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FEBRUARY 2022
NEWS
BUILDING TYPE STUDY 1,038 KITCHEN & BATH
13 Employees at SHoP Push to Unionize RENOVATION, RESTORATION,
85 Introduction
By Pansy Schulman ADAPTIVE REUSE
16 Interview with Lesley Lokko 86 Miami Beach Penthouse, Florida
39 Introduction
By Cathleen McGuigan MOJO STUMER ASSOCIATES
40 Yale University Schwarzman By David Sokol
18 Richard Rogers Tribute By Fred A. Bernstein Center, New Haven
88 Garnier Residence, Montreal
ROBERT A.M. STERN ARCHITECTS DUPONT BLOUIN ARCHITECTES
DEPARTMENTS By Josephine Minutillo By David Sokol
10 EDITOR’S LETTER: More Than Meets 46 GES-2 House of Culture, Moscow 90 Clinton Hill Brownstone,
the Eye RENZO PIANO BUILDING WORKSHOP Brooklyn, New York MICHAEL K.
By Will Jennings CHEN ARCHITECTURE By Sheila Kim
23 HOUSE OF THE MONTH: Mammoth
House, Mammoth Lakes, California 52 Carlo Scarpa’s Brion Memorial, 92 Denver House Renovation,
ARCHITECTURE RESEARCH OFFICE San Vito d’Altivole, Italy Colorado FORMA By Sheila Kim
By Wendy Moonan RESTORED BY STUDIO PIETROPOLI
By George Dodds
93 Products By Sheila Kim
29 LANDSCAPE: SoFi Stadium and
Hollywood Park, Los Angeles HKS WITH 58 MIT Hayden Memorial Library,
STUDIO-MLA By Sarah Amelar Cambridge, Massachusetts
KENNEDY & VIOLICH By Suzanne Stephens CONTINUING EDUCATION
33 GUESS THE ARCHITECT
64 Site Verrier de Meisenthal, 79 Embodied Carbon & Adaptive Reuse:
35 BOOK: Momentum of Light by Francis ARCHITECTS REDUCE EMBODIED EMISSIONS
France SO – IL AND FREAKS
Kéré and Iwan Baan BY REVAMPING EXISTING STRUCTURES.
By Andrew Ayers
Reviewed by Josephine Minutillo By Katharine Logan
70 Henry Hill House,
37 PRODUCTS: Roofing By Sheila Kim
Carmel-by-the-Sea, California
STUDIO SCHICKETANZ 116 Dates & Events
By Therese Bissell 120 SNAPSHOT: Ice Cubes Cultural Tourist
Center, China ZONE OF UTOPIA + MATHIEU
FOREST ARCHITECTE By Ilana Herzig
THIS PAGE: GES-2 HOUSE OF CULTURE, MOSCOW, BY RENZO PIANO COVER: CARLO SCARPA’S BRION MEMORIAL, SAN VITO
BUILDING WORKSHOP. PHOTO © MICHEL DENANCÉ. D’ALTIVOLE, ITALY. RESTORED BY STUDIO PIETROPOLI.
Expanded coverage at architecturalrecord.com. PHOTO © FILIPPO POLI.

7
 LEARN & EARN
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 From the EDITOR
More Than Meets the Eye
Three late great thinkers expanded contemporary ideas of how societies can thrive.
AT THE END of last year, E.O. Wilson died at age
92. Although the legendary scientist, best-selling
author, and pioneer of the concept of biodiversity was
not a designer, his work expanded our understanding
of the world and how we should live in it. Wilson’s
interest in the evolution of species and their social
interactions—his specialty was ants—extended to his
ideas about human beings and how we gather in
groups. In addition, as he observed the alarming
destruction of the world’s natural habitats and the
rapid extinction of species, he became an outspoken
conservationist, proposing that half of the earth be
untouched and left to nature.
But how should we continue to build on the other
half of the planet, where human beings come togeth-
er? One enlightened leader on that subject was
Richard Rogers, who died at 88 the week before
Wilson, and whose concepts for the modern city,
beyond his works of architecture, are often underap-
preciated (page 18). His powerful sense of urbanity
was evident in his first groundbreaking project, with
Renzo Piano, for the Centre Pompidou in Paris
(1977). Significantly, in front of that brightly colored,
eye-popping structure, the architects designed a vast
space, evoking a Roman piazza, in an otherwise
crammed Medieval neighborhood.
Later, in the U.K., where he established his own
firm, Rogers was asked by a New Labour government
to chair an urban task force, to try to stanch sprawl
and lure people back to the core of cities. The com-
mission’s report, released in 1999 and called “Toward
an Urban Renaissance,” looks like a blueprint for cities
everywhere in the last 20 years: it recommended
creating greater density with infill construction,
particularly on brownfield sites; improving public
transit and public spaces; encouraging amenities such
as shops, outdoor markets, and cafés, to spark street
life—an urban approach that Rogers could trace, like
the piazza of the Pompidou, to his Italian roots (he
was born in Florence). According to the Guardian,
housing density and brownfield reclamation increased
significantly as a result. Rogers also crafted proposals
specific to London, such as congestion pricing to ease
traffic, under an appointment by the mayor.
10 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 2
His critique of modern cities and his remedies
aimed at sustainability were codified in his 1995 book,
edited by Philip Gumuchdjian, Cities for a Small
Planet. (You can indeed tell something about it by its
cover: like Rogers’s famously colorful shirts and socks,
it is hot pink with the title in bright green.)
Rogers’s plans for more compact, livable cities were
sweeping, but one of his visionary contemporaries,
the architect Oriol Bohigas, took the opposite tack.
Named planner of Barcelona in 1980, as the city was
emerging, broke, from the long shadow of Franco’s
nearly four decades of dictatorship, Bohigas hit on a
brilliant idea for micro-interventions. Pairing an artist
with a local architect (and Barcelona was full of great
designers, little known at that time outside Spain),
these duos created piazzas in outer neighborhoods that
were blighted by soulless apartment blocks from the
Franco era, with little or no public space. Major sculp-
tors—such as Richard Serra and Beverly Pepper (each
receiving a modest fee)—began to join the program as
it grew in stature. Ultimately, more than 100 such
places were built, most of them in parts of the city that
tourists rarely visit. Bohigas, who died at age 95 at the
end of November (record, December 2021), had
ignored Daniel Burnham’s dictum, “Make no little
plans”—and, in fact, he had shelved a master plan,
early on, as undemocratic. His genius was in under-
standing the impact that seemingly small projects
PHOTOGRAPHY: © JENNA-BETH LYDE
could have on ordinary people and the real life of the
city. The plaza program brought him international
acclaim, as did his presiding over reshaping parts of
Barcelona for the 1992 Olympics and beyond.
Each of these figures, in his own way, was a hu-
manist, and each left a trail of ideas for those in the
next generations to consider, adapt, or take in new
directions.
Cathleen McGuigan, Editor in Chief
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 Record NEWS
It’s like someone came in and seemed to be running an entirely different race because they just blew past
everything we’ve come to expect.
—Robert Rohde, lead scientist at Berkeley Earth, talking to The New York Times about new temperature records being set these days.

Employees at SHoP Push to Unionize

BY PANSY SCHULMAN

ON DECEMBER 21, a group of employees

at New York–based firm SHoP announced
plans to unionize, a groundbreaking step for
the profession. In a statement released by the
International Association of Machinists and
Aerospace Workers (IAMAW), a group of
architects at SHoP announced the formation
of Architectural Workers United, a coalition
of New York–based architectural workers
seeking to unionize their workplaces. If the
action is successful, employees at SHoP will
have one of the only unions in a private
American architecture firm.
The SHoP employees behind the move
cited grueling work hours at modest pay and
the poor work-life balance demanded by the
firm as reasons for this action: “These condi-
tions have become detrimental to our lives
and in extension the lives of our families,”
organizers wrote in a letter to SHoP partners,
noting that this work culture is “the product
of larger systemic issues within the discipline
of architecture and [is] in no way unique to
SHoP.” Organizers told The New York Times An effort to unionize employees at architecture firms has begun with workers at New York–based
that roughly half of eligible employees have SHoP, where staff are organizing under the name Architectural Workers United.
formally pledged support for the union.
SHoP is a midsize firm with 135 employ- tion that is worth enduring oppressive condi- ers, and architects working in the public sector.
ees and is known for its innovative work on tions in school or in the workplace for,” says David DiMaria, special representative for
urban megaprojects such as the Barclays architectural designer Maya Porath, an asso- IAMAW and the main organizer assigned
Center and residential projects in Brooklyn ciate at a small New York firm and national to the AWU campaign in New York, told
and Manhattan that have reshaped the city’s organizer for TAL. record that this organizing effort began in
skyline. “It is significant that SHoP is the Deamer confirmed that the organization the fall of 2020, when architectural workers
first firm to make this step,” architect Peggy was actively involved in SHoP’s unionization from SHoP (among other unnamed firms)
Deamer told record. Deamer is a Yale pro- efforts and that at least one other New York began to reach out about organizing their
fessor and a founder of The Architecture firm has been targeted by organizers. She workplaces. “When someone reaches out from
Lobby (TAL), an organization “advocating declined to name the firm or firms due to the an industry that’s completely nonunion, we
for the value of architecture in the general delicate nature of organizing. really have to step back and be thoughtful,” he
public and for architectural work within the SHoP’s unionization is unfolding in the says. “I think everyone understood that if we
discipline,” according to its website. context of a greater labor movement as work- want to solve the issues that are important to
Firm unionization has been central to the ers’ issues from all sectors have been exacer- architectural workers, which are largely sys-
PHOTOGRAPHY: © JAMES & KARLA MURRAY

mission of The Architecture Lobby since its
formation in 2013, but architecture has prov-
en to be a particularly difficult field in which
to organize. Architects often hesitate to view
themselves as workers, the organization has
noted, a mindset that sees entry-level profes-
sionals more willing to accept the prestige the
profession offers in the place of adequate
monetary benefits. “There are persistent
myths that architecture is a calling or voca-
bated by the economic disruption and de-
mands of the pandemic. In the white-collar
arena, this year has seen a wave of protest
against industry standards, from journalists at
Condé Nast to graduate-student workers at
Columbia University.
The IAMAW is one of the largest unions
in the country, with over 500,000 members;
these include highly skilled technical workers
but also nurses, social workers, graphic design-
temic, we have to look at this in a much broad-
er scale than just looking at one workplace, but
have a plan to actually engage.” According to
DiMaria, such a plan includes not only secur-
ing collective bargaining rights, such as those
at SHoP are seeking, but broader political
action and gaining union density in the field.
Equity in architecture has become a major
issue, but the topic of labor conditions has
trailed behind recent efforts to achieve diver-

See daily updates at architecturalrecord.com

13
 Record NEWS
sity and inclusion. Yet in at least one way,
SHoP became more inclusive for its staff when
it became a 100 percent employee-owned firm
in March 2021, with the first allocation of
equity shares distributed to all employees on
December 31, according to the plan. In a
statement addressing IAMAW’s announce-
ment, SHoP leadership said that the firm was
“founded to practice architecture differently
and has always been interested in empowering
and supporting our staff.” They pointed to the
shift to employee ownership as an effort “to
secure that mission and future leadership for
the firm . . . [and further] our shared commit-
ment to a culture of innovation and the next-
generation practice of architecture.”
The SHoP unionization announcement
sparked a wave of support and debate online.
One former SHoP employee, Tyler Goss,
described his experience at the firm in a
Twitter thread: “When I started at SHoP in
2005, I made $36K. Over the next 4 years I
received small incremental raises while . . .
working an average of 47 hours a week . . .
and consistently working weekends for
14 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 2
months on end, making an effective average
wage of about $19/hr, all while being billed
out at between $90-150/hr.” (Goss’s experi-
ence echoes that of some current employees,
who reported to the Times that they worked
an average of about 50 hours a week, a num-
ber which would easily rise to 60–70 hours
during deadline periods.)
The former employee later added on
Twitter that at the time he was hired, three
other prominent firms had made similar
salary offers, but SHoP was “actually above
the market” in its offer, as they provided
health insurance. Today, sources say, SHoP
continues to provide health benefits, gives
more than 30 days paid vacation and holidays,
and salaries for architecture school graduates
start at $60,000—and that the firm has never
used unpaid interns.
Deamer said her work on behalf of The
Architecture Lobby has been met “largely
with silence” on the part of the American
Institute for Architects and the profession at
large. Yale professor Philip Bernstein, who
expressed his doubts to the Times that SHoP’s
organization will be successful or “good for
the profession in the long run,” expanded on
his views to record, saying that the justified
criticism of architectural practice lies deeper
than what unionization can address. Archi-
tects, he argues, should target the larger
economic structure that leads firms to under-
price their labor. “I am completely sympa-
thetic to the folks at the Architecture Lobby
and at SHoP—they are raising critical ques-
tions about the nature of architecture prac-
tice,” he said in an e-mail. “I’m just not sure
the single answer they offer will truly solve
the problem.”
“I really hope that SHoP inspires addi-
tional workers to see that this is possible,” says
Porath of the momentum of an architectural-
labor movement. “This is a way to build
collective power in the workplace, so that
workers can get a seat at the table and gain
some control over their own working condi-
tions.” Says the IAMAW’s DiMaria, “The
goal from the beginning has never been to
organize one employer, or even to suggest that
one employer can fix all these problems.” n
 ULINE ARENA
ARCHITECT: Antunovich Associates, Arlington, VA
GENERAL CONTRACTOR: Davis Construction, Rockville, MD
www.NTMA.com 800.323.9736
PHOTOGRAPHER: Brycen Fischer
 Record NEWSMAKER
Interview: Lesley Lokko
LESLEY LOKKO, the award-winning
Ghanaian-Scottish architect and educator,
was recently named curator of the 2023
Venice Biennale of Architecture, the first
Black architect in this role. Lokko, who
founded the Graduate School of Architecture
at the University of Johannesburg, later was
dean of the architecture school at the City
College of New York. She is now launching
an architecture program in Accra, Ghana.
While her plans for the Biennale are still in
formation, Lokko’s perspective on Africa will
clearly affect what has been a largely
Eurocentric vision at prior Biennales. She
spoke with record editor in chief Cathleen
McGuigan.
Venice has long been a crossroads of cul-
tures, making it an apt place for the kind of
Biennale you will be curating.
Yes, it’s an amazing opportunity to open
the Biennale up and to open architecture up.
So tell us about the architecture school you
are starting in Ghana, the African Futures
Institute (AFI).
First of all, it’s an institute, not a school,
with a public events platform—as well as an
academic program—that we got going
straightway last June. We’ve had lectures,
films, discussions, and other events—it’s
become a real go-to place in Accra to find out
about the world of architecture. The first
annual Alero Olympio Memorial lecture
kicked off in August. Olympio, a Ghanaian
architect who died in 2005, was known for
championing local materials, sustainability,
the role of women, empowerment. And so we
asked [Nigerien architect] Mariam Kamara,
and she flew in and gave the lecture—and it
was amazing. Afterwards, I saw one girl
crying her eyes out. When I asked why, she
said, “I’ve waited 27 years to see someone like
Mariam.” That was profound.
We’re in the process of setting up the
school. I’m putting together a young research
team that will help me with the Biennale, so
the AFI will pivot into a research project that
will allow us to get into academic work.
Lesley, you are European and African—you
bridge these vastly different cultures in your
own life. How does that affect what you’re
doing at the AFI and may be doing at the
Biennale?
16 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 2
Europe and Africa have had an inter-
twined relationship for millennia. For me, the
space that’s coming is very much a “both/and”
not an “either/or.” So I’m very interested in
the relationships we have across this so-called
enormous cultural divide—which, when you
really dig down, is not that enormous—and in
the idea of Africa as a place of intense experi-
mentation about the future. We are fond of
talking about the developing world or the
third world as if they are somewhere else, but
they’re part and parcel of our world. So it’s
both about bridging what are perceived to be
gaps, but being alert and sensitive to the
history and the experience of those gaps. I
view both the gaps and bridges as really
intense places of creation.
What do you think are the biggest miscon-
ceptions that Europeans and Americans
have about Africa today?
The idea that we are chaotic, that we are
corrupt, that we are disorganized, that we are
lagging behind in some way. I see it in the
opposite way. We’re the world’s youngest
continent—the average age is under 20—so
it’s an incredibly dynamic place. And it is the
world’s fastest urbanizing continent. But we
also have the fewest schools of architecture
and the fewest registered architects. So who
are going to be the architects of Africa’s
future? Questions of scale and network are
understood differently here, because almost
all Africans, in addition to the official lan-
guages—English, French, Portuguese—we
all speak an indigenous language. So this
ability to translate and move between worlds
is part of the African DNA—and where I
find it fascinating is that architecture is a
discipline that’s all about translation.
At the AFI, your website says, the pedagogy
is based on the twin poles of decolonization
and decarbonization.
Yes, the two big movements of the 21st
century. Somewhere in all the conversations
around sustainability and the environment—
this was clear to me when I was in the U.S.—
was that the first unit of energy was the Black
body. So there’s been a relationship between
race and resources that’s as old as time. In
thinking about the future, you can’t “de-“ one
without “de-ing” the other. But, also, the
effects of climate change are bound to be felt
the worst here on the African continent.
You’re also introducing a program on archi-
tecture criticism and journalism at the AFI.
Education is absolutely the battleground
for us—from training right up to thought
leadership. For me, thinking about architec-
ture as a language, as a discourse, is key—to
open up the discipline, so it’s not only about
building, it’s about building society, building
culture, building economies. It’s not just
producing more professional architects but
producing people who think about architec-
ture in a different way.
So you really see the Institute as a catalyst
for a next generation?
Yes. The equation between architecture
and Africa for so long has been that Africa
was lacking something—it wasn’t sophisti-
cated enough or organized enough or wealthy
enough. There was nothing that Africa could
bring to architecture. I think the reverse is
true: for the complexities that the continent
throws up, architecture is not sophisticated
enough to know how to deal with those com-
plexities. So the idea is of putting a pedagogy
PHOTOGRAPHY: © DEBRA HURFORD-BROWN
in place that really makes use of those com-
plexities—their challenges and their opportu-
nities. Maybe there are disciplinary combina-
tions that in the west would be unheard
of—you know, a person who is a public health
official and an architect simultaneously. Or
different routes to becoming a professional
architect. That’s why I really do see this as a
laboratory of the future. It’s the testing
ground for where the discipline might go. n
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 Record NEWS

Tribute: Richard Rogers (1933–2021)

BY FRED A. BERNSTEIN

WHEN the author Rogers loved bright privately shared language that could encom­
Deborah Copaken colors and was never pass criticism and appreciation.”
Kogan opened Richard afraid to incorporate Back in England, Rogers and his wife, Su
Rogers’s sock drawer, them into his wardrobe Brumwell, formed a practice with Foster and
she started to cry. “It (left) or use them in his Wendy Cheesman (soon to be Foster’s wife).
buildings, such as the
was beautiful. It was The firm, known as Team 4, designed several
Pompidou Center in
perfect,” she wrote in Paris and Barajas
notable houses—inspired by the Case Study
The New Yorker in 2012. International Airport in Houses they had seen in the U.S.—before
“It did not only what a Madrid. dissolving in 1967. A lifelong proponent of
good sock drawer collaboration, Rogers then formed a partner­
should do—organize ship with Renzo Piano, with whom he en­
socks—it did what great potter. The family’s tered the competition for a new cultural
works of art aspire to apartment overlooked center in Paris. According to The New York
do. It took the bedlam the Duomo. The way Times, “the whole endeavor seemed doomed
of everyday life, orga­ Filippo Brunelleschi’s from the start: their submission was initially
nized it with careful giant dome expressed returned because of insufficient postage.”
attention to spatial its structure made a But they beat out 680 other entrants with
harmony, color balance, powerful impression their proposal for an inside­out building, its
and composition, and on him, he told News­ elevators, escalators, pipes, and ductwork
transformed it from week in 2007, the year hanging off its facade and painted bright,
chaos to order, from he won the Pritzker primary colors. Completed in 1977, the
ordinary to extraordi­ Prize. He also recalled Pompidou Center was gasp­inducing, contro­
nary, from a simple being surrounded by versial, and hugely popular. He then formed
container for necessities bright colors. the Richard Rogers Partnership in London
into a perfect expression In 1939 his parents, and went on to create other gasp­inducing
of the artist’s philosophy: minimalism, bright fleeing fascism, moved the family to England, buildings, somehow persuading stodgy
colors, functionality, form.” where the colors turned to shades of gray. Lloyd’s of London to build a headquarters
That philosophy was expressed in Rogers’s London was blanketed in smog, and his (1986) clad in stainless steel, with its stair­
breakout success, the Pompidou Center in parents worked in a tuberculosis clinic. When ways, elevators, and even bathrooms suspend­
Paris, which he designed with Renzo Piano his mother contracted the disease, Rogers was ed over a plaza, so that it looked like a land­
half a century ago, and later buildings that sent to boarding school. Dyslexic and foreign, locked oil rig or something straight from a
combined an industrial esthetic with a play­ he was bullied by his classmates. Often at the child’s imagination. His firm, later known as
fulness that matched his exuberant personal­ bottom of his class, he graduated thinking he Rogers Stirk Harbour + Partners, went on to
ity and his colorful wardrobe. Rogers was 88 was stupid, and with no career direction. design scores of prominent civic and commer­
when he died, at home in London, on De­ He served in the British army in Trieste, cial structures, including the 2013 Leadenhall
cember 18, surrounded by his family. His son, which brought him closer to his Milan­based Building (aka the “cheese grater”) in the City
Ab Rogers, said his father would want to be cousin, the architect Ernesto Nathan Rogers, of London, the parliament of Wales (2006),
remembered as a humanist who thought not later the designer of that city’s somewhat and courthouses in Bordeaux (1995) and
just about architectural details but about eccentric Torre Velasca and editor of Domus. Antwerp (2006), which Rogers was proud to
larger issues of planning and policy. “Every­ Deciding to follow in his cousin’s footsteps, say were highly energy­efficient. The firm’s
one should be able to see a tree outside their he enrolled at London’s Architectural Asso­ Barajas Airport in Madrid (2005), with its
window,” he told record, distilling his fa­ ciation School of Architecture, where his undulating bamboo ceilings and branching
ther’s views. final project, in 1959, was a school in Wales columns in an array of pastel colors, is a favor­
He was my “oldest and closest friend,” said for children with special needs, which the ite of travelers.
Norman Foster, who sent Rogers a personal students could help build. He won a Fulbright Despite his love for the U.S., he designed
message just hours before he died. When they scholarship to study at Yale, where his teach­ few buildings in this country. But his Pats­
PHOTOGRAPHY: © PAUL MCLAUGHLIN

met 60 years ago at the Yale School of Archi­
tecture, “we were instant friends, kindred
spirits,” Foster recalled.
The two men came from very different
backgrounds. Foster grew up in the north of
England, while Rogers spent his early years
in Florence, where his father (the son of a
British emigré) was a doctor and his mother a
ers included Paul Rudolph, James Stirling,
and his cousin Ernesto Rogers, all of whom
influenced his work.
At Yale he and Foster spent their breaks
crisscrossing the United States in a Volks­
wagen Beetle, looking at “the works of past
and modern masters,” Foster wrote in a trib­
ute, adding that the two friends developed “a
center (1985), a research lab near Princeton,
has long fascinated architects and engineers.
(Its roof, suspended from above, presaged that
of his Millennium Dome—now the O2 arena
—in London.) At the World Trade Center in
New York, his Tower 3 (2018) is wrapped in
glass, but reveals a bit of trusslike exoskeleton
at several junctures.

