable, easy
to clean, and contain low to no VOC’s.
AGING IN PLACE AND THE
SCIENCE OF LOW-VISION DESIGN
According to the World Health Organization,
by 2050, the global population aged 60 and
over is expected to total two billion, nearly
double what it was in 2015.
In fact, the 74 million Baby Boomers
living in the U.S. will be 65 or older in less
than 10 years. The most senior among them
will be on the cusp of 85. Even sooner, by
2025, the number of seniors (65 million) is
expected to surpass that of children aged
13 and under (58 million) for the first time.
What does this have to do with architecture
and design? As it turns out: A lot.
This demographic shift will impact
obvious systems, such as health care. But it
also presents a unique set of challenges and
of colors and finishes can help
support safe navigation within the
built environment.
3. Describe the importance of selecting
durable finishes that provide easy-to-
clean, hygienic surfaces and support
healthy living spaces.
4. List the benefits of specifying low- or
no-VOC paints and finishes to secure
a healthy indoor living environment
for an aging population with
environmental sensitivities.
To receive AIA credit, you are required to
read the entire article and pass the quiz.
Visit ce.architecturalrecord.com for the
complete text and to take the quiz for free.
AIA COURSE #K2311T

136 ARCHITECTURAL RECORD N OV E M B E R 2 0 2 3

EDUCATIONAL-ADVERTISEMENT UNIVERSAL DESIGN AND AGING IN PLACE

Photo courtesy of Benjamin Moore

opportunities for architects, designers, and conceive a design that supports their health
policymakers. The current number of skilled and well-being. Designers will be able to

nursing facilities don’t have the capacity to
handle the shift, which means there will be a
need for more space. But the Baby Boomers
also represent a culture shift: For many of
them, how they age—and where—has become
a big topic of conversation. Many of them
want to stay where they are and age in place.
"Aging in place," as defined by the U.S.
Centers for Disease Control and Prevention
(CDC), is a term that describes the ability
of individuals to live in their own homes
and communities safely, independently,
and comfortably, regardless of age or ability
level. The demographic shift has given rise
to a strong desire among older adults to
continue living independently in their own
homes and communities. In March 2023,
U.S. News & World Report conducted a
survey of 2,000 U.S. adults aged 55 and older
to explore how they are embracing aging
in place. The survey revealed a resound-
ing consensus among older adults, with a
striking 93% of respondents expressing their
belief that aging in place is an essential goal.
The overwhelming support for aging
in place highlights a deep-rooted desire of
people to maintain their autonomy and stay
connected to their familiar surroundings.
This trend has led to a focus on home auto-
mation, medical monitoring, telehealth, and
other in-home technologies. But aging in
place also requires elements of design suited
to the aging process – and that is something
architects and interior designers can help
occupants imagine and implement.
In this article, we'll explore how the choice
of colors and finishes in architectural design
can significantly impact the quality of life
for an aging population. We will hear from
experts working on the cutting edge of this
field, including Eunice Noell-Waggoner from
the Center of Design for an Aging Society,
Ramesh Gulatee of LifeCare Design Studio,
and Brian J. Pape of the American Institute of
Architects NY Design for Aging Committee.
Designers who understand the science of
color and light—and how aging eyes respond
to their surroundings – can communicate
these concepts to their clients and help them
CONTINUING EDUCATION
specify color and finishes for contrast,
wayfinding, safety, and emotional well-
being. Just as important is the discussion
of universal design and the ways in which
creating age-friendly environments—not
just in the home, but in health care,
hospitality, and commercial spaces—cre-
ates community, and offers accessible space
for all ages and abilities.
How Our Eyes and Brains See Color
Color is a fundamental aspect of our visual
experience, and it plays a crucial role in our
perception of the world around us. Whether
it's the vibrant hues of a sunset or the subtle-
ties of a painting, our ability to see and
process color is a remarkable feat of biology.
There is also a fascinating relationship be-
tween color and light, which we can explore
by examining the basic biology of the human
eye and the brain's role in interpreting the
information it receives.
The human eye can be likened to a
sophisticated camera. It all begins with the The darker color of a cabinet sink helps cre-
transparent cornea, which allows light to ate definition in a light and airy bathroom,
enter. The iris acts as the eye’s aperture, offering an element of wayfinding for the
controlling the amount of light that passes occupant.
through the pupil. Working in tandem,
the cornea and lens focus the incoming of night vision, cones are the champions of
light onto the retina, situated at the rear color vision. The human eye houses three
of the eye. Comparable to the film in a types of cones, each sensitive to different
camera, the retina is the critical component ranges of wavelengths: red, green, and blue.
responsible for converting light into signals These cones are concentrated in a small pit
that our brain can comprehend. The at the back of the eye known as the fovea,
retina is lined with two types of light- where we perceive sharpness and detail.
sensitive receptors: rods and cones. These The colors of the objects we see are
photoreceptors are akin to the pixels in a intricately linked to how these objects
digital camera sensor, capturing the visual interact with light. When light illuminates
information we perceive. an object, it may absorb certain wavelengths
Rods and cones are not created equal while reflecting or transmitting others.
when it comes to vision. The human eye
boasts approximately 125 million rods and
7 million cones, with each type playing a
distinct role. Rods are photoreceptors that
excel at perceiving light and dark, making Erika Fredrickson is a writer and editor focusing on
them particularly crucial for night vision. technology, environment, and history. She frequently
Their sensitivity to dim light and ability contributes to continuing education courses and
to detect motion make them our allies in publications through Confluence Communications.
low-light conditions. If rods are the heroes http://www.confluencec.com

Founded in 1883, Benjamin Moore is North America’s favorite paint, color and coatings brand. A leading manufacturer of
premium quality residential and commercial coatings, Benjamin Moore maintains a relentless commitment to innovation and
sustainable manufacturing practices. The portfolio spans the brand’s flagship paint lines including Aura®, Regal® Select,
Ultra Spec®, ben®, Advance® and more. Benjamin Moore is renowned for its expansive color collection of more than 3,500
colors, and its design tools for consumers and professionals alike, including the Benjamin Moore Color Portfolio® app. Ben-
jamin Moore paints are available exclusively from 7,500 locally owned and operated paint, decorating and hardware retailers
throughout the United States and Canada as well as 75 countries globally.

137
 EDUCATIONAL-ADVERTISEMENT

To enhance healing, settings for behavioral and mental

healthcare need to balance safety with a warm, comfortable
atmosphere. That includes plants, views of nature, natural
wood, places to socialize, resilient flooring, and soft colors.
Project: Michael Garron Hospital, inpatient mental health
CONTINUING EDUCATION

units designed by B+H Architects, Toronto, Canada.

Photo courtesy of Ben Rahn/A-Frame

Designing spaces for CONTINUING EDUCATION

behavioral and mental

1 AIA LU/HSW 0.1 ICC CEU

1 IDCEC CEU/HSW 1 EDAC

health treatment Learning Objectives

After reading this article, you should
be able to:
From the ground up, a balance of care 1. Identify key flooring decision drivers
and how making informed decisions
and safety is why the floor matters supports evidence-based design
principles for behavioral and mental
Sponsored by Tarkett healthcare environments.
By Sandra Soraci, EDAC, LEED AP, NCIDQ, and Kathy Price-Robinson 2. Discuss the primary resources and
research related to behavioral and
mental healthcare environments as a
tool for the architecture and design
community and health systems or

A
2023 study by Mental Health
America identified that 5.44
percent of adults experience severe
mental illness. More than 12.1 million adults
(4.8 percent) have reported serious thoughts
of suicide. This is why “place” matters.
The Advisory Board, which focuses on
healthcare research,1 states “Behavioral
health encompasses people’s psycho-
logical well-being and ability to function
in everyday life. Behavioral health condi-
tions include mental illness disorders and
substance abuse disorders.” They also note,
“Health systems are increasingly recognizing
that behavioral health is an essential part
of physical and population health.” There
is a growing demand for centers to support
behavioral and mental health issues, yet
access to reliable behavioral health services is
challenging. When the opportunity to design
new construction or renovation presents
itself, this educational unit will provide
oversight and baseline considerations. There
is an overarching need for centers to provide
effective, specialized residential, inpatient,
and outpatient treatment. Demand facilitates
that architects and designers will be tasked
with planning and constructing care centers
in various geographic settings. While these
facilities fall into the healthcare category,
centers.
3. Define the impact of interior
finishes on the cognitive, emotional,
psychosocial, and physical needs
of patients, residents, staff, and
caregivers.
4. Describe why the floor matters,
health, wellness, and safety from the
subfloor to the surface finish.
To receive AIA credit, you are required to
read the entire article and pass the quiz.
Visit ce.architecturalrecord.com for the
complete text and to take the quiz for free.
AIA COURSE #K2311K

138 ARCHITECTURAL RECORD N OV E M B E R 2 0 2 3

EDUCATIONAL-ADVERTISEMENT DESIGNING SPACES FOR BEHAVIORAL AND MENTAL HEALTH TREATMENT

Photo courtesy of Ben Rahn/A-Frame

aesthetically and functionally they require
a different design approach. Evidence-based

CONTINUING EDUCATION
research shows that behavioral and mental
health patients heal better in a warm and
welcoming environment. There is concern
patients may self-harm or harm others, which
requires a unique level of detail for safety
with interior finishes. There is a defining
need for a calming, homelike aesthetic bal-
ance. The floor is the foundation; it supports
all activities and can have an actionable
impact on fostering safety and outcomes.
This educational course demonstrates the
design guidelines and needs of behavioral
and mental healthcare center facilities. The
Advisory Board shares that “Treating patients
with behavioral health diagnoses costs about
$900 more per month than patients without
such diagnoses.” This is why the floor mat-
ters, from the subfloor to the finish, to have
an actionable impact on outcomes.