18 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 2

For all his important buildings, he
seemed to devote as much of his time to city
planning as to architecture. When the
New Labour party came to power in 1997,
Rogers was asked to chair its Urban Task
Force. In 1999, the Task Force issued a
report containing 105 recommendations for
compact, well-designed, environmentally
conscious cities with effective public trans-
portation. In 2001, he became chief adviser
on architecture and urbanism to the mayor
of London. In that role, he lobbied for
congestion pricing—essentially tolls for
entering central London—which led to
cleaner air and additional funds for public
transportation. And he promoted rules that
required developers to include affordable
housing in all new residential projects.
(Somewhat ironically, his firm designed
some of the most expensive housing in the
world, including London’s One Hyde Park
development, home to sheikhs and oli-
garchs.) He was also a defender of modern-
ism who battled quite publicly with Prince
NEWS in Brief
Charles, a supporter of traditional architec-
ture, and lost at least one major commission 72
when the Prince intervened. 70 67 67
62
After his first marriage ended, he married
60
Ruth Elias in 1973. As Ruth Rogers, she 52
became an internationally famous chef and 56 57 57
50 52
co-owner of the River Café in London,
where the architect regularly lunched, near 40 42
his firm’s office. He had three sons from his
30
first marriage (including Ab) and two from
his second. One son predeceased him. 20
In a lecture in Hamburg in 2018, he D J F M A M J J A S O N D
2020 2021
recalled of his childhood in Italy, “I chose
INQUIRIES BILLINGS
the right parents. I chose the right place.”
Then, when he got to England, he said, he
had just one ambition: “To be second from ABI Score Inches Up
the bottom of the class.” The American Institute of Architects’ latest
His self-deprecating charm did not mask data show that the Architectural Billings Index
his seriousness of purpose. His friend Lord increased from 51 in November to 52 in
Foster lauded him for his efforts to make December, still above the benchmark of 50
the world a better place. “He had a fire in (scores over 50 indicate an increase in firm
his belly,” Foster said by phone. “He never billings). New inquiries grew from the previous
lost his activism. He was an idealist to the month, from 59.4 back up to 66.8, and design
very end.” n contracts remained the same at 55.8.
19
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every building has a story

Along the process of design and

construction, incredible stories of
conflict and triumph emerge in
pursuit of the broad vision for a
building.

Detailed is a series that features

architects, engineers, builders, and
manufacturers who share their
insight and expertise as they
highlight some of the most
complex, interesting, and oddest
building conditions that they have
encountered, and the ingenuity
it took to solve them. Join host,
Cherise Lakeside, aka CSI Kraken,
a Senior Specification Writer at RDH
Building Science, as she uncovers
lessons learned to help you
navigate similar challenges that
may arise in your next project.”

COMING FEBRUARY 2022!!

DET ILED
an original podcast, powered by Gābl Creative
 HOUSE of the Month
ARO ARCHITECTS DESIGNS A SUSTAINABLE SKI LODGE NEAR MAMMOTH MOUNTAIN, CALIFORNIA. BY WENDY MOONAN

FOR MANY YEARS Los Angeles doctors

Diane Yao and her husband Glenn Izmirian,
along with their two children, shared a house
with two friends near Mammoth Mountain,
California, a ski resort east of Yosemite in the
Eastern Sierra range. Then Izmarian saw a
small plot of land, only 8,000 square feet, in a
residential neighborhood closer to downtown
Mammoth. His wife, a gastroenterologist who
was on call in L.A., agreed they should buy it.
The family is superathletic, the kids were near-
ing adulthood, and they all liked going there
year-round to ski, fish, hike, bike, and scull.
“The neighbors are close,” says New York–
PHOTOGRAPHY: © JEREMY BITTERMANN

based ARO principal Kim Yao, Diane Yao’s

younger sister whom they commissioned to
design the house. “But what they really wanted
was a year-round retreat within walking dis-
tance of the village and the gondola so their kids
(and guests) could venture out on their own TWO joined volumes clad in gray-painted steel accommodate various functions on a tight site
without need of a car.” It also needed to be a (above). The living/dining area and kitchen receive south and east light from generous window walls
simple, easily maintained house made of dur- (top), while a wedge-shaped portion of the bedroom wing contains the garage and main entrance
able, straightforward materials. underneath.

23
 HOUSE of the Month

The glazed expanse of the living and dining area

(left and opposite, top) looks into pines.
Douglas fir clads the fireplace and kitchen
(opposite, bottom).

The four-bedroom, 3,720-square-foot

house has a wood-framed structure, supple-
mented by a steel moment frame and prefab
wood roof trusses. The exterior is wrapped
with steel cladding on the walls and the shed
roof, all painted a muted gray: “My brother-
in-law knew it would be unusual to have such
a contemporary steel house in that neighbor-
hood, so he asked that the steel not be too
reflective,” says Kim. “He was right; there
was no pushback from the neighbors. We
even get compliments.”
The house is composed of two sloped-roof
volumes that intersect: one has an ample
living/dining area and kitchen, where a large,
double-glazed window wall faces south and
east as it turns a corner to offer views of the
mountains, while providing passive solar
heating. In back of public spaces are bedrooms;
an adjoining wedge contains the main bed-
room on this level, with the garage, a work-
shop, and the entrance below, where there is
a drop in grade.
Five geothermal wells provide radiant heat
in the winter and cooling in the summer. “It
took an extra year to drill the wells,” Kim
says. “But Glenn wanted an energy-efficient
house and considered it a long-term invest-
ment.” The couple were careful to remove as
few of the surrounding pine trees as possible.
The interior is simple, with concrete floors,
white gypsumboard walls, and Douglas fir
paneling. “Kim and I decorated the house to-
gether,” Diane says. “Kim had ideas, and my
husband and I chose things.” Kim notes that
“they were the easiest clients ever. They said,
‘We are not designers. We did it because we
wanted to do it with you.’ ” Both clients and the
architect couldn’t be happier with the house; in
fact, they just spent Christmas there together. n

1 LIVING/DINING

2 KITCHEN 6 A

3 MAIN BEDROOM

4 MAIN BATH 5
PHOTOGRAPHY: © JEREMY BITTERMANN

5 BEDROOM
2 5 1 2
6 PATIO 5

A
3

4
0 30 FT.
SECTION A - A
10 M.
0 30 FT.
MAIN-FLOOR PLAN
10 M.

24 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 2
25
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 LANDSCAPE
L.A.’S SOFI STADIUM REDEFINES A SPORTS VENUE’S RELATIONSHIP TO ITS COMMUNITY WITH A POROUS, PARK-LIKE PLAN. BY SARAH AMELAR

IN THE OLD DAYS, stadiums often cre-
ated neighborhood dead zones, disrupting the
urban fabric with their monumental scale,
fortresslike exteriors, and periods of dorman-
cy. But a trend toward mixed-use complexes,
active 365 days a year, has emerged, providing
opportunities for lucrative development—and
for modest or struggling areas to transform
themselves into destinations. Across the na-
tion, new complexes are combining profes-
sional sports with entertainment—from the-
aters to amusement parks—along with
working, living, lodging, shopping, and dining.
Far less common, however, is the integra-
tion of new, publicly accessible parks. But
that’s a key component of L.A.’s 298-acre
Hollywood Park, a phased development in
Inglewood, California, on former racetrack
grounds. Along with the 3.1 million-square-
foot, 70,000-seat SoFi Stadium—home to the
city’s two National Football League teams, the
Rams and Chargers—the master plan, by
Hart Howerton with HKS, called for 25 acres
of open green space and a 6,000-seat theater.
The stadium (reconfigurable to 100,000 seats)
opened in September 2020, and the YouTube
PHOTOGRAPHY © NIC LEHOUX
Sports enthusiasts and theatergoers
approach the open structure through
landscaped grounds (above), visible
from the various, terraced levels
inside (right).
critical question was about how to
make the building a welcoming
neighborhood asset. Also challeng-
ing—with a flight path into LAX
Airport directly above—were FAA
height restrictions. HKS responded
by embedding the field and specta-
tor bowl 100 feet below grade. A
27.5-acre roof canopy—featuring
translucent, ethylene-tetrafluoro-
ethylene (ETFE) panels, some of
them operable—spans over the
stadium, theater, and 2.5-acre
American Airlines Plaza between
them. The building has no conven-
tional facades or enclosing walls,
though it has some vertical sup-
ports, reinterpreting the classic
entry colonnades of older arenas. With its echoed in the plaza. Covered, yet open to
hovering, overarching canopy touching the breezes—as is the entire arena—these lushly

Theater last summer. Eventually, there will be
a 300-key hotel, plus up to 5 million square
feet of offices, 890,000 square feet of retail/
restaurants, and 2,500 residences.
When Rams owner Stanley Kroenke
acquired the vast site and hired HKS to
design the stadium and linked theater, a
ground in only four places, the stadium has an
openness that invites views in and exploits the
indoor-outdoor potential in Southern Califor-
nia’s mild climate.
The deep excavation became an opportu-
nity to create, along the building’s inner
periphery, terraced “canyons”—features
planted ravines integrate stairs, escalators, and
dining/gathering patios. With the field’s
innovative and enormous video board visible
throughout the building, these “interventions
change the experience of the game—it’s no
longer a static observation piece,” says land-
scape architect Mia Lehrer, president of

29
 LANDSCAPE
The low-slung complex borders a man-made
lake fed by reclaimed water—some of it runoff
from the 27.5-acre roof canopy—and a 12-acre
park used by both locals and ticketholders.
Studio-MLA, which collaborated with HKS
to make the building and landscaping “in-
separably intertwined,” as HKS principal
Lance Evans puts it.
As part of that “dynamic and symbiotic
relationship,” says Lehrer, “we sculpted the
land to engage the building and celebrate [the
character of the landscape] through terraces,
promenades, and water features.” While
SoFi’s “canyons” highlight native vegetation,
the surrounding parkland, recontoured with
soil from the excavation, expands the diver-
sity. Its trees and plants draw from the entire
“Mediterranean” biome, which includes
Southern California as well as southwestern
Australia, South Africa, Chile, and the
Mediterranean Basin—regions with very
similar climates and weather patterns, due to
their proximity to a west-facing ocean and
distance from the equator. Along with educa-
tional and wayfinding roles, says MLA asso-
ciate principal Kush Parekh, the selection
“provides a rich, biodiverse habitat for local
species, including monarch butterflies, song-
birds, and honeybees.”
30 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 2
A six-acre artificial lake—recalling the
former racetrack’s manmade pond, a much-
loved community amenity—is the centerpiece
of the new 12-acre Lake Park, alongside the
arena. It uses only reclaimed water, including
storm runoff from the vast stadium roof,
filtered through natural wetlands, bioswales,
and a man-made arroyo. The lakeshores are
already popular with pregame partiers. The
surrounding surface parking lots—tradition-
ally tailgate terrain—will eventually be
phased out, says Evans, probably replaced by
underground or otherwise indoor garage
space in various buildings on-site.
Though pandemic restrictions initially
barred spectators from the stadium, they’ve
since flocked to its games, school graduations,
and performances, including two Rolling
Stones concerts in 2021. The arena will have
its global, prime-time close-ups when it hosts
Super Bowl LVI on February 13 and the
summer Olympics opening and closing cer-
emonies in 2028.
Still, some skeptics have questioned how
directly such developments as the reported
$5.5 billion stadium will serve Inglewood’s
struggling community, which is 40-plus
percent Black and 50-plus percent Hispanic
of any race, with a pre-pandemic median
household income of $54,400. So far, Holly-
wood Park has made outreach integral to its
mission, with events and programs address-
ing food security, vaccination needs, educa-
tion, sustainability, and financial empower-
ment. It has supported youth and scholarship
initiatives and, in 2021, donated 97,000
pounds of food locally. Though Super Bowl
tickets might be unaffordable to many resi-
dents, the event is projected to employ thou-
sands and boost Inglewood’s economy by
many millions (and the Rams and Chargers
give away tickets throughout the season to
community organizations). Also, by contrib-
PHOTOGRAPHY © NIC LEHOUX
uting thousands of flowering plants to road-
way medians throughout the community, and
partnering with the city to restore and beau-
tify its other parks, the developer has ex-
panded SoFi’s civic gestures and commit-
ment to publicly accessible green space well
beyond its own grounds. n
 9
2 2
34 1 4 3
6 4 3
3
8
4
3 6
6
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6
4
6

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3 3
4
1 4 3
2 2
2
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 Guess the Architect Contest
ENTER NOW! A monthly contest from the editors of RecoRd asks you to guess
the architect for a work of historical importance.

CLUE: THE SIZABLE IMMIGRANT STATION FOR THE UNITED STATES, WHICH OPENED IN 1892, WAS SIGNIFICANT IN
AMERICA’S HISTORY, YET AFTER CLOSING IN 1954, IT SEVERELY DETERIORATED. A GOVERNMENTAL EFFORT LED
TO THE MAIN BUILDING’S BEING RESTORED AND RENOVATED AS A MUSEUM IN 1990. TWO ARCHITECTURAL FIRMS
WERE INVOLVED, BOTH WITH EXTENSIVE EXPERIENCE IN PRESERVATION. GUESSING ONE OF THE FIRMS
CORRECTLY IS ENOUGH TO GUARANTEE ELIGIBILITY FOR WINNING THIS CONTEST.
PHOTOGRAPHY: © PETER AARON /OTTO (TOP); ROLAND HALBE (BOTTOM)

The architect for the Ramón C. Cortines School of Visual and Performing Arts in downtown Los
Angeles is the Vienna-based firm Coop Himmelb(l)au. The high school, which opened in 2008, is
known for its sculptural tower—an event space with a spiraling ramp—its truncated cone for the library,
and its angular lobby structure, all clad in bead-blasted stainless steel. Exposed concrete classroom
buildings and a theater fill out the campus for about 1,100 students.

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See the complete rules and entry form online at architecturalrecord.com/guessthearchitect.

33
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37
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 BUILDING TYPE STUDY 1,038

RENOVATION,
RESTORATION,
ADAPTIVE REUSE
40 Yale University Schwarzman Center
New Haven, CT
Robert A.M. Stern Architects
46 GES-2 House of Culture
Moscow
Renzo Piano Building Workshop
52 Brion Memorial
Italy
Studio Pietropoli
58 MIT Hayden Memorial Library
Cambridge, MA
Kennedy & Violich Architecture
64 Site Verrier de Meisenthal
France
SO - IL and FREAKS
70 Henry Hill House
Carmel-by-the-Sea, CA
Studio Schicketanz
PHOTOGRAPHY: © FRANCIS DZIKOWSKI

THE COMMONS AT YALE UNIVERSITY’S

SCHWARZMAN CENTER

39
 RENOVATION, RESTORATION, ADAPTIVE REUSE
Center of Attention
At the heart of Yale University’s campus, Robert A.M. Stern Architects turns a Carrère & Hastings building
into a 21st-century social and cultural hub.
BY JOSEPHINE MINUTILLO
PHOTOGRAPHY BY FRANCIS DZIKOWSKI
SOMETIMES, a respectful restoration requires radical intervention,
even by the most respectful of architects. Graduate and former dean of
the Yale School of Architecture Robert Stern, and his New York–based
firm Robert A.M. Stern Architects (RAMSA), led the transformation
of a neoclassical Carrère & Hastings building at the heart of the uni-
versity’s New Haven, Connecticut, campus into a center for dining and
theater. In the process, they ripped out the old floor slab and the wood
paneling in a train-station-scaled refectory, added a skylit two-story
annex where there was once a terrace, exposed foundation walls, and
carved a new exterior staircase within a prominent quadrangle.
The Schwarzman Center, named for billionaire Blackstone CEO
and Yale alum Stephen Schwarzman, who made a $150 million gift
toward the project, occupies much of what’s known as the Bicentennial
Buildings (actually, one connected L-shaped structure), built in 1901 to
honor the 200th anniversary of Yale’s founding. RAMSA’s project is
meant to bring students together around the arts and meals—rather
than the dining and socializing historically confined within residential
colleges and separating those pursuing graduate degrees from under-
40 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 2
graduates. It comprises the renovation of the entire northern wing,
including the Memorial Rotunda that serves as the hinge with Woolsey
Hall, the eastern leg (which was not part of the renovation’s scope and
remained largely in operation throughout construction), as well as
excavating 8,300 square feet to create an expanded basement level.
The north wing is dominated by the Commons (photo on previous
page), an ornate 66-foot-high timber-trussed banquet space that had not
been touched in its nearly 120-year history. “One might call it benign
neglect,” says Stern. “But it is among the great classical spaces that
transcends the limitations of program.” Designed around the same time
as Carrère & Hastings’s New York Public Library on Fifth Avenue in
Manhattan (and also bearing the Schwarzman moniker now), the
Commons has a similar size and grandeur as that building’s Rose Main
Reading Room, both with rich wood surfaces and statement chandeliers.
What the immense hall needed, however, was a good cleanup, and an
HVAC system—it was neither heated nor cooled. There was also the
issue of the concrete floor slab, which had to be fully replaced. (The slab
in the basement level, previously home only to storage and the kitchen,
THE ROTUNDA is the corner
piece between the L-shaped
Bicentennial Buildings
(opposite). The striking
ceiling lights inside its
entrance were converted to
LEDs (above). Sconces in the
Presidents’ Room (left) were
custom designed based on
historic photos. The pilasters
on which they rest were
restored after previously
being removed.

41
 GROVE STREET

12 4

3 1 2
11 10 13

14 5 A

COLLEGE STREET
15

16 7 7
8
6

0 50 FT.
LOWER-LEVEL PLAN
15 M.

1 COMMONS 11 STAGE

2 ROTUNDA 12 KITCHEN
0 50 FT.
3 PRIVATE DINING 13 THE WELL FIRST-LEVEL PLAN
15 M.
4 SERVERY 14 GALLERY

5 WAR MEMORIAL 15 THE BOW-WOW

6 NEW EXTERIOR STAIR MARKET

7 WOOLSEY HALL 16 DANCE STUDIO

8 HEWITT QUADRANGLE 17 THE DOME

9 BEINECKE RARE BOOK 18 PRESIDENTS’ ROOM 17

LIBRARY 19 BALCONY LOUNGE

10 THE UNDERGROUND 20 THEATRICAL CATWALK 14 1

0 30 FT.
SECTION A - A
10 M.

42 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 2
 A CURVING exterior staircase (opposite) leads
to the expanded basement, which includes a
new eatery, the Underground (bottom), with
cozy fireplaces. The Well (right), a new bar,
features exposed granite and ceiling lighting to
mimic that in the Rotunda’s entrance.

was lowered 30 inches to accommodate new

programming, including a more casual eatery,
the RAMSA-designed Underground, which
now occupies the space beneath the Com-
mons.) The oak panels that line the lower walls
of the Commons were removed and restored
off-site, then reinstalled 2 inches farther into
the room from their original position, after
also creating cavities in the 30-inch-thick brick
bearing walls, to make room for mechanical
equipment. Supply and intake air grilles were
incorporated into the panels’ woodwork. Over
a century of grime, including decades of cigar
and cigarette smoke, were cleaned from the
exposed brick above the panels, and the wood
roof structure above that.
Not only is the Commons one of the rare
spaces on campus that now welcomes all
students—as well as faculty, staff, and visitors
—it is also a performance space. Micro-
perforated acoustic wood panels were added
between the purlins of the roof structure,
where a metal catwalk was also installed, and
the chandeliers were motorized to lift out of
the way of the many giant video screens that
have been inserted throughout.
Meanwhile, in the rest of the northern wing,
a variety of smaller-scale restoration projects
were undertaken. Working with L’Observatoire
International, RAMSA made significant
upgrades to the lighting—replicating historic
PHOTOGRAPHY TAKEN IN JULY 2021 IN ACCORDANCE WITH YALE UNIVERSITY’S COVID-19 GUIDELINES

fixtures, designing contemporary ones, and

transitioning all illumination to LEDs. Sprin-
klers were added, as were ramps and elevators
to make the building fully accessible.
On the first level of the Rotunda, RAMSA
restored the vaulted ceiling of the War Memo-
rial, which had at some point been painted
black, to its original off-white color. (Its mar-
ble walls, engraved with the names of alumni
who died in service of their country, inspired
Yale undergraduate Maya Lin’s competition-
winning design for the Vietnam Veterans
Memorial in Washington, D.C.) A level above
that, in the Presidents’ Room, the architects
put back the decorative pilasters and sconces
previously removed from its curved walls.
And a level above that, the Dome, which for
years housed the yearbook staff in dark of-
fices, has been turned into a state-of-the-art
performance space. “It’s our black-box thea-
ter, except it’s white and round,” jokes the
Schwarzman Center’s marketing and commu-

43
 RENOVATION, RESTORATION, ADAPTIVE REUSE

nications director, Maurice Harris.