THE NEED FOR EVIDENCE-BASED In behavior and mental healthcare facilities, biophilic features, warm colors, and the right
DESIGN FOR BEHAVIORAL AND flooring specification for the right place benefit not only patients but also staff, care providers,
MENTAL HEALTHCARE ENVIRONMENTS and visitors. Project: Michael Garron Hospital, inpatient mental health units designed by B+H
The Advisory Board states that regardless of Architects, Toronto, Canada.
demographic group, patients with behavioral
health conditions experience unique inequi-
ties compared to patients with only physical disorders, post-traumatic stress disorder
health conditions. The pandemic and its (PTSD), substance abuse, and suicide,
ripple effects only exacerbated an existing among others.3 Sandra Soraci EDAC, LEED AP, NCIDQ is the
crisis in the U.S. The behavioral health- Behavioral health treatment has under- Director of Healthcare and Senior Living Segment
care sector struggles with a unique "meta" gone a shift, as have the means of delivery, Strategy, for Tarkett NA. Sandra’s diverse and deep
inequity. So, when given the opportunity to which enables new centers that support a career-specific focus on healthcare and commercial-
design a BMH center, apply evidence-based normalizing environment to ensure a return ization efforts fully informs the customer decision-
design principles. to a productive life within the community. making journey. Flooring is no longer a design
According to the National Institute of Treating people who have mental illness feature, it is an investment in health and safety, and
Mental Health, the spectrum of behav- is critically important. However, how and we all have a stake in improving outcomes for our
ioral and mental health (BMH) conditions where to do so is not always clear. Some customers. Healthy environments support the healing
includes anxiety, attention deficit disorders, emergency rooms are not well equipped with process, and that begins at the ground level, with
autism spectrum disorders, bipolar dis- crisis intervention spaces to treat patients of the floor. Through an evidence-based design lens,
orders, depression, obsessive-compulsive varying acuity levels. Tarkett Flooring continually seeks to create flooring
solutions that contribute to greater connection, safety,
and overall well-being. Healthcare is ever-changing;
According to the National Alliance on Mental Illness (NAMI)2, more people are affected by my passion is to educate, elevate and transform sales
mental illness each year than many of us realize: enablement to fully support what our healthcare
customers tell us they need the floor to do.
• One in five U.S. adults experience mental illness each year. Kathy Price-Robinson is a nationally known
• One in 20 U.S. adults experience serious mental illness each year. writer focusing on building and architecture. Her
• One in six U.S. youth aged 6 to 17 experience a mental health disorder each year. award-winning remodeling series ran 13 years in
• Fifty percent of all lifetime mental illness begins by age 14, and 75 percent by age 24. the Los Angeles Times. She has written for dozens of
• Suicide is the second leading cause of death among people aged 10 to 14. publications in the design and building industry and
developed more than 100 continuing education.

With a history of 140 years, Tarkett is a worldwide leader in innovative flooring and sports surface solutions, with net sales
of 2.6 billion in 2020. Offering a wide range of products including vinyl, linoleum, rubber, carpet, wood, laminate, artificial
turf, and athletics tracks, the Group serves customers in over 100 countries across the globe. Tarkett has more than 12,000
employees and 33 industrial sites, and sells 1.3 million square meters of flooring every day, for hospitals, schools, housing,
hotels, offices, stores, and sports fields.

139
 EDUCATIONAL-ADVERTISEMENT

A new 6,700-square-foot metal roof, protected by highly

durable PVF film, was installed at the Sea Crest Condos
in Hilton Head, S.C., replacing the previous PVDF-coated
roof which had become corroded over time due to the
CONTINUING EDUCATION

high salt spray environment of its coastal setting.

Photo courtesy of CMP (Construction Metal Products) and Metal Alliance LLC

Contending with Corrosion CONTINUING EDUCATION

1 AIA LU/HSW 0.1 ICC CEU

in Metal Exteriors 1 IDCEC CEU/HSW

High-performing, long-lasting, and resilient, PVF film 1 IIBEC CEH

is the technology of choice for corrosive environments Learning Objectives

After reading this article, you should
Sponsored by DuPont | By Barbara Horwitz-Bennett be able to:
1. Identify the unique performance
properties of PVF film including

C
durability, longevity, UV protection,
ausing the country more than a Defined as a chemical or electrochemical
formability, adhesion, cleanability,
trillion dollars in damages each year, reaction between a material and its environ- weathering, and chemical and stain
corrosion is a major issue to contend ment, corrosion causes deterioration of build- resistance.
with. Occurring as a natural process, oxides ing materials and its properties over time. 2. Discuss key case studies establishing
develop over time, weakening materials As the protective layer, typically a paint or the high-performance qualities of PVF
and making them vulnerable to a variety of coating, begins to exhibit cracks and peeling, film for metal exteriors.
performance and protection issues. the exterior is left exposed to reduced 3. Establish the life-cycle cost and
Metal exteriors are particularly vulner- mechanical strength, structural damage, and environmental benefits of PVF film.
able, especially in corrosive environments potentially reduced seismic performance. 4. Compare PVF’s key performance
such as areas of exposure to salt spray metrics and tests with coil coating
(coastal regions) or certain chemicals and alternatives.
off-gassing (manufacturing facilities, chemi- 5. Review other architectural applications
that can benefit from PVF film.
cal plants), where this type of deterioration Barbara Horwitz-Bennett is a veteran architectural
can occur ten times faster than in average journalist who has written hundreds of CEUs and arti-
environmental conditions. cles for various AEC publications. BHBennett.com To receive AIA credit, you are required to
read the entire article and pass the quiz.
Visit ce.architecturalrecord.com for the
complete text and to take the quiz for free.
DuPont™ Tedlar® PVF films have proven long-lasting protection for interior and
exterior architectural applications. Tedlar® superior durability helps safeguard a AIA COURSE #K2211M
building from corrosion, pollution, or chemical breakdown, and resistance to UV rays.

140 ARCHITECTURAL RECORD N OV E M B E R 2 0 2 3

 EDUCATIONAL-ADVERTISEMENT

CONTINUING EDUCATION
Allied Universal
Security Services
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Headquarters in
Irvine, Calif
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Five Fundamental CONTINUING EDUCATION

1 AIA LU/HSW 0.1 ICC CEU

Shifts Laying the Learning Objectives

After viewing this multimedia

Foundation for the presentation, you should be able to:

1. Identify key trends in the healthy
buildings movement and relevant

Healthy Buildings Era

scientific background on the business
case for healthy building investment.
2. Review the current regulatory actions
affecting many goals for building
Sponsored by Armstrong World Industries owners.
3. Explain how green and healthy
buildings do not have to be at odds
with one another.

T
he pandemic highlighted the im-
portance of good indoor air quality.
Significant regulatory and market
shifts are reshaping our approach to healthy
buildings. In addition, recent regulatory
actions are advancing carbon reduction,
electrification, and sustainability goals
for building owners/operators. Build-
ing designers, architects, and operators
nationwide feel the urgency to incorporate
aggressive climate and sustainability goals
into buildings and practices. Consequently,
are healthy and green buildings at odds? We
need solutions that optimize both health
and climate building benefits.
4. Explore relevant case studies
exemplifying the balance of healthy
and green building goals.
To receive AIA credit, you are required to
view the entire presentation and pass the
quiz. Visit ce.architecturalrecord.com
for the complete text and to take the quiz
for free. AIA COURSE #: K2311R

Armstrong World Industries is a leader in the design and manufacture of innovative commercial ceiling and wall systems. At
home, at work, in healthcare facilities, classrooms, stores, and restaurants, Armstrong Ceiling & Wall Solutions offers interior
options that help create healthy, sustainable spaces that protect people and cultivate well-being and comfort so they can be
at their best. Armstrong is committed to developing new and sustainable ceiling solutions, with design and performance pos-
sibilities that empower its customers to create beautiful, high-performance residential and commercial buildings. Armstrong
continues to grow and prosper for the benefit of all its stakeholders. armstrongceilings.com/commercial

141
 EDUCATIONAL-ADVERTISEMENT
CONTINUING EDUCATION

Photo courtesy of Bradley Corporation

Well-designed restrooms with functional and

hygienic fixtures and accessories make a notable
difference in the way building users perceive the
quality of the entire building or the operation,
such as a business or institution.

State-of-the-Art CONTINUING EDUCATION

1 AIA LU/HSW 0.1 ICC CEU

Washroom Design Learning Objectives

After reading this article, you should
Better design, more hygiene, be able to:

and coordinated functionality 1. Identify and recognize the

characteristics of high-performance,
state-of-the-art washrooms designed
Sponsored by Bradley Corporation for beauty, hygiene, health, and safety.
By Peter J. Arsenault, FAIA, NCARB, LEED AP 2. Investigate the design potential and
innovative opportunities to create
washrooms that address welfare by
looking and functioning better.