In the Rotunda’s basement, in a former
storage space, RAMSA exposed the colossal
Stony Creek granite blocks of the rounded
foundation walls, which had previously been
plastered over. They now offer a stunning
backdrop for the Well, a new bar, whose
cavelike atmosphere is a counterpoint to the
cozy, walnut-clad Arts and Crafts-inspired
Underground nearby on the same level (that
dining area is an additional performance space,
with a stage and flexible seating arrange-
ments). One can enter the newly excavated
portion of the basement—which includes a
large dance studio, galleries, and a grab-and-
go food store called the Bow-Wow (in honor
of Yale’s bulldog mascot)—from a curving new
exterior staircase. Also lined in granite, this
below-grade expanse is carved into the north-
east corner of Hewitt Quadrangle—more
commonly known as Beinecke Plaza after
Gordon Bunshaft’s celebrated Beinecke Rare
Book Library, just to the west.
RAMSA’s contribution to the stately
Indiana-limestone-clad building’s exterior is a
three-story annex, built where a one-story
volume along the the north elevation stood. It
looks as if it had always been there, and for
good reason: the design for it came, in large
part, from Carrère & Hastings. RAMSA
uncovered a drawing the Beaux-Arts firm
had done of an addition to that elevation just a
few years after the building was completed.
“From my experience, the original building

1
4

6
5

PARTIAL COMMONS AND ANNEX AXONOMETRIC

1 COMMONS 4 SERVERY

2 ANNEX BALCONY 5 THE UNDERGROUND

3 ANNEX LOUNGE 6 KITCHEN

44 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 2
THE NORTH ELEVATION along Grove Street is now three stories (above). Credits
Its two-story skylit annex offers open meeting spaces and study areas ARCHITECT: Robert A.M. Stern
that alternate with enclosed offices (opposite, top and bottom). Architects — Robert A. M. Stern,
senior partner; Melissa DelVecchio,
partner in charge; Graham S.
Wyatt, Jennifer L. Stone, partners;
was either underplanned or money ran out,” says Stern of the existence
Kurt Glauber, associate partner/
of this drawing. “It’s wonderful to have that documentation, but options
manager; Ken Frank, senior
for an addition are limited, and this was the logical way to go.” associate; Marianna Monfeld,
The existing one-story portion was taken down, creating a uniform preservation specialist; Shawn
three-story facade. The first floor’s new interior houses the crisply McCormick, interior designer
designed food hall for the Commons. Above it, a long skylit space is ENGINEERS: Robert Silman
Associates (structural); Langan
bathed in sunlight. Offices on the mezzanine alternate with double- (civil); AKF Group (m/e/p)
height lounges and study areas below. RAMSA replaced what were GENERAL CONTRACTOR: Dimeo
once exterior windows with ones comprising lead-camed translucent Construction Company
glass, to match the historical windows, with a laminated IGU, to pro- CONSULTANTS: L’Observatoire
vide acoustic separation and the one-hour fire rating now needed be- International (lighting); Jaffe
Holden (acoustics); Fisher Dachs
tween enclosed interior spaces. Associates (theater design); Atelier
“I have a preference for new things to be respectful of old things,” Ten (sustainability); Ricca Design
says Stern, whose two residential colleges at Yale, completed in 2017 as Studios (food service)
ground-up construction, carry forward the spirit of stone and brick CLIENT: Yale University
Gothic on campus. “I’m proud to have made a substantial contribution SIZE: 123,000 square feet
to Yale’s evolving heritage—both academic and architectural,” he adds, COST: withheld
about his own long history at the school. n COMPLETION DATE: June 2020
Sources
MASONRY: Quarra Stone
(limestone, Milford pink granite)
ELEVATORS: Kone
SKYLIGHTS:
Acurlite Structural Skylights
WINDOWS: Apogee Wausau Group
(aluminum frame), Rohlf’s Stained
and Leaded Glass Studio (lead
caming)
GLASS: SageGlass (electrochromic
glass), Vitro
GLASS PARTITIONS: Modernus
WOOD ACOUSTICAL CEILING
PANELS: Navy Island
CUSTOM WOODWORK:
Millwork One
SPECIAL SURFACING: Pyrok
FURNITURE: Bernhardt Design
(lounge), Eric Brand (dining)
HARDWARE: Assa Abloy, Rockwood
Architectural Pulls
LIGHTING: Grand Light (historic
restoration, replication, and custom)
45
 RENOVATION, RESTORATION, ADAPTIVE REUSE
Power to the People
Renzo Piano Building Workshop transforms an electric plant into a public cultural complex in Moscow.
BY WILL JENNINGS
PHOTOGRAPHY BY MICHEL DENANCÉ
JOINING MOSCOW’S cathedrals, skyscrapers, and industrial
chimneys, spewing steam and smoke as stark vertical elements on the
skyline, are the four bright blue, slender pipes of GES-2 House of
Culture. This decommissioned 1907 Russian Revival–style power
station stands out on the Bolotnaya Embankment in the central part of
the city. Originally designed by Vasili Bashkirov, the building has been
radically reinvented by Renzo Piano Building Workshop (RPBW) to
become a glowing contemporary-art space, the new permanent home
of the V-A-C. Foundation, created by director Teresa Mavica and
Leonid Mikhelson, the country’s wealthiest man, to promote contem-
porary art from Russia and nations of the former Soviet Union.
46 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 2
THE HOUSE OF CULTURE, also known as
GES-2, faces the Bolotnaya Embankment of
Moscow (above); inside, the “Nave” (opposite)
accommodates assorted arts activities.
GES-2 (the Russian acronym for one of the city’s electric stations),
which opened in December, is the latest museum—much like the
Guggenheim Bilbao and the Tate Modern—to search for new spatial
means to incubate 21st-century culture. The approach here, totaling
over 36,600 square feet of space for art-making and display, is particu-
larly interesting.
The program was codeveloped through dialogue between RPBW and
the V-A-C. Foundation that began in 2015. It is less geared to the passive
observation of culture than to encouraging visitors to witness and partici-
pate in artistic production. In addition to two spaces for artists-in-resi-
dence, a multipurpose auditorium, a library, and classrooms, there are vast
47
THE MAIN ENTRANCE brings visitors into the
“piazza” on one side (above). The historic roof
of iron and glass has been brought to life by
RPBW’s renovation (right).

building. Belowground, RPBW carved out two

levels for parking, open storage, and exhibi-
tions. The painstaking effort involved digging
down 16 feet, requiring the entire shell of the
building to be supported on 2,040 jet-grouted
piles for over a year while the new spaces were
excavated. “The construction processes used in
the engineering haven’t been done in Russia,”
says RPBW architect Paolo Carignano.
In the course of its its operating life, the
power station had become hemmed in by a
dense amalgamation of redundant industrial
buildings, most of which have now been
cleared away to make open space once again
around the GES-2 site. “We were designing
while demolishing,” said fellow RPBW archi-
tect Matthew Daubach, explaining that only
by removing the accretion was the full spatial
potential revealed. There is no clearer example
than the block of brick vaults running adjacent

49
 RENOVATION, RESTORATION, ADAPTIVE REUSE

ROOFTOP AERIES abound (left). In the center,

a stage set for performance art is based on the
soap opera Santa Barbara (below). An ancillary
structure contains workshops (opposite, top
and bottom).

to the main building: they now sit under a

pier-like pedestrian platform. When Piano
first visited the site, he found a five-story
office block at this spot, and only upon enter-
ing did he discover ground-level vaulted rooms
once used to distill Smirnoff vodka. RPBW
demolished the offices above, and the vaults
now enclose workshops for 3-D printing,
metalwork, textiles, ceramics, and more.
After stripping the space to its shell, RPBW
set about constructing new internal volumes.
Entering from the side toward the river, a
visitor stands on a vast internal piazza over-
looked by offices, classrooms, and the library.
A stair leads down to the coat check, toilets,
and traditional gallery spaces. As the visitor
continues through the interior, another cavern-
ous space opens up, this time a Crystal Palace–
like axial space with gantries, platforms, and
high-level walkways, all available and unpro-

MIKHAIL GREBENSHCHIKOV (BOTTOM); IVAN EROFEEV (OPPOSITE, BOTTOM)

50 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 2
grammed for future artists to explore.
It could take time for these spaces to mature
in tandem with specifically generated creative
projects, though the opening work, by Icelandic
artist Ragnar Kjartansson, plays the building in
exciting ways. His project, Santa Barbara—A
Living Sculpture, reproduces 98 episodes of the
soap opera that aired on U.S. television from
1984 to 1993. The first Western soap broadcast
in post-1989 Russia, it was hugely popular,
fostering emergent capitalist notions with
dramas of ambition, style, and hope. The work
is formed as a series of stage sets, production
suites, and backstage facilities, from dressing
room to prop and wig-making, laid out along
the open-plan axis. Within GES-2, a new
episode, as part of Kjartansson’s playful hom-
age, will be filmed while the public is allowed
to wander around, observe, and perhaps even
be captured on camera, before it is edited and
broadcast. Planned over the last three years,
Kjartansson’s work is specifically designed for
this context and architecture. “As a visual
artist, I see this as an experiment in trying to
invent a new form,” he explains, “whether film,
theater, or performance art.”
Perhaps in a similar way, this is what Piano
is attempting: to turn the museum from static
space of presentation toward experiential space
of cultural production, advancing the ambition
of the Centre Pompidou, conceived 50 years
ago. Piano hopes that it is that very presence
of people which will provide its future power.
“Poetry of light is essential, but also a poetry
of movement. I love the fourth dimension:
movement.” n

Will Jennings is a writer, visual artist, curator,

and educator based in London.

Credits
ARCHITECT: Renzo Piano Building Workshop,
Architects — Renzo Piano, principal in charge; A.
Belvedere, partner in charge; Paolo Carignano,
Matthew Daubach, D. Maïkoff, M. Pimmel, A.
Prokudina, A. Artemeva, D.Franceschin, B.Grilli
di Cortona, D. Karaiskaki, V. Lucchiari,
K. Malinauskaite, B. Millonzi, J. Pattinson,
D. Pomponio, P. Ogonowska, V. Shabelnik,
F. Tessitore, B. Billi, L. De Capitani, A. Bagatella,
D. Tsagkaropoulos, design team
EXECUTIVE ARCHITECT: APEX Project Bureau
ENGINEERS: Milan Ingegneria (structure); Arup,
Metropolis (m/e/p, facade)
CONSULTANTS: Faros (restoration); SK-Orion
AV (fire prevention); Michel Desvigne, Peverelli
(landscape); Arup (sustainability)
CLIENT: The V-A-C. Foundation
SIZE: 215,300 square feet
COST: withheld
COMPLETION DATE: December 2021

51
 RENOVATION, RESTORATION, ADAPTIVE REUSE

Monumental Revival
Architect Guido Pietropoli resurrects Carlo Scarpa’s revered Brion Memorial in Italy’s Veneto.
BY GEORGE DODDS
PHOTOGRAPHY BY FILIPPO POLI

RETURNING TO the newly conserved

Brion Memorial at San Vito d’Altivole, in
Italy’s Veneto region, is unexpectedly rejuve-
nating. Built from 1969–78 as the final
resting place for industrialist Giuseppe
Brion, the memorial was commissioned by
his wife, Onoria, and their son Ennio, who
chose Carlo Scarpa (1906–78) for the proj-
ect—a roughly half-acre, L-shaped addition
to a public cemetery—largely because Giu-
seppe Brion had admired the designer’s
work. Both men shared a deep appreciation
for the history of the Veneto landscape, and
so his family selected a site with a view of
the Asolani Hills and the 13th-century
fortress the Rocca di Asolo, and, on a clear
day, the Dolomites in the distance.
Owing to the close proximity of another
Scarpa work—his ingenious addition to the
Gipsoteca canoviana at Possagno (1957)—as
well as Andrea Palladio’s Villa di Maser,
each a few minutes’ drive away, the memo-
rial can be a lively place, chockablock with
bused tourists and architecture students on
study tours. Yet popularity and time have
not been kind to this monument: blackened
and spalling concrete, decayed wood, dam-
aged or lost glass tiles, corroded copper
piping, festering fascia and joints, loss of
gold leaf and plaster finishes, a badly tram-
pled lawn, and poorly situated plantings are
just a few items from a substantially longer
list that led to an extensive multiyear con-
servation project.

THE CHAPEL is anchored in the Water Basin

(left). Visitors can enter the memorial through
the funeral entrance (opposite, top). The
metal-and-larch-wood Meditation Pavilion was
dismantled and reconstructed with 60 percent
new boards (opposite, bottom).

52 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 2
53
 RENOVATION, RESTORATION, ADAPTIVE REUSE

1 PRINCIPAL Planning on this enormous endeavor

ENTRANCE FROM began seven years ago and is ongoing,
11
SAN VITO D’ALTIVOLE funded by a new generation of the Brion
8
9 PUBLIC CEMETERY family (Onoria is now interred near her
2 SECONDARY husband) and directed by the Rovigo-based
(FUNERAL) architect Guido Pietropoli. The conser-
ENTRANCE vation—to date costing €1 million—re-
3 CHAPEL flects a welcome change of attitude toward
4 PRIESTS’ CEMETERY Scarpa’s work, much of which has suffered
5 CHAPEL FOR FAMILY in the past from mismanagement, benign
MEMBERS neglect, or alterations and additions that
7 offer insult rather than, at the least, simple
6 PORTICO
6
7 SACRISTY respect.
8 ARCOSOLIUM TOMB
Not licensed to practice architecture,
OF GIUSEPPE AND Scarpa collaborated on architectural proj-
ONORIA ects, almost invariably with former students
9 LAWN from the Istituto università di architettura
10 PROPYLAEUM
di Venezia (IuaV). One of the most knowl-
CORRIDOR edgeable of these collaborators, Guido
11 WATER BASIN
Pietropoli, seemed an obvious choice to
4 assume the conservation. The 76-year-old
12 MEDITATION
2 PAVILION
architect has extensive experience in con-
servation, initially through his work with
1
Scarpa and, later, through dozens of his
0 30 FT.
SITE PLAN own projects. He worked on the bulk of the
10 M.
design and construction of Brion, and on

54 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 2
THE ANGULAR Chapel for family members and
the arcosolium tomb abut a lawn (opposite).
From the funeral entry, one encounters the
Chapel and, beyond, the receiving area (right).
An opening in a portico leads to the Chapel and
arcosolium (bottom).

several contemporaneous Scarpa projects, all

left in various stages of incompletion when
Scarpa died, after a fall, at age 72, and was
interred just beyond Brion’s walls. Just how
much remained unresolved at Brion is dif­
ficult to say, although a cobblestone ramp
running north–south that ends abruptly at
an echeloned concrete planter seems a good
example. When asked about it during a
recent visit to the memorial, Pietropoli
simply shrugged: “I’ve never been able to
figure that out.”
He explains, “I took the same approach to
the conservation as the actress Anna Ma­
gnani, who cautioned a photographer,
‘Please don’t retouch my wrinkles. It took
me so long to earn them.’ ” Yet Pietropoli
assumed the imponderable task of preserving
the original fabric of a place designed to
thwart such an approach. Hence, while
striving to “not retouch the wrinkles,” the
nature and degree of decay, in many cases,
required replacement of entire elements or
large sections with new fabric.
For instance, the depth of the original
concrete in some areas was half of current
standards, causing steel reinforcing to rust
and the surface to spall. The rolling door to
the memorial’s funeral entrance (less than 2
inches deep) has been entirely reconstructed
with stainless­steel reinforcement. Else­
where, layers of new concrete were added to
existing surfaces to thicken areas of con­
cern—a process that will be repeated every
five years. Mold and accumulated vegetation
on the concrete was removed with a spray of
crushed walnut shells; the Chapel is brilliant
once more with gold leaf. The bronze­and­
glass door to the Meditation Pavilion is
currently being re­engineered—the glazing
has broken six times over its life, owing to
the door’s eccentric movement. The pavilion
itself—built of several types of wood and
metal, and anchored in the Water Basin—
posed Pietropoli’s greatest conser vation
challenge. It required redetailing—replace­
ment of its interior panels and larch wood
fascia. The landscape awaits restoration,
planned by the Vicenza­based Camilla
Zanarotti to begin this year.
The memorial’s two means of entry can
confuse visitors. The funeral portal, which

55
 RENOVATION, RESTORATION, ADAPTIVE REUSE

A WINDOW of interlocking bronze circles set

with tesserae looks out to the lawn (left). The
trapezoidal panels of pearwood and ebony that
line the pyramidal dome above the altar
(opposite) were rebuilt (above).

one sees first upon arrival, is not the princi-

pal entrance. Yet many visitors begin here,
arriving at an open-air receiving area, af-
fording access to the Chapel on the left and
a covered walkway on the right leading to
the arcosolium, the memorial’s center. This

PHOTOGRAPHY: © COURTESY STUDIO PIETROPOLI (RIGHT)

bridgelike structure, one of Scarpa’s several
references to ancient Roman practices (in-
cluding the plaster exterior finishes), is a
concrete arc covering the sarcophagi of
Giuseppe and Onoria Brion, which sit in a
circular depression.
But if entering via the public cemetery,
visitors instead negotiate a concrete ante-
chamber, perpendicular to the propylaeum
(a rectilinear enclosed passage). From there,
the first view of the memorial’s enclosure is
of the lawn (prato) through a window of
interlocking circles constructed of bronze

56 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 2
frames, one set with blue tesserae, the other
pink. At the window’s center is an almond-
shaped mandorla, a Christian sign of sacral-
ity appropriated from ancient Roman ico-
nography. To the left is the arcosolium; to
the right is the Meditation Pavilion, closed
off by a glass-and-bronze door that lowers,
guillotine-like, into the water flowing be-
neath the propylaeum. The open concrete
structure for relatives to gather (la cappella
dei familiare) typically completes most inven-
tories of the memorial’s set pieces. Yet the
battered, sloping concrete wall enclosing
much of this enclave is the least appreciated,
and arguably most important, of the memo-
rial’s architectural components.
During Brion’s construction, Scarpa
obsessed about whether he had made the
wall high enough to block out the view of
nearby residential developments from the
memorial’s interior. The wall and the propy-
laeum together signify something funda-
mental about the memorial, perhaps obvious
today, but not so during Scarpa’s lifetime:
the memorial is, above all, a garden.
When it was still under construction in
the 1970s (while the war in Vietnam and
global unrest continued to unfold), IuaV
students vandalized the memorial as a po-
litical affront—too much spent on too few.
Today, those same students may return, as
practicing architects or faculty, to this place
restored, valorizing it less as a tomb in hom-
age to accumulated wealth than as a site of
architectural and garden art, where the
visitor’s body takes refuge and the spirit is
restored. n

George Dodds is the Alvin and Sally Beaman

Professor of Architecture at the University of
Tennessee School of Architecture.

Credits
ARCHITECT: Carlo Scarpa (original architect);
Studio Pietropoli (conservation) — Guido
Pietropoli, principal; Paolo Faccio (concrete)
CONSULTANTS: Camilla Zanarotti (landscape);
ATI, Cooperativa Edile Artigiana Parma,
Leonardo Restauri, Seres Restauri (concrete,
plaster, mosaics); Edil la Rocca, Fabio Gallina
& Demis Dal Bello - Asolo (special building
works); Paolo and Francesco Zanon (metal);
Falegnameria Augusto Capovilla di Carlo
Capovilla (millwork)
CLIENT: Ennio Brion
SIZE: 33,450 square feet (site)
COST: $1.1 million (approximately)
COMPLETION DATE: November 2021

57
 RENOVATION, RESTORATION, ADAPTIVE REUSE

The Big
Reveal
Kennedy & Violich bring a new vision to the Hayden
Library at MIT in Cambridge, Massachusetts.
BY SUZANNE STEPHENS
PHOTOGRAPHY BY JOHN HORNER

THE MOST SURPRISING part of visiting the Charles Hayden

Memorial Library at Massachusetts Institute of Technology (MIT) in
Cambridge, Massachusetts, is going inside. From the exterior, the
stalwart modern structure, clad in limestone, looks much as it has since
it opened in 1951. Now, when you enter, you find that the place has
been radically altered so that space and light permeate the interior—
vertically through stairs pushing up into an atrium-like opening, and
horizontally with a glazed inner courtyard on one side and expanses of
bay windows on the other. The renovation, by Boston-based Kennedy
& Violich Architecture (KVA), has thoroughly transformed “a book
barn without charm,” as Sheila Kennedy, KVA principal and MIT
architecture professor, describes the original incarnation.

THE FACADE on Memorial Drive had single-paned glass in 1951 (top),

but now is double-glazed (here). The first floor, once dreary (above),
is transformed (opposite).

58 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 2
 PHOTOGRAPHY: © COURTESY MIT (OPPOSITE, TOP; MIDDLE)

59
 RENOVATION, RESTORATION, ADAPTIVE REUSE

1 ENTRANCE 9 SMALL-GROUP STUDY

2 WEST TERRACE 10 CAFÉ

6 13 3 COURTYARD 11 NEXUS (MEETING AREA)

4 PORCH 12 THE NEST (GROUP STUDY)

3
7 5 INFORMATION 13 QUIET READING ROOM
7
6 OFFICES 14 OASIS (RELAXATION)

7 LIBRARY SERVICES 15 COLLECTIONS

0 20 FT. 8 READING 16 EAST STUDY ROOM

SECTION A - A
6 M.

16
3 4

1
2

6 11
8

6 6

0 50 FT. 0 50 FT.
FIRST-FLOOR AND MEZZANINE PLAN SECOND-FLOOR PLAN
15 M. 15 M.

60 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 2
THE STAIR on the first floor rises past the double-level pavilion and
its small-group study rooms (opposite), then angles up to the
second floor’s main reading room (bottom). Throughout, felt ceiling
baffles, white ash paneling, and cork floors (right) define the areas.