A
ll commercial, institutional, and
industrial buildings need wash-
rooms. Not only are they required
by codes to provide basic health and hy-
giene services, but they are also among the
most used spaces in the building. If they are
given little design attention, then it usually
shows up in terms of dissatisfied users,
higher cleaning and maintenance costs,
and unhappy building owners. However, if
they are designed well, then they can create
a much more positive impression of the
building than many people may realize.
This not only applies to the size, shape, and
materials used in the space, but more no-
ticeably, to all of the fixtures, components,
and accessories that people actually use in
restrooms. The aesthetic design of the total
space is important but so are the functional
and cleanliness characteristics of wash-
rooms. This course addresses all of these
aspects and looks at some of the most cur-
rent options to coordinate the total design
and functionality thus creating washrooms
that are fully “state-of-the-art” using read-
ily available systems and products.
Peter J. Arsenault, FAIA, NCARB, LEED AP is
a nationally known architect and a prolific author
advancing better buildings through better design.
www.pjaarch.com www.linkedin.com/in/pjaarch
3. Assess the functional contributions
of coordinated handwashing fixtures
and washroom accessories for health,
hygiene, and wellness.
4. Specify coordinated washrooms that
achieve higher aesthetic appeal and
better functionality for cleanliness,
accessibility, and hygiene.
To receive AIA credit, you are required to
read the entire article and pass the quiz.
Visit ce.architecturalrecord.com for the
complete text and to take the quiz for free.

For 100 years, Bradley has created the most advanced, coordinated commercial
washrooms and comprehensive emergency safety solutions that make public
environments hygienic and safe. Bradley serves commercial, institutional, and AIA COURSE #K2311L
industrial building markets worldwide. www.bradleycorp.com

142 ARCHITECTURAL RECORD N OV E M B E R 2 0 2 3

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Bradey’s new Elvari™ Accessories Collection features an attractive Euro-style, pill-shape design with smooth curves and soft edges for
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144 ARCHITECTURAL RECORD N OV E M B E R 2 0 2 3


Photo courtesy of Lawrence Anderson Photography
Multifamily, Mid-Rise
Wood Buildings
A code-compliant, cost-effective
and sustainable choice
Sponsored by Think Wood
D
emand for multifamily housing
continues to play an important role
in the overall U.S. construction
market. The National Multifamily Housing
Council estimates that more than 325,000
new apartment homes are needed each year
to meet demand.1 Multifamily projects
include apartments and condominiums as
well as other residential uses like affordable
housing, student housing, senior living,
hotels and motels, and vacation timeshare
properties.to compare, contrast, and assess
materials and determine their suitability.
One of the most fundamental decisions
facing a multifamily design team is choosing
Think Wood provides commercial, multifamily, and single-family home design and build resources to architects, developers,
and contractors, including education, research, design tools, and innovative project profiles. For additional information,
please visit www.thinkwood.com.
EDUCATIONAL-ADVERTISEMENT
the building’s structural material. While
dominant in single-family residential con-
struction, the cost-effective, code-compliant,
and sustainable attributes of wood construc-
tion apply to mid-rise, multifamily projects,
too. This CEU explores the reasons for the
increasing popularity of wood in multifamily
buildings, reviews code compliance and fire
safety technical considerations, and discusses
techniques for successful wood building
designs. In addition, it addresses trends
expanding the opportunities for wood use in
multistory design.
CONTINUING EDUCATION
CONTINUING EDUCATION
1 AIA LU/HSW 0.1 ICC CEU
Learning Objectives
After reading this article, you should
be able to:
1. Identify the sustainability and
economic benefits of using wood
construction for mid-rise multifamily
or mixed-use buildings.
2. Summarize building code
requirements and provisions for
mid-rise multifamily wood-frame
structures.
3. Discuss wood framing solutions that
address issues such as shrinkage, fire
protection and seismic requirements
while minimizing the carbon footprint
of the building.
4. Explore innovations in wood framing
design techniques and wood product
technologies that enhance energy
efficiency.
To receive AIA credit, you are required to
read the entire article and pass the quiz.
Visit ce.architecturalrecord.com for the
complete text and to take the quiz for free.
AIA COURSE #K2307F
145
 Get
Unlimited
Website
access with
Architectural
Record

As low as
$1.99/month
 DATES & Events
MEEK MIRRORS
Helping you see your project
Upcoming Exhibitions designs clearly.
Building to Heal: New Architecture for Hospitals
Munich CHECK OUT
December 7, 2023–January 21, 2024 OUR COMPLETE
This exhibition at the Architekturmuseum der TUM takes a critical PRODUCT LINE
look at the scientific foundation of “healing architecture,” as health- OF CUSTOM
care architects increasingly reject the rationalization and economy that PRODUCTS
has dominated design for it since the 20th century, instead centering
human needs. Planned and developed in association with TUM visit-
ing professor Dr. Tanja C. Vollmer, the exhibition features 13 interna-
tional case studies that constitute a status report on current efforts
to move from the so-called “sick house” model and also demonstrate
how evidence-based design can lead to a more healing hospital archi- • CUSTOM DESIGNS
tecture. For more information, see • CUSTOM FINISHES
pinakothek-der-moderne.de/en. • LED LIGHTED
• STAINLESS STEEL

Ongoing Exhibitions •
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JEMS Architekci: The Matter of Layers
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Through December 9, 2023 A Reflection of Quality since 1961
For this exhibition at the Architektur Galerie Berlin, Warsaw-based www.meekmirrors.com
JEMS Arkitekci presents six projects centered on reconciling the major 479-646-3466
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147
 DATES & Events

global economic and social shifts, as well as of From Within: The Architecture of Helena ner’s eponymous Los Angeles–based firm,
environmental concerns. Founded in 1988, Arahuete Aruhete is best known for her contributions
JEMS is one of Poland’s most successful Santa Barbara, California to organic architecture. For more information,
firms, best known for its design of Hoover Through December 17, 2023 see museum.ucsb.edu.
Square (2012) and the Academy of Fine Arts On view at the University of California-Santa
(2014) in Warsaw, the Polish Embassy (2012) Barbara is the first retrospective of Helena Balkrishna Doshi: Architecture for All
in Berlin, and the Raczyński Library (2014) Arahuete, an architect, born in Belgium in Madrid
in Poznań, Poland. For more information, see 1944, who was brought up in Argentina and Through January 14, 2024
en.architekturgalerieberlin.de. starting working with John Lautner (1911–94) The Museo ICO presents the first interna-
in 1970s California. Now principal of Laut- tional retrospective dedicated to 2018 Pritzker
Prize laureate Balkrishna Doshi—also the
first major exhibition of his work to be shown
Statement of Ownership, Management, and Circulation (Requester Publications Only)
in Spain. The first Indian architect to win the
Publication Detail
Pritzker, Doshi was a pioneer of Modernist
1 Publication Name BNP MEDIA II, LLC/ARCHITECTURAL RECORD
1 Publication Number 132650 architecture in his home country and is
2 ISSN 0003858X
3
4
Filing Date
Issue Frequency
10/01/2023
MONTHLY
known for adapting Modernist principles to
5
6
Number of Issues Published Annually
Annual Subscription Price
12
44.99
local culture, traditions, and materials.
Complete Mailing Address of Known Office of
7 Publication 2401 W. BIG BEAVER 700 Composed of photographs, drawings, models,
7 TROY, OAKLAND, MI 48084
7
7
Contact Person
Telephone
WAFAA KASHAT
(248) 786-1631
and installations, the exhibition highlights
8
Complete Mailing Address of Headquarter or
General Business Office of Publisher 2401 W BIG BEAVER RD
numerous projects realized between 1958 and
8 STE 700
9 Publisher (Name and complete mailing address) ALEX BACHRACH 2014, among them the Indian Institute of
9 350 5TH AVE
9
9 Editor (Name and complete mailing address)
NEW YORK, NY 10118-0110
JOSEPHINE MINUTILLO
Management (1977, 1992), Doshi’s architec-
9
9
350 5TH AVE
NEW YORK, NY 10118-0110
tural studio, Sangath (1980), and the Aranya
Managing Editor (Name and complete mailing
9 address) LINDA LENTZ housing project (1989). For more information,
9 350 5TH AVE
9 NEW YORK, NY 10118-0110 see fundacionico.es/exposicion-actual.
10 Owner Full Name Complete Mailing Address
BNP MEDIA, II, LLC 2401 W BIG BEAVER RD STE 700 TROY MI 48084-3333
TAGGART E HENDERSON
HARPER T HENDERSON
2401 W BIG BEAVER RD STE
2401 W BIG BEAVER RD STE
700
700
TROY
TROY
MI
MI
48084-3333
48084-3333
PROTEST/ARCHITECTURE:
MITCHELL L HENDERSON 2401 W BIG BEAVER RD STE 700 TROY MI 48084-3333
Barricades, Camps, Superglue
Known Bondholders, Mortgagees, Other Security Holders
11 Line Full Name Complete Mailing Address
Frankfurt
Through January 14, 2024
13 Publication Title BNP MEDIA II, LLC/ARCHITECTURAL RECORD
14 Issue Date for Circulation Data Below 09/01/2023 This exhibition at the Deutches Architektur-
15
15a
Extend and Nature of Circulation
Total Number of Copies (net press run)
Average No. Copies Each Issu No. Copies of Single Issue Published Nearest to Filing Date
25036 22421
museum considers the history of protest
Outside County Paid/Requested Mail
Subscriptions stated on PS Form 3541. (Include movements from an architectural perspective,
direct written request from recipient, telemarketing
and Internet requests from recipient, paid
subscriptions including nominal rate subscriptions,
centering on 13, from 1848 to the present day.
15b1 employer requests, advertiser's proof copies, and 16922 15883
In-County Paid/Requested Mail Subscriptions
Highlights include a series of detailed models
stated on PS Form 3541. (Include direct written
request from recipient, telemarketing and Internet made at the Technical University of Munich
requests from recipient, paid subscriptions
including nominal rate subscriptions, employer
requests, advertiser's proof copies, and exchange
and the Stuttgart University of Applied
15b2 copies.) 0 0
Sales through Dealers and Carriers, Street Sciences depicting a broad range of protest
Vendors, Counter Sales, and Other Paid or
15b3 Requested Distribution Outside USPS 1788 1644 camps, from the 1968 Resurrection City in
15b4
Requested Copies Distributed by Other Mail
Classes Through the USPS (e.g. First-Class Mail) 0 0
Washington, D.C., to Austria’s Lobau-bleibt
15c Total Paid and/or Requested Circulation 18710 17527
movement of 2021–22. The exhibition also
Outside County Nonrequested Copies stated on
PS Form 3541 (include Sample copies, Requests features a film installation by Oliver Hardt
Over 3 years old, Requests induced by a
Premium, Bulk Sales and Requests including
Association Requests, Names obtained from
and a hanging model of Barrio Beechtown by
15d1 Business Directories, Lists, and other soruces)
In-County Nonrequested Copies stated on PS
3181 2899
artist Stephan Mörsch that shows the Ham-
Form 3541 (include Sample copies, Requests
Over 3 years old, Requests induced by a
Premium, Bulk Sales and Requests including
bach Forest occupation. For more informa-
15d2
Association Requests, Names obtained from
Business Directories, Lists, and other soruces) 0 0 tion, see dam-online.de/en.
Nonrequested Copies Distributed Through the
USPS by Other Classes of Mail (e.g. First-Class
Mail, Nonrequestor Copies mailed in excess of
10% Limit mailed at Standard Mail or Package
15d3 Services Rates) 0 0 Constructed Geographies: Paulo Mendes
Nonrequested Copies Distributed Outside the Mail