Hayden Library occupies one side of the square-donut-

shaped Building 14—which also houses a music library,
exhibition gallery, small music hall, and classrooms that
were not in the purview of this renovation—and is in the
prime location for this block: it faces south, to the tree-lined
Memorial Drive and the Charles River beyond. The building
was designed by Voorhees, Walker, Foley & Smith, whose
principal, Ralph Walker, an MIT architecture graduate
(1911), achieved acclaim for his New York Art Deco sky-
scrapers of the 1920s and 1930s. But his later Hayden Library
was more perfunctory.
The most outstanding feature of the two-story building is
the row of rectilinear bay windows facing the Charles, which
rise elegantly to 36 feet. The straightforward interior, how-
ever, had turned drab and gloomy with age. On top of that,
Hayden had to be brought in line with contemporary codes for
HVAC, accessibility, and sustainability. (The newly renovated
LEED Gold library also meets the Living Building Challenge
and Fitwel criteria for a healthy environment, including non-
toxic materials.)
Additionally, MIT had to consider the library’s role in
student life, particularly in the digital age, which has rendered
books less important. “We wanted to emphasize connection
and community,” says Chris Bourg, MIT’s director of librar-
ies. In selecting an architect the client looked for a firm that
would address the library’s desire for scholarship as well as

61
 RENOVATION, RESTORATION, ADAPTIVE REUSE
socializing—an activity once considered antithetical for this building
type. “Libraries have to evolve,” notes KVA principal, J. Frano Violich.
“You still need to do research, but also have places to talk.” KVA’s
scope of work involved three components: first, redoing the bar-
shaped, 45,000-square-foot volume reserved for the library; the second
piece of the puzzle was redesigning the building’s interior courtyard;
and the third was adding a “porch” along the east side of the courtyard,
next to Building 14’s Lewis Music Library (where the firm also remod-
eled the second floor’s East Study Room).
The programmatic concept of the library itself is quite logical: most
of the collection of 300,000 books, and related materials devoted to
science and the humanities, are squeezed into compact storage systems
in the basement, which extends under the courtyard. A second-floor
reading room is reserved for quiet study. A café on the main floor
along the courtyard welcomes both the academic community and the
public, and the rest of the ground floor, which faces Memorial Drive, is
open 24/7 for study or gathering.
Hayden’s street-facing facade presented some complicated calibra-
tions: drafty single-pane windows needed to be replaced with double-
paned insulated glass. These thicker units meant recreating new cus-
tomized sashes in the projecting bays and end window walls, and pre-
sented the added challenge of removing the existing framing “without
messing up the limestone,” says Joyand Charles, MIT’s project man-
ager for campus construction.
Inside, the tricky part of the design was how to give the spaces a
sense of fluidity, light, and views out while providing vertical circula-
tion, and tucking in small study areas, conference rooms, and staff
offices on each level. KVA inserted the stair to the main reading
room by removing some steel beams and carving out a curvilinear
opening in the floor’s concrete deck, then angling and cantilevering
the stepped runs through the curved void. Light emanates from
above, dramatically enhancing this dynamic interplay.
62 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 2
THE READING ROOM on the second floor (above) has views of the
Charles River. The café opens to the inner courtyard (opposite, top). KVA
designed a porchlike sitting area on an adjoining side of the courtyard
(opposite, bottom), including its milled-wood ceiling.
Two pavilions inserted within the 19-foot-high main floor separate
the café from the open library area and contain group study rooms and
other functions. One is clad in transparent and translucent glass, the
other in ash wood, and both pavilions have mezzanines, including a
small balcony-like “nest” for small gatherings. To give the first-floor
seating areas an added sense of enclosure, KVA designed translucent
fabric “curtain walls” that weave sinuously through the room. On the
voluminous second floor, the quiet reading room looks out to Memo-
rial Drive, while behind it is the “Oasis” dominated by upholstered
chairs for relaxation, as well as offices and conference rooms.
In order to solve acoustical problems in this open, upwardly flowing
space, the architects installed baffled ceilings of gray felt made from
recycled clothing, which became a strong textural motif throughout.
(Other materials with acoustical properties include cork on walls and
floors, felt backing for freestanding bookcases, and, of course, carpet-
ing.) Where the original dropped ceilings caused a sense of claustro-
phobia, you now can gaze up through the baffles, giving you a sense of
vertical expansion.
KVA worked with Stephen Stimson Landscape Architects for the
second part of the project: redesigning the interior courtyard. To en-
courage more abundant planting, the team raised the previously de-
pressed courtyard 4 feet (and, in some places higher, through berms
and mounds). Within this garden, the designers introduced curvilinear
seating and added Katsura trees to soften the overall effect.
For the project’s third component, the architects created a court-
yard-facing “porch” along the east side of Building 14. Students now
congregate in this seating area, which can be enclosed by folding glass
doors in the cold months. The linear space
also forms a protected circulation path that
continues around the other sides of the court-
yard. The porch’s ash plywood ceiling dem-
onstrates another KVA specialty: the archi-
tects fabricated the CNC-milled panels in
their office shop. The surface is dominated by
an amoeba-like abstract pattern, a distinctive
design motif that appears throughout the
interior and is repeated in punctured open-
ings of the horizontal steel brise-soleil jutting
out from the porch. Once again, the forms
show up in the dappled sunlight hitting the
terrazzo floor.
Whereas the older building represented
one approach to modern architecture in its
stately, rectilinear treatment, the renovation
boldly plays with voids, curvilinear and di-
agonal elements, and different materials. And
as you walk through the various parts of the
library—inside and out—you are struck by
the way spaces dramatically open up, yet cozy
niche-like areas still abound. Daylight is
constantly a lambent presence, and the view
of the Charles River can always soothe the
studious mind. n

Credits
ARCHITECT: Kennedy & Violich Architecture
— Sheila Kennedy, design principal; J. Frano
Violich, managing principal; Ned Goodell,
project architect
ENGINEERS: Buro Happold (structural; m/e/p/
fp); Simpson Gumpertz & Heger (building
envelope)
CONSULTANTS: Stephen Stimson
Associates (landscape); Thornton Tomasetti
(sustainability); Cavanaugh Tocci Associates
(acoustics)
CLIENT: Massachusetts Institute of Technology
SIZE: 45,000 square feet
COST: withheld
COMPLETION DATE: August 2021

Sources
INTERIOR CURVED GLASS:
Standard Bent Glass
EXTERIOR IGU: Vitro Architectural Glass
ACCORDIAN STOREFRONT (PAVILION):
Nanawall
SECURITY GATES: Cascade Architectural’s
Guardian Grade Fabricoil
SLIDING GLASS DOORS: CRL
FIRE RATED STAIR DOOR: Total Door System
SOLID SURFACING: Corian
FLOOR AND WALL TILE: Daltile
OFFICE FURNITURE, CHAIRS, TABLES:
Herman Miller
DOWNLIGHT PENDANT: Lumenwerx, ALW
ACOUSTICAL CEILING HANGERS:
Kinetics Noise Control

63
 RENOVATION, RESTORATION, ADAPTIVE REUSE

Full Circle
SO – IL and FREAKS recast a 250-year-old French
glassworks into a contemporary arts campus.
BY ANDREW AYERS
PHOTOGRAPHY BY IWAN BAAN

THANKS TO its abundant forests, water, and sand, the Pays de

Bitche, in the Moselle département of France, has long been a center for
glassmaking. Initially a nomadic activity, glass production in the region
began to settle at fixed sites in the 18th century, and the Meisenthal
glassworks, which began operating in 1711, is among the oldest. Con­
tinually expanded over the following two and a half centuries, the plant,
which employed the celebrated Art Nouveau glass artist Émile Gallé for
27 years (1867–94), reached the peak of its production in the 1920s. But,
after World War II, Meisenthal’s artisanal methods were unable to
compete with mechanized glass production, and its furnaces shut down,
seemingly for good, in 1969.
Located at the heart of a village of 650 souls, the 2.5­acre complex
did not remain empty for long. Artists began to squat in it, and, in 1979,
local experts opened a museum of glassmaking in the former adminis­
tration building (whose foundations date back to the site’s origins and
contain the remains of the first furnace). In the early 1980s, the
35,000­square­foot Halle Verrière—by far the largest of the workshops,
built in the 20th century—began to be used for art expositions and
rock concerts, while the final ingredient in the site’s renaissance came
in 1992 with the creation of the Centre International d’Art Verrier

THE REIMAGINED glassworks (right) lies within a bucolic, resource-rich

setting and is accessed from the street (above) at the center of town.

64 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 2
65
 RENOVATION, RESTORATION, ADAPTIVE REUSE

(International Center for Fine Glassmaking, or CIAV), which works

with art students and international designers to perpetuate the region’s
ancestral know-how. The CIAV has since become famous for resurrect-
ing the tradition of boules de Noël—Christmas ornaments—that were
a specialty of the neighboring Goetzenbruck glassworks, which, like
Meisenthal, had ceased production in 1969.
By the early 2010s, the repurposed Meisenthal plant was receiving
70,000 visitors a year. “We’d proved we had the audience; now we
needed a proper setting and facilities to welcome them,” explains Yann
Grienenberger, CIAV’s director. In 2014, the local authority, owner of
the site, agreed to a $13.6 million redevelopment plan, and an interna-
tional call for proposals was organized. The brief included the renova-
tion of the existing buildings, the addition of a black-box auditorium to
the Halle Verrière, and the construction of new furnaces for the CIAV
as well as of a new ticket hall/café for all three institutions. Entrants
were expected to bring a sense of unity to a disparate site. “Out of the
184 submissions received, we chose three,” continues Grienenberger. “A
safe pair of hands from Berlin [LIN], a more local team [the Belgians
Hebbelinck and de Wit, in partnership with Nancy-based office

5
3 3
7
7
9

1 8 1 8 4
9
A A

2 2
9

0 50 FT.
0 50 FT. SECOND-FLOOR PLAN
GROUND-FLOOR PLAN 15 M.
15 M.

7 4
1
2

0 30 FT.
SECTION A - A
10 M.

1 HALLE VERRIÈRE 4 GLASS MUSEUM 7 FURNACE BUILDINGS

2 TICKET HALL/GIFT SHOP/CAFÉ 5 AUDITORIUM 8 COURTYARD

3 CENTRE INTERNATIONAL D’ART VERRIER 6 FOOTBRIDGE 9 CONNECTING CONCRETE ROOF/RAMP

66 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 2
CAPTION Parum faccabo. Nis autatecti quatem et aut aperuptasit
elessim excessed quibus non comnihilit parchil icabo.

THE CANOPIED entry reveals the courtyard, Halle Verrière, and CIAV
(opposite), plus the glass museum (above), and ticket office (right).

Studiolada], and the joker entry [New York–based SO – IL, who

teamed up with French practice FREAKS]. The joker won.”
“I think they chose us because we didn’t really do a building,” says
Florian Idenburg, founding partner, with Jing Liu, of SO – IL. “Ours
was also the project that preserved most of the existing fabric.” Seduc­
tively simple, the winning design aimed to unite the three institutions—
whose entrances are all at different heights because of the sloping ter­
rain—in an undulating wave of concrete that also includes the ticket
hall on the street. Resisting the temptation to build a glassworks in
glass, SO – IL and FREAKS sought nonetheless to represent the mate­
rial through the idea of the concrete wave as symbolic “of molten earth.
We felt it was allegorical for glass: something that is solid and becomes
fluid and then hardens again,” explains Idenburg. They also aimed to
create a coherent visitors’ circuit for the three entities, which are located
around a central courtyard: first you arrive in the ticket hall (which also
houses the gift shop and café); from there you pass into the museum via
its basement, where you see the remains of the first furnace and watch
an introductory film, before taking the elevator to the upper­floor gal­
leries; a footbridge then leads you over to the CIAV, where you tour the
glass­engraving workshops and watch, from the safety of an upper­floor
internal window, the making of glass objects in the new furnace build­
ings; and, finally, you descend to the courtyard and can enter the Halle
Verrière if there is an art exhibition on display that day.

67
 RENOVATION, RESTORATION, ADAPTIVE REUSE

THE CONSOLIDATED
arts site comprises
the Halle Verrière,
a former glassmaking
facility turned
exhibition and event
space (above); a
hybrid ticket office/
gift shop/café
structure (left); and a
new furnace building
(opposite).

68 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 2
 In the team’s competition renderings, the concept appears strong, plays by Designers Unit, are just as unpretentiously accomplished, as are
especially from the air, but the details are very vague—which no doubt the ground floor of the ticket hall (which incorporates the ruins of a
goes some way to explaining the disparity between the images’ rhetori- brick structure) and the two new furnace buildings—one a recladding of
cal seductiveness and the reality on the terrain. Neither does it help a 1920s concrete frame, the other its doppelganger, poured on-site. If
that the concrete contractor, who apparently found the architects’ the architects had gone a little lighter on the facile wave symbolism, this
drawings too complicated to read, did such a sloppy job. The problems project would have gained enormously in potency. n
begin right at the entrance, which comprises a deep concrete canopy
that is forced to make the jump between the ground floor of the Halle
Verrière and the upper floor of the ticket hall: the resulting lopsided Credits CLIENT: Communauté de
communes du Pays de Bitche
tunnel is distinctly uninviting. Then, when viewed from the courtyard, ARCHITECT: SO – IL —
Florian Idenburg, Jing Liu, Ilias SIZE: 53,800 square feet
the all-concrete humpbacked ticket hall is distressingly ungainly, its
Papageorgiou, partners; Lucie COST: $13.6 million
slopes too steep for pedestrians, meaning the undulating circuit is Rebeyro, Ian Ollivier, project
interrupted by railings. (Given the very limited surface area it provides, managers; Seunghyun Kang, Pietro COMPLETION DATE: December 2021
was the entrance building’s upper floor even necessary, one wonders.) Pagliaro, Danny Duong, Antoine
Vacheron, design team Sources
Despite these reservations, there is much to like. The transformation
ARCHITECT OF RECORD: FREAKS CURTAIN WALL: HUECK
of the Halle Verrière is sober and practical, with a new lower-level public
ASSOCIATE ARCHITECT: LFA PRECAST CONCRETE: FEHR
entrance, generous dressing rooms, and a large bar catering both to the
main hall and the black-box auditorium. The latter has been praised by ENGINEER: MHI (structural, m/e/p) BUILT-UP ROOFING: Soprema
both staff and visiting artists alike for its acoustics and adaptability CONSULTANTS: Designers Unit WINDOWS: Schüco (metal frame)
(exhibition design); dUCKS (theater
(which includes the possibility of opening the stage on both sides—an design); MDETC, VPEAS (cost SKYLIGHTS: Souchier
idea put forward by the architects—allowing it to be used for large-scale estimation); C2Bi (construction
concerts of 3,000 in the main space). The museum galleries, with dis- management); Peutz (acoustics)

69
 RENOVATION, RESTORATION, ADAPTIVE REUSE
Ode to Eccentricity
Studio Schicketanz sensitively restores a quirky 1960s Carmel house by California architect Henry Hill.
BY THERESE BISSELL
PHOTOGRAPHY BY TIM GRIFFITH
WHEN RENOVATING a building by a deceased architect, a prac-
titioner likes to think that the original designer would approve—ap-
plaud, even—the upgrade. It’s a form of license, neatly incontestable.
And, in fact, if Henry Hill (1913–84)—avid woodworker, practiced
scavenger, endless tinkerer—could have envisioned his own 1961 house
in Carmel-by-the-Sea, California, as recently revamped by local firm
Studio Schicketanz, he would, inarguably, see a masterful tweaking
that optimizes and gently refines his design.
Born in England to American parents, Hill grew up in Berkeley,
studied architecture at UC Berkeley and Harvard’s Graduate School of
Design under Walter Gropius, and eventually partnered with Erich
70 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 2
Mendelsohn in a San Francisco firm. With William Wurster, among
others, he was part of the Second Bay Tradition, whose architecture
melded the International School with the vernacular of woodsy,
Japanese-influenced California coastal design. As is evident in his
Carmel house, Hill didn’t hew to the norms, but brought a particularly
whimsical take to an insistently geometric style, where texture and
crafted details form a continuum with the weathered landscape.
Hill built the house—one of an eventual volumetrically dissimilar trio
sited side by side, each now with a Carmel landmark designation—as a
weekend retreat. It later became his family’s full-time residence. Every-
where were indications of his playfulness; indeed, his daughter, who sold
THE RENOVATION (this page and opposite)
maintains the house’s footprint, which had
been added onto over decades by Henry Hill,
its original owner and architect.
71
 RENOVATION, RESTORATION, ADAPTIVE REUSE

3
4

5
1

LOWER-LEVEL PLAN

12

10

9
11

1 8

the house to its current owners, called it her father’s “toy.” There were
13
1 DECK the programmatic enhancements over time to what was initially a 780-
2 GYM/WORKSHOP
square-foot (including decks) rectilinear beach cottage, elevated for
3 LAUNDRY
ocean views. A cylindrical addition provided a dedicated dining area;
later, two bedrooms and a study further grew the structure to its present
4 MECHANICAL
MAIN-LEVEL PLAN 2,200 square feet. And there were the quirky accretions. Even when not
5 BEDROOM
expanding, Hill kept adding. Pieces of leather and assorted materials,
6 LIVING
found objects and things left over from other projects—all were just
7 DEN randomly tacked onto the walls: it was a house as collage.
8 STUDIO Mary Ann Schicketanz came to the project with regional-modernist
9 KITCHEN bona fides (she had lived for a time in nearby Big Sur, an almost myth-
10 DINING ical piece of the California coastline where anti-slickness is an ethos) and
11 ENTRY a strong sense of what should be respectfully retained and what had to
12 CARPORT go—like a cramped window seat that looked onto cupboards instead of
8 13 OPEN TO BELOW
the sea. “We wanted a memory of the house but reinterpreted,” Schicke-
tanz says, noting that “significant editing” was required.
Mostly absent amid the idiosyncrasies were up-to-date mechanical
5 systems and code compliance, which the architect resolved. Working
within the building’s footprint on the sloped lot, her biggest intervention,
beyond taking it from period-funky to livable-cool, was opening up the
1 dark interiors for functionality and a more fluid relationship to the out-
side. She removed some minor walls to combine and enlarge spaces, and
repurposed previously wasted square footage, primarily on the lower
level, for a workshop and home gym. She leveled the floors, using re-
0 10 FT.
UPPER-LEVEL PLAN claimed teak (engineered for the interior) to match the decks, with the
3 M.

72 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 2
A CIRCULAR motif repeats throughout, in such
elements as the main living area’s fireplace
(opposite), the dining room (below), and the
projecting bay of a den (right).

same plank width. And she restored most of

the interior woodwork and reintroduced colors
from the early 1960s scheme that had been
buried under decades of layered paint.
The house had never been insulated.
Schicketanz took the enclosure down to the
studs at nearly every non-paneled wall and
inserted insulation; a foam layer was also
applied to the roof. Critical to the overall
effort was keeping the envelope of vertical
rough-sawn cedar siding intact. Instead of
staying with forced-air heating, which would
mean additional vents, she installed radiant
heating—more energy-efficient, comfortable
and controllable—avoiding exterior perfora-
tions. No cooling system is needed in this
temperate climate.
Architect and clients were of the same
mind on the question of replacing some of the
existing glazing with double panes: not at the
expense of the aesthetic, they determined—
even for insulation. So, while the hugely
inefficient jalousies in a few of the rooms are
now double-glazed casements, the living
room’s fixed windows, which Hill had made
flush with the cladding, remain, so as not to
compromise his intent (outer and inner trim
pieces hold the single panes in place; double
panes would project a fraction of an inch). The
building’s landmark status allowed for relaxed
energy-code conformity, but also required the
close involvement of the Carmel Historic
Resources Board, which oversaw all window
modifications, including the as-close-as-possi-
ble match to the old, cross-reeded glass.
Schicketanz and her clients, for whom the
kitchen was a priority, gave much consider-
ation to the space, which had one entrance
and a low ceiling, “a claustrophobic dead end,”
in the architect’s description. The solution
was not to move or expand it, but to establish
an opening to the living room that also makes
a visual connection with the adjacent deck;
put in a skylight; and continue the counter top
as a swirled table within the rounded dining
room, creating more of a whole out of the two
spaces.
In the main living area, the circular motif
predominates. A large suspended canopy,
which repeats on the exterior, was cleared of
Hill’s glued-on plans of the great buildings of
the world and is again pure Modernist form.
A great example of its era, the fireplace of
Roman brick and verdigris copper anchors the

73
 RENOVATION, RESTORATION, ADAPTIVE REUSE

THE CONTINUATION of teak from the

decks to interior floors reinforces the
connection between indoors and out.

volume, while the spiral stair leading to the primary bedroom level Credits
wraps around it. More curves: Schicketanz put back the gold leaf in the ARCHITECT: Studio Schicketanz — COST: withheld
reveals of the mahogany-framed arched windows where, at one point, Mary Ann Schicketanz, founding COMPLETION DATE:
principal architect; Jacobus November 2020
gilded deer heads had hung (seriously). Schwarts, job captain; Lorena Akin,
Stripped of the flourishes, the house’s first iteration—and Hill’s architect graduate; Nicole Clapman,
elemental vision—can again be appreciated. Schicketanz achieved the interior design principal Sources
“memory” of his work through various means. One example: while she CONSULTANTS: Duckbrew WOOD REFINISHING:
removed the odd leather patches from the ceiling, she didn’t forswear (structural), Monterey Energy Group Handcrafted Finishes by Friday
(mechanical), Light Ideas (lighting),
the material altogether. In two of the private spaces, she faced custom CUSTOM MILLWORK:
SV Landscape (landscape)
Mellors Fine Woodworking
built-in drawers with deep brown leather—an unexpectedly rich, and GENERAL CONTRACTOR:
ultimately familiar, detail. As she acknowledges, “There’s a bit of WINDOWS:
Masterwork Builders
Architectural Ironworks
Henry Hill in that.” n CLIENT: David DiGirolamo and
WALLCOVERINGS:
Diana Morshead
Phillip Jeffries
Therese Bissell is an architecture writer based in the San Francisco area. SIZE: 2,200 square feet

74 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 2
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building stock have been pared back so far that it generates a third less
(and falling) than it did in 2005—even though more than 50 billion
square feet of new construction have been added during that period.
Thanks in no small part to design professionals’ ingenuity, the once
groundbreaking feat of net zero operations is now a practical goal for
nearly every new building. It’s also a necessary one, if global heating is
to be capped at the internationally agreed limit of 1.5 degrees Celsius.
As operating emissions fall, bringing total emissions down, embod-
ied carbon accounts for a growing proportion of what’s left. (Embodied
carbon refers to greenhouse gases generated during the extraction,
manufacture, and transportation of building materials, and during
construction and disposal.) Worldwide, between now and 2050, em-
bodied carbon is expected to account for over half of total greenhouse
gases from all new construction, according to a 2021 report from the
World Green Building Council. The fact that embodied emissions
happen up front skews the short-term ratio: over the next 10 years, they
are expected to account for 72 percent of the global building sector’s
total. Coincidentally, a decade is about the amount of time remaining
for reining in emissions this side of the 1.5 degrees Celsius limit, and
IMAGES: COURTESY 3XN