15d4
(include Pickup Stands, Trade Shows,
Showrooms and Other Sources) 241 49
da Rocha
15e
15f
Total Nonrequested Distribution
Total Distribution
3422
22132
2948
20475
Matosinhos, Portugal
15g
15h
Copies not Distributed
Total
2904
25036
1946
22421 Through February 1, 2024
15i Percent Paid and/or Requested Circulation 84.54 85.6

16 If total circulation includes
16a Requested and Paid Electronic Copies
Total Requested and Paid Print Copies (Line
16b 15c) + Requested/Paid Electronic Copies
Total Requested Copy Distribution (Line 15F) +
16c Requested/Paid Electronic Copies
electronic copies, report that circulation on lines below
An exhibition on view at the Casa da Arqui-
0 0
tectura, Portugal’s center for architecture, is
0 0
dedicated to the life and work of the Brazilian
0 0

16d
Percent Paid and/or Requested Circulation (Both
print & Electronic Copies) 0 0
Pritzker laureate, a founding member of the
17 Publication of Statement of Ownership Publication of this statement will be printed in the 11/01/2023 issue of this publication
center, who died in 2021. Curated by Jean-
Signature and Title of Editor, Publisher, Business Louis Cohen and Vanessa Grossman, the
18 Manager, or Owner CATHERINE M. RONAN
18
18
Title
Date
DATA QUALITY MANAGER
10/01/2023 08:12:23 PM
show spans seven decades of architectural
Version PS Form 3526, September 2007
production. Partnered with a smaller, more

148 ARCHITECTURAL RECORD N OV E M B E R 2 0 2 3

intimate exhibition in a nearby gallery, the
exhibition will also be complemented by a
SKY MARKS
LANDMARKS
program of debates, conferences, and site
visits. For more, see casadaarquitectura.pt/en/.