1970s Tower After Demolition Quay Quarter Tower

79
 CEU EMBODIED CARBON & ADAPTIVE REUSE
avoiding the devastating climate impacts that
lie beyond.
So the new mission for developers and
design teams—should they choose to accept
it—is to lower embodied carbon, as well as
operating emissions, for a total carbon take-
down. And there’s one surefire way to do it.
“Adaptive reuse is the best way to reduce
LCA SCENARIO COMPARISON
CSULA PHYSICAL SCIENCES BUILDING RENOVATION
60 YEARS
THE LCA of ZGF’s California State University project reveals that, over 60 years, embodied emissions account for 22 percent of total carbon. Shorten that
to 20 years, and embodied emissions shoot up to 46 percent, reinforcing the importance of embodied carbon in achieving near-term reduction goals.
80 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 2
embodied carbon—period,” says Andrew
Rastetter, an architecturally trained structural
engineer in the San Francisco office of Buro
Happold. Rastetter also teaches structures at
UC Berkeley’s College of Environmental
Design, where he makes embodied emissions
the focus of his course’s final lecture, “so it
will stick,” he says. With concrete and steel
the major repositories of embodied carbon in
the built environment (cement manufacturing
alone accounts for 8 percent of global CO2
emissions), “I want architects to understand
how critically important this is. If there’s
existing building infrastructure on-site, we
need to consider whether there’s something
we can do with it,” he says.
Three recent projects exemplify what can
be accomplished when design teams prioritize
embodied-carbon conservation. In Sydney,
the Danish firm 3XN retained two-thirds of
a 45-story tower, incorporating it into a new
50-story tower (completing in March) with
double the floor area. Reusing the structure
saved about 8,250 tons of greenhouse-gas
emissions, equal to two years’ worth of the
high-performance building’s operational
emissions. It also shaved six to nine months
off the demolition and construction schedule.
In Los Angeles, ZGF Architects salvaged a
university’s seismically damaged mid-20th-
century lab building that was scheduled for
n Product
n Construction
n Use
n End of Life
demolition and upcycled it into an adminis-
trative and student-services building (2021).
The project achieved an 82 percent reduction
in embodied carbon compared to an equiva-
lent new building. And in Denver, Gensler
adapted a failing 1960s telecom building as a
mixed-use workplace (2021), reducing embod-
ied carbon by 68 percent of what new con-
struction would be, while revitalizing a mori-
bund stretch of a historic city block.
“A combination of regulatory and market
drivers is changing the way we engage with
both operational energy and embodied car-
bon,” says Kåre Poulsgaard, a partner and head
of innovation at Copenhagen-based GXN,
3XN’s independent research and consultancy
company. As a sign of the shifting regulatory
context, Poulsgaard cites the Greater London
Authority’s new requirement that all major
projects calculate and reduce life-cycle carbon
emissions, which include embodied carbon.
He points to the increasingly ambitious car-
bon-reduction targets that clients are develop-
ing and disclosing as part of their corporate
social responsibility commitments—especially
as 2030 net zero commitments come due;
3XN and GXN now routinely perform a CO2
impact assessment on the firm’s large projects,
comparing the carbon footprint of various
construction methods and using the results to
inform discussions with clients and guide
n Electricity
n Natural Gas
PHOTOGRAPHY: © MAGDA BIERNAT (2)
20 YEARS
A LAB slated for demolition on the Los Angeles
campus of California State University has been
upcycled into an administrative and student-
services building by ZGF (opposite and right).

design decision-making.
An early example of the firm’s work to
conserve embodied carbon through adaptive
reuse is Quay Quarter Tower (QQT), now
approaching completion as the cornerstone
of Sydney’s Circular Quay District redevelop-
ment, near the iconic opera house. The 650-
foot-high, 1.1 million-square-foot tower
incorporates 65 percent of the concrete col-
umns, beams, and slabs, and 96 percent of the
core of a mid-1970s office tower, which, due
to its small floor plates could no longer attract
or retain tenants. The addition twists up
from the existing footprint, improving views
of the harbor as it rises, and doubling the floor
area without expanding the original shade
envelope.
The new structure consists of concrete-
filled steel-tube columns and steel beams
grafted onto the existing concrete framework.
To prevent differential settlement of the old
and new floor plates from fracturing the
slabs, with knock-on damage to the facade,
the construction team left a gap of one struc-
tural bay between the old and new elements,
completing the connections after the new
structure had settled.
With the aim of humanizing the high-rise,
the building is organized as a series of “vertical
villages” connected by atria and outdoor ter-
races. To allow for future change, floors above A similar rationale of conservation through even if we weren’t using that term, implicitly
and below the atria are designed to be re- minimization underpinned ZGF’s proposal to we all understood that salvaging this build-
moved post-occupancy if tenants want to upgrade what was initially intended only as a ing for a good long-term use would be an
extend their “village.” With bolted connec- swing space on the Los Angeles campus of embodied-carbon win.”
tions, the flex floors can be disassembled and California State University. An eight-story, In addition to the seismic retrofit, scope for
taken down the service elevator. 218,000-square-foot vacant laboratory build- the new Administrative and Student Services
The building’s mixed-use, three-level ing had been damaged in the 1994 Building, completed in 2021, included new
podium, with a market hall and publicly Northridge earthquake, and the university’s windows, roofing, building services and
accessible rooftop park, is aimed at re-ener- original brief envisioned a seismic retrofit, controls, and security, as well as interior
gizing the surrounding neighborhood. hazardous-materials abatement, and new configuration, finishes, fixtures, and equip-
“Adaptive reuse is also a form of urban sus- finishes to accommodate an administrative ment, with a series of studies by Atelier Ten
tainability,” says Sydney-based 3XN partner and student-services center just until a new and ZGF guiding the major moves. The first
Fred Holt. He describes a devolution in which building could be completed: at that point the set of analyses, conducted during schematic
assets age and lose value, owners stop invest- former lab building would be demolished. design, informed the facade design. Another
ing, the district deteriorates, attracting less Instead, ZGF proposed that, by investing set early in design development focused on
attention and investment from the municipal- in a more comprehensive renovation, the interior design recommendations to optimize
ity, and new builds start to push toward cities’ university could eliminate the need for a new daylight, and a final set at the end of con-
outer edges, where infrastructure must then building, and the cost of demolition and time, struction quantified the total achievement.
be extended, emitting yet more carbon. money, materials, and effort would not be “One of the challenges that’s unique to adap-
“QQT’s adaptive reuse allowed us to rein- wasted on a temporary space. “Five or six tive reuse is meaningful operational improve-
vigorate not only an asset that was losing years ago, embodied carbon was not on many ments,” says Leedham. “Without a complete
value,” he says, “but also an existing precinct people’s radar,” says Amy Leedham, an archi- re-skin and mechanical-system upgrade,
within the city, thus reducing indirect CO2 tect in the San Francisco office of Atelier Ten, embodied-carbon savings may not make up
from further expansion.” the project’s environmental consultant, “but the loss from operational compromises over

81
 CEU EMBODIED CARBON & ADAPTIVE REUSE

AS PART of a transformation of a vacant

telecom building (left) in Denver into office
space, Gensler has replaced its Brutalist
cladding with a new facade (below).

the life of the building. But here we have the

best of both.”
A life cycle assessment (LCA) uses scientifi-
cally validated methods to tally resource inputs
and emissions—to air, soil, and water—and to
quantify a project’s overall environmental loads
from cradle to gate, or cradle to grave, depend-
ing on the type of analysis undertaken.
(Among the reasons a team might choose one
method over another is the fact that popular
third-party certifications, such as LEED and
the Living Building Challenge, have different
requirements.) The Cal State renovation’s LCA
reveals that, over a 60-year period, the adaptive
reuse will reduce the building’s total carbon by
37 percent compared to code-compliant new
construction. Over that period, the embodied
carbon of the renovation, which includes core
and shell elements but not MEP (a scope which
is still difficult to capture, due to a lack of
manufacturer transparency), accounts for 22
percent of the building’s total carbon footprint.
Shorten the period to 20 years, however, and
embodied carbon’s share shoots up to almost
half, reiterating its importance in achieving
near-term emissions reduction goals. In another
analysis of the project’s conservation achieve-
ment, operational savings recouped the embod-
ied carbon of the renovation in two years; an
equivalent new building would have taken 10.
In the five or so years since the UCSLA
renovation was designed, awareness of em-
bodied carbon and the ability to measure it
has improved. “If we were doing it now, we
would probably do significant interior-finish
analysis during design development,” says
Leedham. “Five years ago, there wasn’t

PHOTOGRAPHY: © GENSLER/RYAN GOBUTY (TOP); DAVID LAUER (BOTTOM)

enough data transparency from manufacturers
to be able to do that, but now for primary
interior-finish materials, there definitely
is—though more advancement in transpar-
ency will only make the process easier.”
The ease with which it’s now possible to
perform life-cycle assessments was a key
takeaway from Gensler’s transformation of a
12-story, 230,000-square-foot vacant telecom
building into a contemporary workplace on a
corner lot in downtown Denver, says Alex
Garrison, design director at the firm’s local
office. Big moves in the renovation of the
Link, as the building is known, included
replacing its Brutalist concrete panels and
ribbon windows with high-performance
glazing and operable windows, cladding the

82 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 2

Finishes
624,640 lbs
CO2e
Openings and Glazing
888,020 lbs CO2e
Thermal and Moisture
Protection
1,276,610 lbs CO2e
Metals
5,234,110 lbs CO2e
Masonry
2,027,180 lbs CO2e
Concrete
3,376,720 lbs CO2e
GROUND-UP
(STUDY)
first two stories with stone, and creating
tenant-ready interiors with concrete floors,
open ceilings, and an array of amenities.
Datum lines that relate to adjacent historic
buildings help stitch the Link into its context,
and the building’s new ground-level retail,
café, conference center, and lobby are re-
animating the neighborhood.
Gensler conducted an LCA of the com-
pleted project to quantify its embodied-carbon
achievement. The aim was to provide a basis
for conversations with clients, municipalities,
and business associations about the signifi-
cance and opportunity of adaptive reuse.
The LCA tool “is like a force multiplier,”
says Garrison, describing the ease with which
he was able to compare materials and generate
analyses. “It makes you much more effective.”
With a BIM plug-in (Tally) that uses a cus-
tom-designed database combining material
attributes, assembly details, and architectural
specifications with environmental-impact data,
Garrison calculated the embodied-carbon
footprint of the Link’s architectural compo-
nents—curtain wall and enclosure, structure,
thermal and moisture protection, masonry, and
finishes—at about 2,165 tons of carbon dioxide
equivalents (CO2e), a 68 percent reduction in
embodied carbon compared with a baseline
new build’s 6,750 tons. The most substantial
savings came from the reuse of the steel-and-
concrete structure.
“It’s opening people’s eyes to the potential
ONE ANALYSIS conducted for the
LCA of Gensler’s Denver renovation
Wood/Plastics/
compares the embodied footprints
Composites of new construction and adaptive
74,600 lbs CO2e
reuse and the relative contribution
of each material.
Finishes
641,850 lbs
CO2e Wood/Plastics/
Composites
5,750 lbs CO2e
Openings and Glazing
963,150 lbs CO2e
Thermal and Moisture
Protection
1,321,080 lbs CO2e
Metals
743,800 lbs
CO2e Masonry
147,450 lbs CO2e
Concrete
502,980
lbs CO2e
ADAPTIVE REUSE
(REALIZED)
to reimagine these old buildings,” says
Garrison, “and it’s got clients thinking about
older buildings in their portfolios or buildings
that may be targets for acquisition.”
In addition to the fee-based tool that
Gensler used, a number of alternatives are
freely available. Buro Happold has developed
the Buildings and Habitats object Model
(BHoM) Life Cycle Assessment Toolkit, free,
open-source software that won a 2020 AIA
Innovation Award. It enables users to access
BIM data from a variety of programs, move
the data into other software environments,
such as a visual programming tool or a
spreadsheet, and export the results to visual-
ization engines or databases. “It provides
transparency in terms of what the tool is
doing, and flexibility in terms of where we
draw data from and the environmental prod-
uct declarations that we put into it,” says
Rastetter, “but it does require some level of
experience with programming tools.”
Another free tool is the Embodied Carbon
in Construction Calculator (EC3), developed
with input from some 50 industry partners
and administered by the nonprofit Building
Transparency (which now also administers
Tally). EC3 draws on a database of thousands
of third-party-verified Environmental Prod-
uct Declarations (EPDs), enabling teams to
compare the embodied carbon of alternative
products, and to evaluate projects’ embodied
emissions based on material quantities from
construction estimates or BIM. Building
Transparency is in the process of integrating
this database with Tally’s, although EC3 will
continue as a stand-alone product, especially
useful for project teams that don’t rely on
BIM, or on the particular BIM software with
which Tally is compatible.
The greater the portion of an existing asset
that can be incorporated into a redevelopment,
the greater the conservation of embodied
energy, but even retaining just the below-grade
structure can reduce the concrete needed for a
new building by a significant amount—as
much as 25 percent, suggests 3XN’s Holt. The
new superstructure will typically provide a
larger floor area, but those existing below
grade levels may well be adequate as cities
worldwide cut back on parking requirements.
In whole or in part, reusing buildings that
are past their functional prime, but whose
materials are still viable, offers the potential for
dramatic savings in building-sector emissions
over the next 10 crucial years. As Quay Quar-
ter Tower, UCSLA’s Administrative and Stu-
dent Services Building, and the Link illustrate,
“upcycling the majority of the structure of an
existing building expresses an innovative vision
for sustainable building in dense urban areas,”
says Holt, “one that sets an example for devel-
opers and city builders across the globe.” n
CONTINUING EDUCATION
To earn one AIA learning unit
(LU), including one hour of health,
safety, and welfare (HSW) credit.
read “Carbon Calculus,” review the supplemental
material found at architecturalrecord.com, and com­
plete the quiz at continuingeducation.bnpmedia.com
or by using the Architectural Record CE Center app
available in the iTunes store. Upon passing the test,
you will receive a certificate of completion, and your
credit will be automatically reported to the AIA.
Additional information regarding credit­reporting and
continuing­education requirements can be found at
continuingeducation.bnpmedia.com.
Learning Objectives
1 Define the term “embodied carbon” and explain
why its reduction is critical to mitigating climate
change.
2 Explain why adaptive reuse conserves embodied
carbon.
3 Explain what a life cycle assessment (LCA) is and
what impacts it quantifies.
4 Describe some common LCA tools.
AIA/CES Course #K2202A
83
 The DESIGN:ED Podcast by Architectural Record
takes you inside the profession through informal
conversations with the field’s leading architects and
designers.

Hosted by Austin, Texas–based architect Aaron Prinz,

Architectural Record’s DESIGN:ED podcast features
the most renowned architects of our time—such as
Thom Mayne, Kengo Kuma, Vivian Lee, and Glenn
Murcutt, as well as rising professionals in the next
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 KITCHEN
& BATH

86 Miami Beach Penthouse

88 Garnier Residence
90 Clinton Hill Brownstone
92 Denver House Renovation
93 Products
PHOTOGRAPHY: © MARK D. STUMER

THE PRIMARY BATH SUITE IN A MIAMI

PENTHOUSE, BY MOJO STUMER ASSOCIATES

85
 KITCHEN & BATH
Miami Beach Penthouse
Mojo Stumer Associates
BY DAVID SOKOL
CONTEMPORARY Miami Beach interiors are instantly recogniz-
able by their sleek white finishes and bold accents of color. Yet “they
didn’t want typical,” architect Joe Yacobellis, a senior associate at Mojo
Stumer Associates, says of a husband and wife who purchased a spec
condominium unit in the city. The New York–based design firm gut-
ted this 4,700-square-foot vacation residence, reconfiguring the plan of
the penthouse and combining concrete, blackened steel, and oak with
white marble and lacquered surfaces. “An industrial-inspired space was
always part of their vision, and we also wanted them to recognize
where they were,” Yacobellis says of the material selections. “The
overall goal was to marry New York and Miami.”
The primary bath is emblematic of the project’s transformative
ambitions. This space hugs the terrace-wrapped north elevation of the
mid-rise building, where the kitchen originally stood. To accommodate
necessary plumbing, Mojo Stumer installed a platform above the con-
86 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 2
crete superstructure and connected this new raised space to the pri-
mary bedroom via two steps clad with sintered stone. Tucked behind
the bedroom’s oak accent wall, a custom blackened-stainless-steel and
wire-glass pocket door slides out to distinguish the sleeping from the
bathing areas.
A double vanity maintains the blackened steel and oak that are
woven throughout the interior. Deep reveals, surrounding wood cabi-
net fronts, lend an illusion of floating. “We wanted to express the
elements separately, so one could appreciate the relationship between
solid and void,” Yacobellis explains. The custom vanity includes built-
in outlets and a tilt-out mirror; storage is adjacent.
The bath embodies spectacle as well as function. A wet-room area,
which Mojo Stumer placed at the north-facing window wall, includes a
stainless-steel soaking tub juxtaposed with a floor-to-ceiling plane of
amethyst (a violet variety of quartz). The project team considered
myriad natural and handmade materials, and ultimately decided on the
purple slab “because it complements the angular tub without outshin-
ing it,” says Yacobellis. The flooring here is continuous with the wider
bathroom’s nonslip sintered-stone surface, while the vertical expanse of
amethyst faces a textured dark gray shower wall, fabricated from sin-
tered stone as well.
The wet room also includes an inconspicuous privacy measure.
 Although there are no adjacent skyscrapers whose occupants might
catch a glimpse of the clients bathing, Mojo Stumer specified a screen-
ing device for occasions when the terrace is occupied: electrochromic
glass. Installed on the interior side of the glass building envelope, the 1 STEP-UP ENTRY
glazing transitions from transparent to frosted with the flick of a 2 DOUBLE VANITY
switch. Delighted by the apartment’s various solutions, the homeown- 6
3 WATER CLOSET
5
ers have since sold their primary residence and moved into the Miami 4 MAKEUP TABLE
Beach penthouse full-time. n 5 WET ROOM

6 SOAK TUB

1
2

Credits Sources
ARCHITECT: CUSTOM MILLWORK:
4
Mojo Stumer Associates Castro Custom Cabinetry
3
GENERAL CONTRACTOR: SINTERED STONE: Dekton
Sarah Goodridge Byndloss of TILE: Lapitec Lefinture; Nano Glass;
Fiocchi Group ABC Stone
SIZE: 200 square feet LIGHTING: USAI; Kreon
COST: $400,000 PLUMBING FIXTURES: Watermark;
COMPLETION DATE: late 2020 TOTO; ISI Signature Hardware 0 3 FT.
PRIMARY BATH PLAN
1 M.
PHOTOGRAPHY: © LIFESTYLE PRODUCTION GROUP (OPPOSITE); MIKE D. STUMER (RIGHT)

A custom double vanity (opposite) faces the bathroom entry. An amethyst wall and steel soaking tub anchor the wet room (above) located at the
building perimeter.

87
 KITCHEN & BATH

Garnier Residence
Dupont Blouin Architectes
BY DAVID SOKOL

WHEN Gerardo Rubino and Léliane Villeneuve moved from Montreal’s

northern suburbs into the city center for their daughter’s schooling, they de-
cided to embrace cosmopolitan life with gusto. After purchasing a 1950s-era
rowhouse in the lively Plateau Mont-Royal neighborhood, the couple tapped
Dupont Blouin Architectes (DBA) to treat the three-story house as it would a
downtown hotspot with a strong hospitality bent. (Rubino specifically envi-
sioned the kitchen as a “speakeasy” where he would orchestrate gatherings
from behind the counter.)
Marie-Josée Dupont and Olivier Blouin, partners at DBA, relocated the
kitchen and adjoining living and dining areas to the top floor. “Those are the
spaces where you live, so you should take advantage of the daylight,” Blouin
explains. The design team then arranged three bedrooms, two baths, and a
laundry along the house’s second level, and finally a studio apartment for
guests or renters on the first floor. On all three floors, the program is config-
ured around a stairwell whose location was dictated by existing columns, to
minimize engineering costs. The architects expanded the circulation core,
making space to insert storage and bathrooms within it. They rounded the
volume’s edges to make adjoining corridors feel more spacious.
The clients had been attracted to the building’s mid-20th-century origins,
and they requested a material palette befitting the kind of high-end Modernist

88 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 2
 interiors they might see in an episode of Mad Men. Of the historically
appropriate finishes presented to them, they instantly gravitated to-
ward walnut. But to keep the interior from appearing too dark, the
wood was used only around the stairwell. In addition, the architects
used contrasting 2-foot-square terrazzo tile—flecked in copper, gold,
and green—to provide durability as well as the aesthetic the client
hoped for.
DBA had completed multiple residential and commercial commis-
sions for Rubino’s family and, over their extended relationship, the
studio namesakes noticed how the couple placed a uniquely high prior-
ity on cleanliness and precision. Appealing to their exacting personali-
ties, DBA specified the terrazzo tile for both upper floors and em-
ployed a 2-foot-by-2-foot grid for all millwork, so that casework joints
and bookshelf dividers would align to grout lines in the tile. The archi-
tects coordinated remaining finishes with the colors of the terrazzo
chips. In the primary bathroom, for example, wall-mounted copper
faucets serve a pair of green ceramic washbasins that sit atop a thin slab
of Verde Saint Denis marble. Wool felt covers several bathroom walls
for acoustical dampening.
Considering the client’s vision of a speakeasy and their love of order,
the architects designed a narrow U-shaped kitchen work area that
effectively prevents anyone from entering while the homeowner is
preparing cocktails or a meal. Instead, family or guests can ease up to a
copper-edged counter, where DBA placed walnut stools. All equip-
ment is integrated into the casework and, where possible, concealed by
lacquered white cladding. These custom fronts, in turn, are a close
match to the snowy hue of the sintered-stone counter top. n

Credits
ARCHITECT:
Dupont Blouin Architectes
ENGINEERS: MPA Groupe Conseil;
Farley Group
GENERAL CONTRACTOR:
Gerardo Rubino
CONSULTANTS: Jamais Assez;
Atelier Jakob; Frank Minerva
CLIENT: Gerardo Rubino and
Léliane Villeneuve
SIZE: 3,200 square feet
COST: $525,000
COMPLETION DATE: March 2021
Sources
WINDOWS: Alumico
SKYLIGHT: Velux Modular Skylights
GLASS: Starphire Ultra-Clear Glass
FLOOR AND WALL TILE: Stonix
SINTERED STONE: Dekton
DECORATIVE LIGHTING: Flos;
Louis Poulsen
DOWNLIGHTING: Europhase
LIGHTING CONTROL: Lutron
DRAPERY TEXTILE: Kvadrat
The U-shaped work kitchen (opposite, top) is designed for a single user.
PLUMBING FIXTURES: Julien; DBA arranged plants along the kitchen’s ceiling-mounted shelving, to
MGS; Fantini; Agape; Cielo
take advantage of a new skylight (opposite, bottom). Flooring is terrazzo
FURNITURE: Kastella in most owner-occupied spaces, including the primary bath (above).

1 BALCONY
8
2 VESTIBULE
2 3 3 POWDER ROOM
4 5
1 4 KITCHEN
PHOTOGRAPHY: © OLIVIER BLOUIN

5 DINING AREA

7 6 6 LIVING AREA
2
1 7 OFFICE

8 BRIDGE TO TERRACE

9 TERRACE

0 10 FT.
FLOOR PLAN
3 M.

89
 KITCHEN & BATH
Clinton Hill Brownstone
Michael K. Chen Architecture (MKCA)
BY SHEILA KIM
FROM THE OUTSIDE, this 1895 land-
marked house in Brooklyn, New York,
blends with the row of classic brownstones in
which it resides. But the richly hued interior
—the result of a renovation by architect
90 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 2
Michael K. Chen and his firm, MKCA—
distinguishes this residence from the others
on the block. The four-story house had been
abandoned for more than 20 years, and its
existing dilapidated walls, plaster ornamenta-
tion, and woodwork bore peeling lead paint
that hinted of bold shades from turquoise to
raspberry. Intriguing both client and archi-
tect, this extant palette provided the inspira-
tion for a richly varied scheme that uses color
to delineate the kitchen and bath spaces, as
well as all the communal zones.
The resulting visual feast isn’t immediately
apparent upon entering the ground floor, a
step down from grade. Chen knocked down
walls and realigned the kitchen, which origi-
nally flanked a corridor, to establish open
sight lines from the front to the back and
create a wider floor plan flowing from kitchen
to dining and lounge areas and then out to a
rear garden. Just beyond the front door, the
design team created a millwork volume,
painted an oxblood red, that houses a largely
black bathroom in which even the toilet,
electric outlet, and ceiling blend into the
room’s obsidian-hued wall tiles. “We felt that
black at the ground-floor entrance would
create a welcome moment of transition before
the color eruption to come,” says Chen.
MKCA tore down walls to open the ground floor
(left) and infuse the kitchen with daylight. An
oxblood-hued shell near the entrance (below)
houses a sleek black bathroom.
 More of an evolution, the polychromatic
progression is subtle, unifying, and defining
of the various spaces. Custom encaustic
concrete floor tile features a geometric
pattern that shifts from a black, taupe, and
white motif in the bathroom to shades of
blue in the hall just outside. It then transi-
tions to groupings of blues and greens or
blues and pinks throughout the kitchen and
dining area. The pink becomes peach in the
rear lounge and finally morphs into a red-
and-ochre-clad patio composed of the same
encaustic tile, for visual continuity and
connection between indoor and out. The
architect carried this patchwork of hues up
to the finishes and surfaces throughout the
open space. The kitchen itself, grounded by
neutral concrete counters, backs onto the
bathroom’s oxblood-tinted shell with cabi-
netry that blends into it (save for a stainless-
steel backsplash); wall sections are painted
in blue and pink tones to correspond with A double-height light well (left) produces a
the floor-tile arrangement; and the deep warm glow above the freestanding bathtub.
green island serves as a central gathering Peach surfaces meet blue subway tile (above)
place, with stools for casual dining and at the primary suite’s vanity, opposite the tub.
entertaining.
The clients, a couple with an eclectic tiled vertical surfaces around wet areas, Credits
collection of art and objects, inspired addi- including a generous standing shower ARCHITECT: Michael K. Chen Architecture
tional playful elements, such as an uncon- and freestanding tub. The space was com- ENGINEERS: Morozov; LIA Engineering
ventional “pipeline” pendant to illuminate pleted with a soft-peach tile floor and GENERAL CONTRACTOR: THINK
the island and a yellow pegboard wall, which peach-painted walls and ceiling. To bring Construction
the clients sometimes use to display their daylight into the room—which only had CONSULTANT: Brook Landscape
“curiosities.” This sense of whimsy continues one small existing window—the architect SIZE: 3,650 square feet
on the upper floors, where classic brown- punched through the fourth floor to the COST: withheld
stone details were recast and remade with roof and inserted a striking, double-height COMPLETION DATE: Fall 2019
respectful modern updates. light well above the tub. The architect
Sources
A variety of palettes define the brown- likens the glowing effect of its pastel walls
FLOORS: Cement Tile Shop, Mutina, ABC
stone’s remaining three baths and a powder to a James Turrell installation. “The middle Stone
room, the most notable being the primary of a townhouse is always dark,” says Chen. LIGHTING: ANDlight, Flos, Cedar & Moss,
suite, located near the center of the third “And we loved the idea of having a soak in Michael Anastassiades
floor. Here Chen balanced white fixtures the tub while being bathed in warm natural FIXTURES & FITTINGS: Toto, Jaclo, Duravit,
with a pale wood vanity, along with blue- light from above.” ■ Perlato, Aquabrass, Kohler, Watermark, MGS

1
2
5
6 4 3

GROUND-FLOOR PLAN
PHOTOGRAPHY: © ALAN TANSEY

1 ENTRANCE 7 MASTER BED 9

8 10
2 KITCHEN 8 MASTER BATH 7
3 DINING 9 BEDROOM (SECONDARY)

4 LOUNGE 10 BATH (THIRD FLOOR)

5 BATH (GROUND FLOOR)

0 8 FT.
6 GARDEN PATIO THIRD-FLOOR PLAN
2 M.

91
 KITCHEN & BATH

Denver House
Renovation
FORMA
BY SHEILA KIM

DURING THE PANDEMIC, New York

experienced an exodus of residents seeking
sanctuary from cramped city living. One young
family escaped to a 2002-built Spanish
Colonial–style house in Denver, purchased
sight-unseen due to travel restrictions. These
constraints also required a virtual design pro-
cess, which Miroslava Brooks and Daniel
Markiewicz—partners at the New York firm
FORMA—embraced, imbuing the home with
a touch of Big Apple minimalism.
The architects maintained the building’s
external vocabulary by carrying its charac-
teristic arches throughout the interior, convert-
ing all existing openings to segmental arch-
ways, and introducing new ones. The old
kitchen was split into three sections, one a
butler’s pantry off the main space, resulting in
an awkward flow and poorly situated island,
not easily accessible from the breakfast nook.
FORMA opened the room by replacing the
pantry with a wide, barrel-vaulted passage that A butler’s pantry was
removed to create a
connects the kitchen and family room. The direct connection to
design team flanked this portal with curved the family room
built-in storage to compensate for the lost shelf (above) via a
space. Then they consolidated the appliances in generous vaulted
a central location, opposite an enlarged, repos- opening. FORMA
tioned island with room for casual dining. consolidated the
appliances and built
Per the clients’ request, the architects kept
a spacious work/
things clean and white, with pristine painted dining island
cabinets punctuated by strong black accents and opposite (left).
a blue-and-white Mediterranean-style back-
splash, all balanced by expanses of bamboo. “It
doesn’t get more fundamental than black-and-
white,” says Brooks, who, with her partner,
created a subtle New York vibe in Colorado. n

Credits
1 ENTRANCE COUNTER TOP: Silestone
ARCHITECT: FORMA
2 2 POWDER ROOM PAINT: Sherwin-Williams
1 GENERAL CONTRACTOR:
3
PHOTOGRAPHY: © DEVON BANKS PHOTOGRAPHY

9 3 FAMILY ROOM Sterling Enterprise TILE: AllModern

4 KITCHEN CLIENT: Trip and Jacqui Tate HARDWARE: Schoolhouse
8
5 BREAKFAST NOOK SIZE: 6,000 square feet FURNISHINGS: Rove Concepts,
COMPLETION DATE: March 2021 McGee & Co., Masaya & Co.
6 DINING
UPHOLSTERY: Maiden Home
7 LIVING ROOM
5
8 MUDROOM Sources
7 4
9 GARAGE APPLIANCES: Bosch, Sub-Zero,
6
Fisher & Paykel, Sharp
FIXTURES: Signature Hardware,
Kohler, Newport Brass
GROUND-FLOOR PLAN 0 15 FT. LIGHTING: Feiss
5 M.

92 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 2
PRODUCTS Kitchen & Bath

What’s Cooking
Here’s a look at the latest innovations for these
essential spaces—including the kitchen sink!
BY SHEILA KIM

Reflect, by Jean
Nouvel
Reform collaborated with
the Pritzker Prize–win-
ning architect to develop
this modular kitchen
system that includes
such elements as islands
and wall cabinets. The
fronts are made of thin, Serie Z316_sh
stainless-steel sheeting This single-lever deck-mount faucet by Zazzeri has a sleek
—embossed with vertical silhouette with a cylindrical control on top, which can be
micro-ridges—fused to specified in a choice of five chiseled textures: horizontal or
MFC board and framed vertical stripes, checkered, and dotted. The faucet is avail-
by extruded anodized- able in carbon, anthracite, bronze, copper, cognac, and
aluminum profiles. An white-gold finishes.
alternative black finish is zazzeri.it
also available. Both
options are high-gloss
with subtly reflective
surfaces.
reformcph.com

Integrated Privacy System
Toilet-partition manufacturer ASI Group has engineered this patent-pending
design for metal partitions with built-in privacy. The doors are produced with
integrated components that visually seal the gaps on the hinge and latch sides
while maintaining a sleek appearance. This built-in privacy feature is available
for all ASI stainless-steel metal partitions and in four mounting styles, from
floor-anchored to ceiling-hung.
asi-globalpartitions.com
D-Neo
Belgian designer Bertrand Lejoly collaborated with
Duravit to create this entry-level bath collection.
Made to be more affordable than Duravit’s other
products, D-Neo still captures the brand’s aesthetic.
The collection consists of vanities and matching
cabinets (shown), sinks, toilets, and bathtubs. The
furnishings are offered in 13 finishes.
duravit.us

93
 PRODUCTS Kitchen & Bath

Rêves de Rex
Made to look like ala-
baster, these porcelain
slabs by Italian manu-
facturer Florim are ideal
for wet applications,
including shower walls.
The collection com-
prises four tints—Perle,
Noisette, Bleu (shown),
and Choco—available in
matte or glossy finishes
and in nine standard
formats ranging from
11¾" x 23½" to as large
NativeStone in Charcoal as 63" x 126".
Native Trails now has a matte charcoal-black finish for its florim.com
NativeStone series of kitchen and bath basins and tubs, offering
industrial modern style for such traditional items as a farmhouse
sink (shown). The series is made of a sustainable concrete com-
posed of jute and cement, sealed with a proprietary hand-applied
protective barrier. This model is Farmhouse 3018.
nativetrailshome.com

New Poggenpohl Materials &

Finishes
The popular German kitchen brand has intro-
duced its new options for 2022, such as blue
lava stone sealed with blue-glass enamel, and
Nero Portoro, a terrazzo (shown) that incorpo-
rates chips of this black marble to create a rich
surface; it can be used to clad counter tops as
well as casework, drawer pulls, and even the lids
of decorative storage containers.
poggenpohl.com

Touchless Roll Towel

Dispenser
Bradley adds this elec-
tronic paper-towel dispenser
to its touchless handwashing
products. It uses a patented Steel 19
LiDAR sensor, which reduces This compact sink from Dornbracht subsidiary
the occurrence of false acti- Alape has a single enameled-steel body that forms
vation. Two models—ABS a backsplash, counter top, and basin, supported
plastic or stainless steel— by a bandlike black-steel frame featuring an
are available, both of which open shelf and optional towel bar. Its proprietary
accept all paper-roll brands. glazing is said to have antibacterial and fungicidal
bradleycorp.com properties.
dornbracht.com

94 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 2
CALL FOR ENTRIES Architectural Record is looking for the best
emerging architecture firms from around
the world to feature in our 2022 DESIGN

DESIGN VANGUARD issue. Although we do not have

an age limit, we try to select architects and
designers who have had their own practices

VA N G UA R D for 10 years or less.

SUBMISSION DEADLINE:

2 02 2
MARCH 1, 2022

For full details and to submit your entry, visit: architecturalrecord.com/call4entries.

E-mail questions to arcallforentries@bnpmedia.com. Please indicate the contest name as the subject of your e-mail.

ROOT BENCH, SOUTH KOREA BY 2021 VANGUARD YONG JU LEE

PHOTO © YONG JU LEE
 CONTINUING EDUCATION
In this section, you will find five 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.

Photo Courtesy of Rockfon Image courtesy of Floodproofing.com Photo courtesy of Engberg Anderson Architects

p97 p110 p112

Updated School Design in a Floodproof Window Systems and Creative Collaboration: Partnerships
Post-Pandemic World Glass Flood Walls Between Vendors and Architects Hold
Sponsored by ASI Group, Bradley Corp., Mitsubishi Sponsored by Floodproofing.com New Possibilities for Extruded Aluminum
Electric Trane HVAC US, NanaWall Systems, and Sponsored by Tamlyn
Rockfon

CREDIT: 1 AIA LU/HSW AC EM EN BE SI SU CREDIT: 1 AIA LU/HSW IN PM PMD

CREDIT: 1 AIA LU/HSW

Photo courtesy of Armstrong World Industries

CATEGORIES
AC ACOUSTICS
BE BUILDING ENVELOPE DESIGN
EM ELECTRICAL AND MECHANICAL
IN INTERIORS
PM PRODUCTS AND MATERIALS
PMD PRACTICE, MANAGEMENT,
DIGITAL TECHNOLOGY
SI SITE INFRASTRUCTURE DESIGN
SU SUSTAINABILITY

p114 p115

Make Waves: Designing Spaces for How to Specify Seamless

Comfort and Well-being Acoustical Ceilings
Sponsored by Armstrong Ceiling and Wall Solutions Sponsored by Armstrong Ceiling and Wall Solutions