As Found: Experiments in Preservation

Antwerp, Belgium
Through March 17, 2024
Focusing on the new relationship between
contemporary design and heritage, this exhi­
bition at the Flanders Architecture Institute
explores the different positions that architects
and designers can adopt in relation to existing
buildings. On display are seven innovative
approaches to intervening in existing build­
ings and spaces, realized by architects from
Flanders and Brussels. See vai.be/en.

Events
Sharjah Architecture Triennial
Sharjah, United Arab Emirates
November 11, 2023–March 10, 2024
The second edition of the Triennial focuses
on design solutions that arise from conditions
of scarcity. Curated by the Nigerian architect
Tosin Oshinowo and titled The Beauty of
Impermanence: An Architecture of Adapt­
ability, the four­month architecture event will
bring together architects, designers, artists,
planners, and researchers working in the
Global South and its diasporas to illuminate a
new path toward sustainability. For more, see
sharjaharchitecture.org.
INSTANT DOCK
Competitions
AIANY Design Awards
Deadline: December 1, 2023
This annual awards program recognizes
architectural projects that exemplify design
excellence, demonstrating exceptional skill
and creativity in the resolution of formal,
functional, and technical requirements.
Considered projects range widely in scale and
budget, but judges will consider how ecologi­
cal and social impact are addressed in the
built design. Eligible projects must have been
completed after January 1, 2019, and must be
either in New York City or designed by an LAG IT DOWN & PLUG IT IN YOU HAVE AN INSTANT DOCK!
AIA New York member or registered archi­ Services An
Se Any & Al
All He
Height Trucks
tect practicing in New York. Winning proj­
ects will be featured in a special exhibition at
the Center for Architecture in spring 2024.
View All 26 Models At
See aiany.org.
advancelifts.com
E-mail information two months in advance to
schulmanp@bnpmedia.com.

1-800-THE-DOCK
149
TAKE LEARNING
WITH YOU
with CE Podcasts!
continuingeducation.bnpmedia.com/podcasts
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151
 SNAPSHOT

Washington, D.C.’s Newseum was, when opened

in 2008, not long for this world—it shuttered in
2019, when Johns Hopkins University purchased
the building. A comprehensive rehabilitation
followed, led by Rockwell Group and Ennead, the
original architect. The 435,000-square-foot
Bloomberg Center at 555 Pennsylvania Avenue is
anchored by the School of Advanced International
PHOTO © ALAN KARCHMER / OTTO

Studies and includes 38 classrooms—no two the

same size—and myriad group and individual
spaces. For Rockwell Group, openness was key to
the project—the firm took advantage of the
existing six-story atrium to introduce a cascading
series of gathering areas and put glazing on the
interior face of each classroom. At the entrance,
redbrick paving, the same found on the school’s
historic Baltimore campus, welcomes students to
the capital. Matthew Marani

152 ARCHITECTURAL RECORD N OV E M B E R 2 0 2 3

 Coyne Science Center | Le Moyne College
Wall Panels: InSpire® Multi-Purpose Panels in Classic Bronze
Architect: Ashley McGraw Architects
Installer: Edward Schalk & Son Inc.
Distributor: Kamco Supply Corp.

INNOVATE YOUR VISION

Founded in 1946, Le Moyne College is a Jesuit school in Syracuse, N.Y., that opened its updated
Coyne Science Center in 2011. The 8,000-square-foot addition features InSpire, utilizing
Multi-Purpose Panels (MPN120 in Classic Bronze), a transpired solar collector that uses solar
energy from the sun. The solar energy is captured by perforated metal wall panels to preheat
outside air that is used to ventilate the building. InSpire decreases energy consumption, which
results in lower utility bills and operating carbon emissions.

Building code requirements for fresh ventilation air are stringent for schools. During the colder
seasons of the academic year, the cost to heat the necessary outside air can be enormous.
Matthew Broderick, principal of Ashley McGraw Architects’ College and University Studio notes,
“Transpired wall systems are a very economical way to save energy, in the proper application.”

ATAS International, Inc.

Allentown, PA | Mesa, AZ | University Park, IL
610.395.8445 | www.atas.com
 MINDS OF STEEL

TERRI MEYER BOAKE JASON SMITH AHMAD RAHIMIAN

LEED AP, Professor, University of AIA, Design Principal Ph.D., PE, SE, F.ASCE, EVP, USA Director,
Waterloo School of Architecture at SmithGroup Building Structures, WSP USA

DESIGNING
SUSTAINABLE
STRUCTURES
Sustainable building design and development is an increasingly important topic for engineers and
architects. What are innovative approaches for sustainable design that also appeal to occupants?
Our Minds of Steel, some of the most innovative minds in engineering and architecture, answer
questions about sustainability’s increasingly vital role in building designs.

READ THE Q&A ARTICLE ABOUT SUSTAINABLE DESIGN.

nucor.com/sustainable-structures