CREDIT: 1 AIA LU/HSW AC IN PM CREDIT: 1 AIA LU/HSW AC IN PM

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

96 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 2

Photo Courtesy of Rockfon
The design of K-12 schools needs
to address ongoing learning
approaches as well as heightened
concerns over health and welfare.
Updated School Design
in a Post-Pandemic World
Strategies for addressing ongoing and emerging needs
Sponsored by ASI Group, Bradley Corp., Mitsubishi Electric Trane HVAC US,
NanaWall Systems, and Rockfon | By Peter J. Arsenault, FAIA, NCARB, LEED-AP
T
he COVID-19 pandemic impacted
schools in a big way and has led to
new opportunities to think about how
learning is carried out – both virtually and
in-person. It also brought to the forefront the
need to create learning environments that
are safe, healthy, and that inspire wellness for
not only the students, but for teachers and
staff, too. Private and public sector efforts
are emerging to help address the new needs
and opportunities in school design. For
example, the recently introduced Elementary
and Secondary School Emergency Relief
(ESSER) fund has allocated over $100 billion
to mitigate the impacts of COVID-19 on stu-
dents, educators, and their families. Projects
to improve indoor air quality, enhance the
health of students, and otherwise renovate
and upgrade school operations are among the
allowable uses for the funds. In light of these
needs and opportunities, this continuing
97 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 2
EDUCATIONAL-ADVERTISEMENT
education course looks at some strategies that
can help architects design or renovate schools
to address many of these concerns.
21ST-CENTURY SCHOOL DESIGN
Before the COVID-19 Pandemic, school de-
sign was strongly influenced by 21st century
thinking about how students work by focus-
ing on new visions of learning environments
combined with computer-based technology.
Some of those aspects have been reinforced by
the pandemic, such as online learning, while
other aspects have been updated or reinvent-
ed, such as ways to create and use space safely
in a school building. While the overall goal
remains providing better learning environ-
ments, school health and safety have become
critical and influential design criteria as well.
One of the strategies that has emerged to
address a number of these needs is the use
of opening glass walls in school buildings.
CONTINUING EDUCATION
CONTINUING EDUCATION
1 AIA LU/HSW
Learning Objectives
After reading this article, you should
be able to:
1. Identify the ways that opening glass
walls enhance 21st-century school
design for the health and welfare of
students through improved learning
environments.
2. Assess strategies to improve acoustics
in buildings that improve wellness and
enhance learning in schools.
3. Determine strategies to provide
adequate ventilation and energy-
efficient heating and cooling in schools
for thermal comfort and health.
4. Explain the importance of proper
attention to healthful restroom design
in schools, particularly related to
sanitary handwashing, privacy, and
safety.
5. Determine ways to incorporate the
design principles presented into
building project documentation as
shown in examples.
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 #K2202D
 UPDATED SCHOOL DESIGN IN A POST-PANDEMIC WORLD
They provide several attributes that are
helpful to school design, as discussed in the
CONTINUING EDUCATION
following sections.
Flexible Space
Opening glass walls eliminate the fixed walls
of the traditional classroom by opening to
shared areas. Such a flexible design concept
can take a variety of forms. First, it could
allow classroom-to-classroom connections,
meaning that multiple rooms or grades can be
combined, or closed off, at will, to accom-
modate teaching needs. The separation also
allows for greater control of the number of
students in a space, when isolation or separa-
tion is needed for health reasons. Second,
opening glass walls can be used to connect
classrooms to common areas, allowing greater
interactions and/or isolations to suit the
needs of an entire wing or section of a school
building. Third, they are quite effective when
used in resource centers, so that space and
equipment or other things can be shared with
different sized groups or grades. The general
benefits of this design approach include areas
for project-based learning or common areas
where students work together on a range of
activities with shared resources or presenta-
tion areas. Furthermore, creating a flexible
classroom configuration optimizes the floor
space within the building envelope which can
translate into reduced total square footage
needs and the related construction costs.
Connection to Outdoor Space
Opening glass walls can also be designed as
a connection to outside spaces. This creates
an indoor / outdoor learning environment
that provides multiple health and educa-
tional benefits for students. First, the large
glass areas bring daylight and views into the
building, which has been shown to benefit
the general health and well-being of students,
teachers, and staff. Second, the ability to
open the glass walls partially or fully al-
lows for an abundance of fresh air ventila-
tion. Such fresh air (and outdoor activity)
continues to be a key strategy in preventing
the spread of airborne disease. From an
educational perspective, opening the glass
wall allows for the opportunity for outdoor
learning experiences as well.
Sound Control
With opening glass walls, there is a need to
properly address the control of sound in and
between the spaces where they are located. In
particular, sound isolation is needed in flex-
ible space designs so students can properly
98 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 2
Photos courtesy of NanaWall Systems
Flexible spaces that open or close onto
each other in school buildings can be
achieved with opening glass walls.
focus on their work or understand instruc-
tion from their teachers. The design challenge
in schools can sometimes be finding a way to
incorporate the flexible spaces being sought
for classrooms and other spaces while still
meeting the acoustical needs of those spaces.
Fortunately, manufacturers of opening glass
walls have found ways to deliver impressive
acoustical properties so designers can feel
confident that incorporating such systems
into school designs will not be seen as any type
of a compromise. The best way to determine
acoustical performance in walls is to have them
tested to determine their Sound Transmission
Class (STC) rating. This common index
provides a way to help determine how much
sound (measured in decibels) is restricted from
passing through a wall or similar assembly. The
higher the rating, the less sound that passes
through. Ratings that meet acoustical standards
promulgated by independent rating programs
(i.e., LEED, WELL, CHPS, etc.) can be achieved
using properly specified opening glass walls. In
so doing, the good acoustics can help create a
positive learning environment.
CEILINGS THAT PROMOTE WELLNESS
Ceilings are a significant design element
that can play an important role in the health
and well-being of everyone inside a school
building. A high-performing ceiling needs to
address good acoustics but can also contrib-
ute to general indoor air quality. To do so, a
lot can depend on the choice of the materials
that are used in ceilings.
Stone Wool Acoustic Ceiling
Tiles & Panels
One ceiling material that is being used
increasingly in schools is stone wool. It is
a proven material that demonstrates great
acoustic properties, resistance to mold
and mildew, and excellent fire and smoke
performance. Since it is made from stone, it
EDUCATIONAL-ADVERTISEMENT
Properly specified opening glass walls can
provide separation and sound control as
needed between adjacent spaces.
is naturally resistant to mold and mildew
growth – it is hydrophobic, does not absorb
moisture, and will not support mold, mil-
dew, or other potentially harmful micro-
organisms. No antimicrobials are needed
to provide this level of performance. This
resistance can be critical in high-humidity
environments, especially if HVAC is turned
off when the building is unoccupied, as
may be the case over the summer months.
Mold and mildew can create an indoor air
quality health concern in schools, par-
ticularly for people with asthma or other
respiratory conditions.
Stone wool is also unaffected by changes
in temperature and humidity, so opening
windows and allowing fresh air to enter the
building does not affect the ceiling per-
formance. Further, stone wool ceiling tiles
and panels have earned UL Environment
GREENGUARD Gold Certification for low
VOC emissions in schools. This certifica-
tion process takes into consideration safety
factors that may impact those with vulner-
able immune systems, including children.
The stringent UL GREENGUARD Gold
certification is recognized by numerous
green building and wellness programs
including the Collaborative for High
Performance Schools (CHPS), the WELL
Building Standard, and LEED.
Acoustical Considerations
The acoustical performance of learning
spaces is covered by a variety of codes and
standards. This makes sense since acous-
tics inside classrooms determine whether
students can understand their teachers and
learn from them. Poor acoustics have also
been associated with human health issues
in both the short- and long-term. To ensure
optimized acoustics design, profession-
als need to use the right combination of
highly sound-absorptive ceiling panels,
LOBBY?
NO, IT’S YOUR
WASHROOM.
Whoever said the washroom (the most frequented room in any building) shouldn’t
be as nice as the lobby? ASI just gave the washroom a makeover—you can too. Visit
americanspecialties.com/thebod to explore the new standard for basis of design in
washrooms. Featured in this ad are our exclusive Velare™ and Piatto™ collections of
washroom accessories, ASI Alpaco™ partitions, and ASI lockers.
 UPDATED SCHOOL DESIGN IN A POST-PANDEMIC WORLD
robust walls, and sound- balanced floors,
all working together. Acoustic ceilings are
CONTINUING EDUCATION
used primarily to absorb the sounds in the
room. Walls that are built full height to the
structural slab or roof above, and without
holes or gaps, block outside noise from com-
ing into the space. When rooms are above or
below one another, the floor slab also plays a
main role in sound isolation.
Many school buildings must now
comply with the stringent acoustic require-
ments and performance levels in one or
multiple standards, guidelines, or building
rating systems. The table to the right
compiles the absorption, isolation, and
background sound level requirements from
organizations such as the Collaborative
for High Performance Schools (CHPS)
and the Acoustical Society of America
(ASA). Stone wool acoustic ceiling tiles can
achieve highly absorptive Noise Reduction
Coefficients (NRC) of 0.95 or higher, opti-
mizing speech intelligibility and achieving
the ultimate privacy in school buildings.
Acoustic Ceilings in Three Steps
A commonly available online tool helps ar-
chitects optimize acoustic ceilings in school
buildings by determining performance
ratings for a space and selecting product
options.
Step 1. Select the appropriate NRC
rating for your ceiling panels based on
published standards or experience. As the
amount of sound absorption is increased
inside a room, the reverberation time and
noise level decrease. It also can reduce
echoing. This improves speech intelligibil-
ity, allowing students to better understand
their teachers.
Step 2. Select the appropriate STC rating
for wall and floor/ceiling assemblies in
order to keep out unwanted sound from
adjacent spaces. Sound blocking starts
with walls and floor slabs. If the adjacent
room has a lot of people or equipment, and
transmitted noise would interfere with
sensitive activities being performed in the
room being designed, then a high STC rat-
ing is needed. As the walls and slabs become
more massive, the STC rating increases and
the amount of noise getting through greatly
decreases, making things much quieter.
Step 3. Ensure you have the proper back-
ground sound level. Quieter is not necessarily
better. Some background sound is necessary
to mask annoying or distracting noise and
help achieve speech privacy. This background
sound can be from music, nature, mechanical
100 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 2
This table indicates some of the common standards that address acoustics in schools with
the ratings shown for compliance.
systems, or electronic sound masking (i.e.,
“white noise”).
Speech Privacy Potential (SPP) is another
performance indicator of acoustic privacy
between two adjacent rooms and may be
better than either STC or background sound
(dBA) alone. SPP factors both steps #2 and
#3 of the process above, together. The STC
rating, plus the background sound level,
should total between 75 and 80—any less
and privacy may not be achieved.
INTERIOR CLIMATE CONTROL
In addition to attributes such as acoustics,
a successful classroom environment that
enhances learning includes the ability for
pupils to feel comfortable during different
seasons. This plays directly into the type of
heating and cooling system that is used, and
the ability for it to be responsive to different
needs within a school.
Variable Refrigerant Flow
(VRF) Systems
Conventional HVAC systems have served
the needs of most school buildings for many
decades, although with some variability in
comfort and energy efficiency. Achieving
the high levels of comfort, sustainability,
and performance needed for current school
design often requires going beyond the
conventional. Considerable success in this
area has been found in the use of Variable
Refrigerant Flow (VRF) systems which
EDUCATIONAL-ADVERTISEMENT
Images courtesy of Rockfon
The proper acoustical control of sound in
schools needs to include the ceiling, walls,
floors, and background sounds in each
room or area.
operate in a zoned manner. Zones are defined
as single or multiple room spaces that are
conditioned to a set temperature and are
operated independently from other rooms
within the same structure.
VRF systems move conditioned refrigerant
directly to the zone to be heated or cooled,
allowing the temperature of that area to be
more precisely controlled. To save energy, they
can limit conditioning to selected zones that
are in use. Inverter technology enables VRF
systems to modulate capacity to match each
zone’s conditioning needs and maintain set
points using minimal energy. If equipped with
a branch circuit controller or heat-recovery
module, VRF systems can simultaneously heat
some zones while cooling others. With these
features, VRF systems provide educational
 UPDATED SCHOOL DESIGN IN A POST-PANDEMIC WORLD
buildings with efficient, personalized com-
fort. Since their size and output can be
CONTINUING EDUCATION
selected for specific locations, they can
meet the needs of a wide variety of spaces
within schools – classrooms, cafeterias,
auditoriums, gymnasiums, offices, and other
spaces, each with varied occupancies and
unique conditioning needs. Furthermore, the
quiet operation of VRF systems makes them
ideal for environments like libraries and
classrooms, where students need to focus on
their studies.
Enhanced Ventilation
An important strategy for helping to create
healthy learning environments is to provide
proper ventilation to bring in fresh air while
exhausting contaminants. In that regard, VRFs
can very easily be used with dedicated outdoor
air systems (DOAS) and energy recovery ven-
tilation systems (ERVs) to provide the needed
fresh air to the school in an energy-efficient
manner. From a health and wellness stand-
point, these systems help rid school buildings
of toxins, odors, bacteria, and other potentially
harmful contaminants. ERVs also improve
HVAC system efficiency by preheating or cool-
ing incoming outside air with energy recovered
from the exhaust air. All of that adds up to a
healthier, more sustainable indoor environ-
ment for students and staff. For architects, VRF
systems with ERVs mean flexibility in design,
quiet operation, and the ability to modify the
systems as needs change during the design or
life cycle of the building.
Attributes of VRF Systems
Schools realize numerous benefits by using
VRF zoning systems combined with ERV-
based ventilation systems. The improved
thermal comfort and indoor air quality can
help enhance learning environments, al-
lowing students to learn more easily, while
teachers and staff are kept comfortable, too.
Such systems have been shown to help with
operational costs and sustainability as well.
VRF systems are all-electric and provide heat
without burning fossil fuels. Schools moti-
vated to reduce their carbon footprint and im-
prove air quality in their communities choose
VRF systems to support those objectives while
improving comfort. For renovation projects,
the quick installation time for VRF systems
means schools can minimize disruption to
the academic year when upgrading to this
advanced heating and cooling solution.
This technology is ideal for the wide variety
of uses, schedules, and activities that can occur
in a single school building since everything can
102 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 2
Variable Refrigerant Flow (VRF) indoor units
blend easily into classrooms offering greater
design flexibility, more precise comfort con-
trol, and ultra-quiet operation.
be zoned to suit this variability. Inverter-driven
VRF systems use only the precise amount of
energy needed to keep each interior zone at the
desired temperature. This allows for customized
operation while also enhancing energy ef-
ficiency and the related cost savings – energy is
only used where it is needed and in the amount
that is needed. Different unit styles and sizes
of VRF systems are available to meet diverse
comfort and aesthetic needs. Due to their
compact and efficient nature, VRF systems also
offer streamlined operation and maintenance,
simplifying the work of facility staff.
RESTROOM SAFETY
School restrooms have garnered a good
bit of attention lately, not only for health
but also for safety, particularly in terms of
gender identification and separation in some
locations. Among the strategies that have
been proposed and carried out in response,
those that promote high degrees of privacy
in toilet stalls appear to be most successful.
Fortunately, there are products available to
help architects achieve the needed separation
in ways that offer design options and cost-
effective designs.
Toilet Stall Privacy
Common toilet partitions in the United States
typically do not extend all the way to the
floor or to the ceiling. Similarly, the doors to
the partitions fit loosely, often creating a gap
between the door and the pilaster, producing
unintended sightlines into the stalls. These
gaps are often a function of small changes in
wall distances, some improper installation,
or even incorrect measurement on the front
end. By contrast, European toilet stalls are
routinely characterized by extended height
partitions and doors that overlap with the pi-
lasters to close and lock without any sightline
EDUCATIONAL-ADVERTISEMENT
Photos courtesy of Mitsubishi Electric Trane HVAC US
The compact, efficient nature of VRF
systems allows for smoother operation,
smaller footprints for equipment, and quiet
operation.
gaps or crevices.
Manufacturers of toilet partitions
are now offering extended-height metal
partitions in the United States, along with
door solutions pre-built into the door, that
afford complete privacy in toilet stalls.
Furthermore, these can be utilized without
sacrificing aesthetics, since they offer a range
of materials, colors, and finishes. This helps
with creating a cohesive look in a school
by using products for a restroom or locker
room that have similar design sensibility and
color palate.
Extended height partitions are available
that have zero sightlines into the stalls
and create a safer feeling with regard to
the bathroom experience. Many different
partition height options are also avail-
able, with different methods to eliminate
sightlines. This privacy can be achieved by
selecting from a variety of materials that
also address appearance, functionality,
hygiene, and durability. Solid plastic high
density polyethylene (HDPE) or phenolic
products are particularly appropriate for wet
/ humid environments like locker rooms or
aquatic facilities, or even stadiums, where
restrooms have to be hosed down completely
from time to time. Powder-coated steel or
stainless-steel partitions have been typically
used for common areas where water and
humidity are less of a concern. Similarly,
plastic laminate partitions have been used
as a cost-effective solution with a variety of
design appearances that can transcend an
institutional look by incorporating wood
grain, colors, etc. To ensure a longer life for
plastic laminate partitions, one company
uses a special edge-banding process to guard
against moisture penetrating the joints
in the partitions. This also allows for an
extended warranty on this product.
 UPDATED SCHOOL DESIGN IN A POST-PANDEMIC WORLD
Photos courtesy of ASI Group
CONTINUING EDUCATION
The use of taller, full-height partitions provides complete privacy in restrooms and can be
selected from standard products to coordinate with the rest of the room design.
Full privacy is assured with manufactured
components that match the rest of the sys-
tem and are designed to cover any potential
sightline openings.
Some school facilities have addressed the
privacy concerns by adding or retrofitting
pieces onto existing toilet partitions and
stalls, often with unsatisfactory aesthetic
results as well as additional material and
labor costs. One company has solved this
problem by integrating privacy components
into the doors so that no retrofitting is
needed and with no additional cost to
the school The guiding principles of the
integrated privacy design are to meet an
occupant’s need for total privacy while
also being more aesthetically pleasing than
using retrofitted privacy components that
don’t match the stall. The built-in privacy
components completely close the gap on
the latch and hinge side of the door to
guarantee zero sightlines into the stall.
104 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 2
These components, color-matched to the
rest of the stall, create a sense of continuity
from the partition door to the pilasters. In
addition, an occupancy indicator latch is
now available as a standard feature. Some
are also available with a uniquely designed
stainless-steel pilaster shoe that simplifies
the installation process. Altogether, these
systems provide an attractive, durable
solution that meets the demand for both old
and new social boundaries.
Cyrus Boatwalla, director of marketing
at the ASI Group, explains these guiding
principles in more detail, “Our built-in
need for privacy is laid bare in public
washrooms, most of which are designed
for multiple users and simultaneous use.
Today, more than ever, our need to feel safe
is paramount, and this can cause public
washrooms to bring out deep-rooted fears,
which may manifest in a visceral response.
While some people may be mildly bothered
by the thought of using a public washroom,
others are paralyzed by the prospect—to
the point that they cannot use the
According to high school students, there is room for improvement in school restrooms. Fifty
percent of students in the U.S. rate their high school restroom facilities as poor or fair, while
only 6 percent describe them as excellent.
EDUCATIONAL-ADVERTISEMENT
washroom while others occupy it.” These
observations are true for adults, but also for
many students in schools, too, particularly
those who experience anxiety or fear of
bullying of any kind.
HYGIENIC RESTROOMS
Although the COVID-19 pandemic lingers
on, most students and staff have returned
to school buildings. However, everyone
involved is generally expecting more
from such high-traffic, shared facilities. A
manufacturer’s research study done with
U.S. high school students in 2020 found that
within the school building, the top three
places that students are most concerned
about coming into contact with germs are:
school restrooms (63%); classrooms (50%);
and the cafeteria (42%). Restrooms in
particular seem to be the most scrutinized
by students, teachers, and staff for being
clean, hygienic, functional, and accessible.
Furthermore, a related study found that
50% of high school students in the U.S. rate
their school restroom facilities as poor or
fair, while only 6% describe them as excel-
lent. High school students’ top suggestions
for school restroom improvement are: 1)
cleaner restrooms that are stocked more fre-
quently with soap, paper towels, and toilet
paper, and 2) restrooms in which everything
is touchless – with reliable technology.
The results of these surveys are not
surprising since restrooms are unique in that
they are tight, enclosed spaces, have multiple
touchpoints (about 10 in a single visit), and
utilize water and paper products that can
potentially create mess, slips and falls, and
breed bacteria. The design question then
becomes how does one create a hygienic and
Photo courtesy of Bradley Corp.
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 UPDATED SCHOOL DESIGN IN A POST-PANDEMIC WORLD
safe environment equipped to handle ev-
eryday usage, curb cross contamination of
CONTINUING EDUCATION
germs and increase handwashing activity by
students, faculty, administration, and staff?
Relatedly, how can the restroom experience
be improved to make it more appealing,
accessible, and safe for its users?
Touchless Fixtures
One strategy to help with hygiene in
school restrooms is to install touchless
fixtures. Sensor-activated handwashing
and drying equipment addresses infection
control, hygiene, accessibility, ease-of-use,
maintenance, consumer demand, and
cost-effectiveness. Cross contamination of
germs in restrooms can be reduced by us-
ing touch-free fixtures for everything from
soap, faucets, hand dryers/towels, doors,
and flushers. The hands-free concept is
growing in popularity with restroom users
and facility maintenance staff, especially
in light of the pandemic.
When handwashing, easily activating
soap and water with a simple hand motion
-- without having to touch a handle, but-
ton or lever – keeps users from touching
germy surfaces, and limits the spread of
germs, fingerprint marks, and extra wear
and tear. “Under any circumstance, using
touchless fixtures helps to inhibit the
spread of germs in restrooms and build-
ings,” says medical microbiologist Michael
P. McCann, Ph.D., professor of biology,
Saint Joseph's University. “The more we
avoid restroom touchpoints, the healthier
and easier our operations will be.”
Fortunately, as the demand for
touchless fixtures has increased, the
mechanicals used in sensor technology
have been greatly improved. While some
older touchless models include sensors that
deliver spotty soap and water activations,
current designs incorporate advanced
sensing technology, ensuring continuous
and reliable washing.
As for washroom cleanliness and safety,
one of the latest product offerings is an
all-in-one handwashing fixture. These in-
novative fixtures deliver touch-free water,
soap, and hand drying all in one integrated
fixture above the handwashing basin. They
are also specifically designed to better
contain water to keep it from dripping
from hands onto the user, walls, and
floors, thus helping to reduce messiness,
slips, and falls.
Of course, the durability of touch-
less restroom fixtures is of paramount
106 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 2
EDUCATIONAL-ADVERTISEMENT
Photos courtesy of Bradley Corp.
Hygienic restrooms benefit from the use of touch-free fixtures that promote handwashing and
contain water, soap, and drying functions all near the washing basin.
importance to educational facilities.
In 2021, many schools experienced an
uptick in vandalism, due to a destructive
‘Devious Licks’ challenge on TikTok, which
encouraged students to record and post a
video of themselves stealing or vandalizing
school property. Unfortunately, bathroom
equipment like soap dispensers, faucets
and toilets were targeted. This makes
the case for schools to use high-quality,
durable restroom equipment that holds up
to vandalism attempts.
Many soap and faucet sets have hidden
sensors to discourage tampering. They are
also made with durable cast-brass spout
construction with popular PVD finishes Using select surface materials on sinks,
that are highly resilient and withstand fixtures, walls, and accessories in a restroom
wear and tear. Similarly, electronic roll help maintain good hygiene and cleanliness.
towel dispensers are designed with several
anti-vandalism features, which also help efficient. A multi-feed soap system can also
improve maintenance. These dispensers be used with a large capacity 1.3-gallon (5.0
control the amount of paper towel used, L) tank that can supply up to six soap dis-
deterring vandalism and reducing waste. pensers at once, which is a time-saver and
For example, sometimes people grab game-changer for maintenance staff. In all,
handfuls of towels from a dispenser, toss today’s touchless restroom fixtures require
them in the trash or a toilet, leave them less time cleaning, ordering, refilling, and
on the sink, or drop them on the floor. restocking, saving money.
An automated towel dispenser delivers a Jon Dommisse, vice president of
set amount of paper, reducing excessive marketing and corporate communications
usage and saving time on refilling. Another for Bradley Corp., reinforces the advantage
anti-vandalism “time out” feature locks out of touch-free systems, noting, "Our research
the dispensing of paper towels after being shows that two in three people use a paper
activated three times in a row. towel to avoid touching restroom door
Reducing waste and maintenance handles, flushers, and faucet handles. This
time, in turn, saves money. By limiting evasive action further demonstrates why
the amount of product used, like paper touch-free restroom fixtures resonate so
towels, less time is spent on refilling and much with restroom users."
less money is spent on new product. Some
handwashing models use a smart-sense Hygienic Surface Materials
soap system with LED light indicators A related strategy for healthier restrooms is
to display low soap and battery, mak- to complement touchless fixtures with sur-
ing maintenance more predictable and face materials that don’t support microbial
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 UPDATED SCHOOL DESIGN IN A POST-PANDEMIC WORLD
growth. For sinks and washbasins, using
smooth and nonporous materials with
CONTINUING EDUCATION
seamless construction (like solid surface
and natural quartz) helps prevent bacteria
and mold accumulation and growth. These
materials can be easily cleaned, disin-
fected, repaired, reused, and have a longer
life cycle than laminated materials. These
solid surface materials are generally quite
sustainable and are cast-formed so they
can be specified in many attractive shapes
and forms. For multi-user restrooms, new
washbasin designs made of solid surface
material, with increased space between
the handwashing areas, allow for social
distancing while washing hands in a more
hygienic environment.
For soap and faucet fixtures, there are
popular and attractive finishes produced
with physical vapor deposition (PVD), an
advanced process that creates a molecular
bond to the fixture, creating a resilient
coating that will not corrode or fade. PVD
coatings are not only a more sustainable
way to finish metals than traditional
electroplating, they are also inherently
antimicrobial. A number of different PVD
finishes are available from manufacturers
for different models of soap and faucet
fixtures.
Cohesive Restroom Design
There are many more products available
for restrooms than ever before, so it is easy
to end up with a mismatched or incoherent
design. Finding a single manufacturer who
can meet multiple restroom specialty needs
can help in this regard since the entire rest-
room can be viewed holistically to create
an overall positive experience for students
and other users. Here, in particular, prod-
uct selection is instrumental in achieving
not only a successful design, but also in
creating a long service life. When design-
ing school restrooms, it can be a challenge
to get multiple products from multiple
manufacturers to work together to create a
cohesive whole. By minimizing the number
of manufacturers involved and looking for
multiple pieces of equipment and acces-
sories that come from a single source, there
is a greater likelihood that a more coordi-
nated design will be possible. In fact, some
manufacturers already have groupings or
108 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 2
EDUCATIONAL-ADVERTISEMENT
Photo courtesy of ASI Group
“collections” of their washroom accesso-
ries that can be selected and specified.
Among the advantages of using a
collection, consistency of material appear-
ance and color is a strong one. Choices of
accessories include stainless steel, white or
black phenolic doors, as well as ones with
a modern matte black, powder coating - all
very durable and attractive. Consistency
in terms of their ability to be cleaned and
remain hygienic is also achieved this way.
Such attention to the permanent
accessories can help with the coordinated,
overall experience as well as influence
the smooth, long-term operation and
maintenance of restrooms. For example,
soap dispensing systems often require a lot
of time for maintenance staff to refill them
on a regular, even daily basis. Products are
now available in top-fill soap dispensing
system that can refill up to six soap dis-
pensers with one pour. That saves time, as
well as ensuring that all dispensers are full,
and hands are actually washed at school,
thus preventing the spread of germs and
disease in school environments.
Hand drying is critical for good
hygiene, and hence, an important detail
in restroom design. The common op-
tions are paper towels and hand dryers, The use of multiple products from a single
and while each have their pros and cons, manufacturer helps to promote a more
cohesive design, with coordinated washroom
there is room for both, even in the same
accessories, partitions, and other items, in a
washroom. One manufacturer even hygienic washroom.
makes a 3-in-1 unit that has a paper
towel dispenser, waste receptacle, and a
built-in high-speed hand dryer. While highlighted by the recent pandemic.
paper towels can generate waste and may Strategies such as flexible spaces, indoor/
be more expensive in the long run (since outdoor connections, and better acoustics
they are a consumable), there are instances help in that regard. Improved ventilation
where they are needed for uses besides and thermal comfort are also key aspects.
hand drying, like cleaning up a mess in a Attention to restroom and toilet design in
washroom, or even using them to avoid the interest of better hygiene, health, and
touching surfaces that people don’t want privacy is required. Altogether, designing
direct contact with. with a focus on health and welfare is in
By selecting washroom accessories that everyone’s best interest.
fit seamlessly with partitions in color, as
well as with a collection of washroom ac-
cessories, designers have a complete palate
to create their vision.
Peter J. Arsenault, FAIA, NCARB, LEED-AP
CONCLUSION is a nationally known architect, and author of over
Designing schools requires attention 250 continuing education courses promoting better
to current concepts in learning, plus architecture in both performance and design.
attention to health and welfare issues www.pjaarch.com www.linkedin.com/in/pjaarch
 ADVERTISEMENT

PRODUCT REVIEW
Updated School Design in a Post-Pandemic World

CONTINUING EDUCATION
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109
CONTINUING EDUCATION EDUCATIONAL-ADVERTISEMENT
Buildings that are located adjacent to, or near,
bodies of water are subject to flooding. They must
be protected for the occupants' safety and to
avoid property damage.
Floodproof Window
Systems and Glass
Flood Walls
Passive systems provide superior design options
Sponsored by Floodproofing.com | By Peter J. Arsenault, FAIA, NCARB, LEED AP
looding has become a more
common occurrence in many
locations prompting architects and
other design professionals to seek ways
to protect people and buildings from
often damaging effects. Finding ways to
achieve that protection so that buildings
remain resilient, dry, and operational is
a design challenge that needs to balance
effectiveness with aesthetics and budget.
Increasingly, such solutions also need to
meet local, state, or federal standards to
satisfy code requirements or insurability.
In cases where a building is a critical
facility, such as a hospital or emergency
110 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 2
response control center, particular atten-
tion is needed for timely, effective, and
permanent flood protection. With all these
points in mind, this course looks at some
of the options available, especially passive
systems which remain permanently in place.
Some floodproofing fundamentals are
presented along with a variety of regulatory
requirements. Then floodproof window
systems and glass flood walls are looked at
in detail including some project examples of
very successful installations. These systems
represent a fairly new technology that is
leading to new options and a new future in
flood protection for commercial buildings.
Image courtesy of Floodproofing.com
CONTINUING EDUCATION
1 AIA LU/HSW
Learning Objectives
After reading this article, you should
be able to:
1. Identify and compare the different types
of floodproofing systems, including
conventional, active, and passive dry
floodproofing solutions.
2. Review the current regulatory standards
and requirements related to flood
protection in buildings.
3. Explain different types of passive
systems including impact windows,
floodproof windows, and flood walls
that meet local, state, and federal
regulations.
4. Assess the costs of passive versus active
dry floodproofing systems for buildings.
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 #K2201R

FLOODPROOFING FUNDAMENTALS
Different methods and techniques have been
used for many years to protect buildings
from flood damage and people from harm.
Some are based on trial and error, some on
tradition, and some newer ones are based
on engineered, manufactured systems. All
are primarily focused on keeping rising
floodwater at bay and isolated from vulner-
able portions of buildings. There are three,
fundamental, common methods currently
in use which are discussed as follows.
Conventional Dry Floodproofing
Historically, the most common and
conventional approaches to floodproofing
have been reactionary, often relying on
do-it-yourself methods of hand-installed
materials. Sandbags are the most commonly
used form of flood barrier, although their
effectiveness can vary greatly based on the
specific materials used and the stacking
techniques employed. The idea is that the
heavy bags will stay in place and form a
barrier that can be custom fit to suit a
particular location or application. They
aren’t inherently waterproof, and the edges
and perimeters are not particularly prone
to a tight seal in all cases. The sand may
actually get wet and store some water which
may help in some cases, but certainly not in
a severe condition.
Other hand-based responses include
using plywood or similar wood board stock
to cover over windows and doors to protect
against not only water, but from flying or
flowing debris. The effectiveness of this
approach can also obviously vary a great
deal based on the specific materials and the
methods of installation.
Active Floodproofing
In locations where repeated flooding has
occurred or the potential damage is high,
more reliable methods have been sought
for protection. This has led to the rise of
engineered, manufactured barrier systems
that can be erected around a building in
advance of a flooding event and removed
afterwards. Such systems include stackable
barriers in frames, temporary flood walls or
shields, among others. This manufactured
approach provides a more reliable and
Floodproofing.com's team of flood mitigation specialists provide floodproofing products, education, and support for projects
in the flood plain. They can ensure your floodproofing design is compliant and fits your project needs with a complimentary
project assessment.
Photos courtesy of Floodproofing.com
Active floodproofing includes barriers or shields that are deployed as needed just before a
flooding event.
predictable defense against flood waters since
it allows for design and fabrication of a sys-
tem that can be tested for effectiveness. If any
weakness is found, it can be corrected and
adjusted in advance, not only in the nature of
the manufactured products, but also in the
specific implementation or deployment for a
particular building.
While active floodproofing is generally
considered to be more effective than conven-
tional, do-it-yourself floodproofing, there are
some things that need to be considered. First,
these systems are generally more expensive
than conventional systems. They do have the
benefit of being demountable and re-usable,
however. That can make them quite economi-
cal over time, particularly if they avoid costly
building damage and repairs. Second, they
need to be readily available to the protected
building, so there is the need (and cost) of
providing storage for the parts and pieces of the
system. Next there is the need for trained labor
to take the system out of storage in advance of
a flood event, install it in place correctly, and
assure its watertight capabilities. This deploy-
ment may take hours or even days to achieve
so speed is of the essence, particularly in cases
where minimal advance warning is provided.
These conditions may require extra personnel
or equipment (forklifts, small cranes, etc.) to
allow the system to be fully deployed rapidly
and effectively.
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CONTINUING EDUCATION
It is important to note that some jurisdictions
have adopted code or other requirements related
to active floodproofing systems. Of particular
concern to a building owner or operator is the
common requirement for an annual deployment
of the system to allow it to be inspected. This
means that, at a minimum, a once-a-year effort
and expense must be committed to assure that
the active system remains an effective form of
flood proofing a building or site.
Passive Floodproofing
Recognizing that manufactured active flood-
proofing systems bring both advantages and
added requirements to a building, the search
for a better option has led to the use of passive
floodproofing systems. These are defined
simply as a permanently installed system that
remains in place and ready to protect all the
time. Passive systems are designed and installed
as part of the overall building or site design
with the first intent of providing protection,
just like security barriers can. In the interest
Continues at ce.architecturalrecord.com
Peter J. Arsenault, FAIA, NCARB, LEED AP,
is a nationally known architect, continuing
education presenter, and prolific author
advancing sustainable choices through better
design and spec writing. www.pjaarch.com,
www.linkedin.com/in/pjaarch
111
CONTINUING EDUCATION EDUCATIONAL-ADVERTISEMENT
Prairie Riverheath Way, a multifamily
project located on the Fox River in
Appleton, Wis., was designed with
extruded aluminum trim for a modern
look that reflects the town’s natural and
urban aesthetics.
Creative Collaboration Partnerships
Between Vendors and Architects Hold
New Possibilities for Extruded Aluminum
Sponsored by Tamlyn | By Erika Fredrickson
I
t’s no secret that extruded aluminum
is a force of versatility in the built
environment. Its range of exterior and
interior applications, as well as an ability
to blend with other materials or bend to
a multitude of shapes without sacrificing
strength and durability, are key to its popu-
larity. Recently, extruded aluminum has
evolved to become even more customized
for multifamily and commercial projects to
support the health, safety, and well-being of
building occupants. One interesting aspect
of these innovations is the expanding ability
of vendors to do in-house collaborations
with architects and specifiers. This new
partnership promises more possibilities for
the architectural world, where the synthesis
of ideas is as strong as the material it works
to develop.
THE VERSATILITY OF
EXTRUDED ALUMINUM
This section will provide a brief overview of
extruded aluminum, discussing its versatility
112 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 2
in terms of exterior and interior applications
for multifamily and commercial use. It will
list the reasons aluminum is such a popu-
lar material and provide an overview of its
performance characteristics and finishes. It
also will discuss important health and safety
elements that extruded aluminum provide for
building occupants. Finally, this section will
bolster the concept that extruded aluminum
has continued to expand its value with new
parts and fabrications, and that as vendors
and architects work together, these exciting
developments can continue to evolve.
Why extruded aluminum?
Extruded aluminum is unlike many other
building materials because it does not need
to fit standard profiles. It can be shaped to
fit the design and structural needs of a given
project, and that flexibility is beneficial for
multifamily and commercial properties.
The popular material provides high-quality
practical shapes, forms, and profiles that
have the appearance of fine metal craft and
Courtesy of Engberg Anderson Architects
CONTINUING EDUCATION
1 AIA LU/HSW
Learning Objectives
After reading this article, you should
be able to:
1. Discuss new innovations for extruded
aluminum in terms of profile shapes.
2. Explain how new fire-rated reveals
provide better safety for building
structures.
3. List three new technologies that can be
integrated with extruded aluminum to
support better comfort for occupants.
4. Describe ways in which vendors and
architects can collaborate in the united
goal of healthier and safer products.
To receive AIA credit, you are required to
read the entire article and pass the test.
Go to ce.architecturalrecord.com for the
complete text and to take the test for free.
AIA COURSE #K2201U
 EDUCATIONAL-ADVERTISEMENT

Courtesy of Herman Coliver Locus Architecture

can be integrated easily into other surfaces
for significantly less cost than custom metal

CONTINUING EDUCATION
work. Overall, its clean appearance works
well with modern designs.
Aluminum is the most abundant metal
in the earth’s crust. It is always found as a
compound and often with bauxite ore, which
contains around 30–60% aluminum oxide
(known as alumina). Aluminum can be
extracted from the bauxite and then smelted
to form the aluminum metal that most
people know. Because it is lightweight and
durable, works in alloys, and is readily avail-
able through new extractions and recycled
materials, aluminum is widely used in the
transportation, packaging, and construction
industries. It resists corrosion and is tolerant
of high temperatures, making it ideal for
commercial aircraft. It also is nontoxic and
has low reactivity to light, water, and oxygen,
which is ideal for food packaging as well as
construction purposes – from windows and
roofing to structural frames, gutters, and
external and interior trim.
Half Moon Village in Half Moon Bay, Calif., was designed with extruded aluminum to provide
To get these versatile products, alumina a modern, sleek look that affordable housing for seniors has not always had in the past.
first must undergo smelting and alloy-
ing. During this process, solid billets of
cast metal are created, and these are later Durability in the fields of architecture and building design
extruded through specialized forms to create Aluminum’s physical properties and charac- about how pathogens and people intersect in the
the finished product. Following the extru- teristics are at the core of its versatility. As a built environment. That conversation has led to
sion process, the material is finished with material, it is strong, durable, and resilient – all exciting ideas in current R&D that focus on the
anodizing or painting. The finishing process while being lightweight. While some materials ways materials and construction can produce
provides a range of colors, textures, and are damaged on impact, aluminum can spring healthier spaces both now and in the future.
brightness to the aluminum. back (or be pushed back) to its original form. For that reason, specifiers must carefully
Most extruded shapes used for architec- And unlike other metals, it doesn’t rust, thanks consider how material choices might impact
tural purposes are made from Type 6063–T5 to its own naturally occurring oxide film. the spread of viruses, bacteria, and infectious
aluminum. This aluminum alloy made When used for interior architectural purpos- diseases in all kinds of spaces. Research has
with magnesium and silicon is commonly es, aluminum trim can withstand daily use and demonstrated a significant difference in the
referred to as the “architectural alloy.” It has long-term wear and tear better than most other longevity of viruses on a variety of surfaces,
a very smooth surface that is well suited for materials, and that makes it a great option for and a variety of treatments appear to further
anodizing applications. The T5 designation multifamily residential projects. For example, reduce the growth and survival of viruses and
indicates that it has been artificially aged and it’s tough enough to protect corners and bases, bacteria, enhancing the ability of a surface to
moderately heat-treated for strength. but unlike trim made from either PVC or wood, destroy pathogens.
it won’t deteriorate or warp, and it isn’t prone
Characteristics of extruded aluminum to insect damage. Extruded aluminum trim is Continues at ce.architecturalrecord.com
Extruded aluminum is frequently referred to as also lightweight and very easy to install; these
the “miracle metal” because it has such an ex- features alone can be a great time and money Erika Fredrickson is an independent writer
tensive list of favorable properties. These prop- saver during construction. and editor focusing on technology, the environ-
erties make it ideal not just for transportation ment, and history. She is a frequent contribu-
uses such as commercial aircraft and trucking, Health and safety benefits tor for continuing education courses and publi-
or for food packaging, but also for many differ- Aluminum ranks high in health and safety ben- cations through Confluence Communications.
ent applications in the building industry. efits. The pandemic has led to wider discussion www.confluencec.com

TAMLYN is a family-owned company with 50 years in the building products industry and has placed a great deal of recent focus on build-
ing science, especially moisture management. This direction led to the development of their TamlynWrap® line, Drainable with its 1.5mm
bonded filament creating an enhanced WRB, and RainScreen 6.3 (¼") and 10.1 (3 ⁄8"). TamlynWrap® RainScreen is a multi-layer water
management system, intended for use over existing WRB or coated sheathing, of cavity spaces that are non-compressible and act as a
furring matrix to promote enhanced drainage and drying, paired with improved installation efficiency. www.tamlyn.com

113
CONTINUING EDUCATION EDUCATIONAL-ADVERTISEMENT

Armstrong Living Lab

Photo courtesy of Armstrong World Industries

Make Waves: Designing CONTINUING EDUCATION

1 AIA LU/HSW

Spaces for Comfort and Learning Objectives

After viewing this multimedia

Well-being presentation, you should be able to:

1. Consider how sound waves and airflow
affect people in interior spaces.
2. Learn about acoustics and design
Sponsored by Armstrong Ceiling and Wall Solutions considerations that put people, health,
and wellness first.

J
ulian Treasure examines a renewed
focus on indoor environmental qual-
ity—how it helps us to design, build,
and renovate better spaces where people
can connect, collaborate, and concentrate.
Pre-pandemic, we understood how much
acoustics, lighting design, and sustain-
ability contribute to our well-being. Now,
more and more specifiers are thinking of
interior spaces as ecosystems made up of a
wider variety of elements working together
to form healthier built environments for
people. Join us to learn more about how
human-centered, holistically designed
interiors can improve occupants’ quality of
life in commercial spaces.
3. Recognize the effects of indoor
environmental quality on individuals.
4. Determine key factors in indoor
environments for optimum productivity.
To receive AIA credit, you are required to
view the multimedia presentation and pass
the quiz. Visit ce.architecturalrecord.com
to take the quiz for free.
AIA COURSE #K2201V

Armstrong World Industries is a leader in the design and manufacture of innovative commercial ceiling and wall systems.
At home, at work, in health-care facilities, classrooms, stores, and restaurants, Armstrong Ceiling & Wall Solutions offer
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 possibilities
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

114 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 2

 EDUCATIONAL-ADVERTISEMENT

CONTINUING EDUCATION
Seamless acoustical ceiling system
installed at the REGENXBIO Corporate
Office, Rockville, Md.

How to Specify Seamless CONTINUING EDUCATION

Acoustical Ceilings
1 AIA LU/HSW

Learning Objectives
After viewing this multimedia
presentation, you should be able to:
New options provide architects improved acoustics 1. Discuss the challenge for architects to
strike a balance between aesthetics, cost,
without sacrificing aesthetics and acoustic performance for the well-
being of the occupant.
2. Recognize the evolution and current
Sponsored by Armstrong Ceiling and Wall Solutions options for smooth surface ceilings that
improve acoustic performance.

I
n the past, when architects designed
ceilings, they have contended with
the fact that they can achieve either
a smooth, monolithic drywall aesthetic
or excellent acoustics, but not both.
One solution has been acoustical plaster
systems, which have excellent acoustics
and beautiful aesthetics, but they are
expensive. Now a new acoustical drywall
alternative offers a solution for spaces
that require acoustics and need a drywall
look at a lower cost. This course offers a
look at the evolution of seamless acoustic
and drywall ceiling solutions and pro-
vides concrete information on how this
new technology benefits the occupant’s
well-being.
3. Compare performance, cost, and
installation methods of seamless
acoustical ceilings to ensure a healthy
environment for occupants.
4. List common misperceptions associated
with seamless acoustical ceiling products.
To receive AIA credit, you are required to
view the multimedia presentation and pass
the quiz. Visit ce.architecturalrecord.com
to take the quiz for free.
AIA COURSE #K2201W

Armstrong World Industries is a leader in the design and manufacture of innovative commercial ceiling and wall systems.
At home, at work, in health-care facilities, classrooms, stores, and restaurants, Armstrong Ceiling & Wall Solutions offer
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 possibilities
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

115
 DATES & Events
Upcoming Exhibitions
Reset: Toward a New Commons
New York
April 14–September 3, 2022
The Center for Architecture presents an
exhibit that analyzes the role of architecture
in the contemporary dynamics of community.
Taking into account recent movements toward
racial justice, and also the isolating impact of
Covid on the American way of life, the ex-
hibit highlights historic and recent case stud-
ies where design has addressed the need for
interaction among vulnerable populations.
To accompany the exhibit, the Center has
launched a nationwide Request for Proposal
from interdisciplinary design teams to envi-
sion new environments for collaborative liv-
ing. See centerforarchitecture.org.
The Architect’s Studio: Forensic
Architecture
Humlebæk, Denmark
May 19–October 23, 2022
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116 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 2
Presented by the Louisiana Museum of
Modern Art in Denmark, this exhibit is the
fifth installment of their Architect’s Studio
series. It features work from the Forensic
Architecture studio, headed by architect Eyal
Weizman. Forensic architecture is an emerg-
ing field of practice developed at Goldsmiths,
University of London, which investigates
state and corporate crimes against civilians by
analyzing architectural evidence. Highlights
from the studio’s work includes models and
virtual spaces that reconstruct specific events,
including drone strikes, industry-related
environmental disasters, and incidents of
police brutality, in order to present evidence
not normally included in established jurispru-
dence. See louisiana.dk/en.
Ongoing Exhibitions
Here We Are: Women in Design,
1900–Today
Weil am Rhein, Germany
Through March 6, 2022
In this large-scale exhibit, the Vitra Design
Museum recognizes the contributions of
women to design over the past 120 years.
Works by Eileen Gray, Charlotte Perriand,
and Florence Knoll are featured among 80-
plus other women who shaped this history
amid the struggle for equal rights and recog-
nition. The exhibit also includes work by
contemporary designers such as Matali Cras-
set, Patricia Urquiola, and Julia Lohmann.
See design-museum.de.
Nature x Humanity: Oxman Architects
San Francisco
Through May 15, 2022
The San Francisco Museum of Modern Art
presents an exhibit of 40 artworks and instal-
lations since 2010 in which Neri Oxman and
her team question the role of the architect in
the age of climate change. The collection
explores the sustainability of architectural
practices through what Oxman terms “mate-
rial ecology,” an interdisciplinary approach
that melds organic design, digital fabrication,
and materials science in an attempt to pre-
clude a human-centered built environment.
For more, see sfmoma.org.
Sigurd Lewerentz: Architect of Death
and Life
Stockholm
Through August 28, 2022
The first major exhibit about the enigmatic
Swedish architect’s life and work is presented
by ArkDes, Sweden’s national center for
architecture and design. Lewerentz (1885–
1975) was one of Scandinavia’s leading archi-
tects of the mid-20th century; his major
works include Stockholm’s St. Mark’s church
and its National Insurance Institute. Unlike
many of the prominent architects of the
Modernist era, he did little writing or public
speaking, and the details of his practice have
remained a mystery. The exhibit showcases a
never before seen collection of Lewerentz’s
drawings, personal archives, and library. See
arkdes.se/en.
Events
London Festival of Architecture 2022
London
April 5-10, 2022
This year, the world’s largest annual architec-
tural festival revolves around the theme “act.”
Festival organizers, New London Architec-
ture, ask how architecture should respond to
the demands of a changing world and tackle
the urgent questions of sustainability and
social injustice, both within and beyond the
bounds of the profession. The festival features
 a program of talks, tours, installations, workshops, and open studios.
For registration and more, go to londonfestivalofarchitecture.org.

Competitions
Red Dot Award: Product Design
Deadline: February 11, 2022
Designers, offices, and manufacturers can enter products in one of
roughly 50 categories, from kitchen appliances and electronics to
medical technology and vehicles, for assessment by an international
jury of some 50 jurors from 15 countries. Begun in the 1950s, the
competition has offered designers the opportunity to submit their
products to receive the international visibility and distinction be-
stowed by the Red Dot achievement awards. Each product is assessed
on its own merits for its ability to guide consumers and industry
experts all over the globe to products with simple, high-quality de-
signs. Awards include Red Dot: Best of the Best; Red Dot: Design
Team of the Year; and Red Dot: Personality Prize, among others.
This year’s regular registration began November 6 and ended on
January 21, 2022. Late registration began on January 21 and runs
until February 11, 2022. See red-dot.org.

E-mail information two months in advance to areditor@bnpmedia.com.

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117
Design
makes a
statement
June 13–15, 2022
theMART, Chicago
neocon.com
NeoCon® is a registered trademark of Merchandise Mart Properties, Inc.
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Advance Lifts INC 116 Bobrick Washroom Equipment 34 Reef Industries, Inc. 117

ARCAT 22 Boral Building Products CVR4 RH Tamlyn & Sons 112, 113

Architectural Record - Bradley Corporation 101 Rockfon LLC 103

Academy of Digital Learning 76

Carlisle Construction Materials 5 Skyscraper Museum, The 117

Architectural Record -

Advertising Excellence Awards 2022 27 DeepStream Designs, Inc. 19 Smart Vent 110, 111

Architectural Record - AR Bookstore 26 Doug Mockett & Co. 14 Vitro Architectural Glass

(Formerly known as PPG Glass) 9

Architectural Record - BNP Engage 77 Georgia-Pacific Gypsum CVR3

Architectural Record - Design Vanguard 95 Goldbrecht 3

Architectural Record - Design:ED Podcast 84 Landscape Forms 28

Architectural Record - Education Exchange 38 Lorin 2

Architectural Record - February Webinars 78 Mitsubishi Electric Cooling & Heating 107

Architectural Record - NeoCon 118 Modernfold 17

Architectural Record - Podcasts 75 modular Arts 35

Architectural Record - NanaWall 105

RH Tamlyn Digital Academy 20

National Terrazzo & Mosaic Association 15

Armstrong World Industries, Inc. CVR2, 1, 114, 115

Neolith 11

ASI Group 99
PABCO Gypsum 12

Azon 4
Petersen Aluminum 32

BISON 6
Pilkington North America 36

Publisher is not responsible for errors and omissions in advertiser index. R Regional Insert

119
 SNAPSHOT

IN CHINA’S Xinxiang Henan province, nine “frosted” glass cubes stack atop one another
to form the first building in the forthcoming Pingyuan cultural district and tourism
center—and the first built work by two young Paris-based firms in partnership, Zone of
Utopia + Mathieu Forest Architecte. The development will be home to shopping centers,
residential towers, a man-made lake, and one of China’s largest indoor ski slopes—all
with the theme of winter sports, inspired by this month’s Winter Olympics in Beijing, 400
miles away. At 174 feet tall, the 78,000-square-foot, steel-framed structure is animated
by its double-glass facades, which have varying degrees of opacity and are made up of
8-by-8-foot panels of glazing suspended from stainless-steel cables. The exteriors—
emblazoned with an ink-printed snowflake motif—communicate with the water that
surrounds the building in its three states (solid, liquid, vapor, depending on the
temperature), explains architect Qiang Zou, “to symbolize the spirit of the site.” The
building will serve as “a living room for the neighborhood,” adds his partner, Mathieu
Forest, and “a model for the whole district.” Called Ice Cubes, the project will include
restaurants, bars, exhibition spaces, childcare and reception centers, a terrace, and sky
PHOTOGRAPHY: © ARCHEXIST

lounge. The structure is also a sculptural artwork that is transformed by light, weather,
and perspective. “It’s like a painting,” says Forest. “Each time you see it, you discover
something new.” Ilana Herzig

120 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 2

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