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And the winner is...
2018 AIANY Design Awards winners announced!
- Gro Benesmo, Partner, S P A C E G R O U P
- Ila Berman, DDes MRAIC, Dean and Edward Elson Professor, UVA School of Architecture
- Aaron Forrest, AIA, NCARB, Principal, Ultramoderne
- Walter Hood, Creative Director, Hood Studio
- Tom Kundig, FAIA, Principal and Owner, Olson Kundig Architects
- Debra Lehman Smith, Partner, LSM Studio
- Meejin Yoon, AIA, Co-Founder, Höweler + Yoon Architecture LLP, Professor and Head of the Department of Architecture, Massachusetts Institute of Technology
'Tis the Season
Specsheet > String Tied, This Year’s Holiday Gift Guide
We asked our editors, architect friends, and fellow design aficionados what they are putting at the top of their wish lists this year. The result is a compilation of rarities, outrageous objects, curiosities, and other items that you would want but would never buy for yourself.Cheese grater Forma Zaha Hadid for Alessi Zaha Hadid Architects designed a cheese grater that follows the same aesthetic of her most iconic works: organic shapes derived from natural forms. Composed of a sculptural black base that holds a punctured, mirror-polished stainless-steel grater, the ergonomic shape is designed to fit comfortably in the palm of the user’s hand. $80 | alessi.com 1st Floor Blue Mug Adam Nathaniel Furman for Sir John Soane’s Museum Shop “In the grand classical manner of the very best salons of old, this mug is raised up on a vaulted arcade so that it may occupy the airy summit of its own piano nobile. Elevated above the common detritus of your breakfast table, this dining item elegantly maintains the dignified sanctity of your morning brew.” $32 | soane.org Guatemala Throw CoopDPS for ZigZagZurich This brightly patterned woolen Nordic blanket is the work of Nathalie Du Pasquier and George Sowden—the founding members of the Memphis Group. Part of the Post Crisis Collection, referencing the aftermath of the 2008 financial crash, the blanket features geometrics mingling with abstract organics in a wash of the iconic duo’s famously bright, bold primaries. $203 | zigzagzurich.com Frank Tray Good Thing Purveyor of all things mundane and manufacturer of everyday objects, Good Thing made something that is especially banal into something quite useful and amusing. Using an industrial metal-forming technique to shape siding into a hotdog wrapper–like detail, this handsome catchall is a useful tool for storing a sausage, as well as loose change, keys, makeup, etc. $24 | supergoodthing.com Half Timbered T-shirt Sam Jacob Studio Sam Jacob Studio devised this T-shirt with an edge-to-edge silk-screened Pugin-esque black and white motif. Like “architecture for your body,” the graphic pattern is a tribute to the op art effect of buildings like the Elizabethan manor Little Moreton Hall, and is also a twist on the artifice of mock-Tudor suburban buildings. $40 | samjacobstudio.com A Piece of Kahn - Travertine Earrings Pico Design for the Yale Center for British Art Inspired by the architecture of Louis Kahn, these earrings are part of the Moth/Butterfly Collection, a collaboration between Yale Center for British Art (YCBA) and Pico Design. Geometric in form, the sterling-silver jewelry has brushed and oxidized finishes that envelop a travertine cuboid recovered from the recent renovation of the Kahn-designed YCBA. $125 | picomeanslittle.com | YCBA Museum Shop, corner of High and Chapel Streets, New Haven, CT
The second question I wanted to ask you is about style. President Camacho from Idiocracy [who Terry Crews plays in the film] is by far the greatest president in cinematic history. You have a certain presence. That dancing is iconic in film history at this point. There’s a certain sensibility or personality with you. There’s this kind of charisma around you, which translates a lot of times into style. You’ve already designed your own house. You’ve also done these paintings. The question is, what can we expect to see in terms of your work? What can we expect to see in terms of your design as far as style goes? You know, it’s weird. That’s a great question because I, for one, feel like some people get things mixed up with flash and shock and then they call it style. I’ve seen it in entertainment where jokes become insulting as opposed to informative and insightful. I’ve seen even design itself get very cynical, which is something you really have to watch because as an artist I don’t want to offend, but I always want to be bold. Bold is the most important trait that I have and the good thing is that bold has nothing to do with personality. I’ve seen people who were very meek, very withdrawn or even sanguine or melancholy, but they were extremely bold. My wife is my best confidant because I put stuff out there. I always run everything by her first. I want to make sure that I differentiate the loudness and craziness and shock jock kind of thing from actual boldness. To me, when you say bold, I’m thinking full throttle and focused. Oh, that sounds good. I’m stealing that. You know what? You just summed it all up right there. Full throttle, focused, that’s me. Yeah, but you’re right. When you see somebody that’s literally obsessed and they’re so focused and it gets better and better and better and better, over the whole incarnation, you go, holy cow … I’ve watched other people do that, and like I said, it’s not about being crazy and dancing around and putting lights on it and sparklers. It’s like, holy cow, look at that. I’m with you, man. Next, I want to ask about process. As a film actor, probably there’s a preparation process that’s unfamiliar to designers and I wonder how you might translate that into design. You know what? Because I made all the mistakes and art is art, be it acting, drawing, designing, architecture, it’s all art and fear is your enemy. It’s your enemy. For an actor, there’s a point where you spend years overcoming fear. I’ll tell you about my first job. I was working on a movie called The Sixth Day with Arnold Schwarzenegger, the first movie I ever did. My job was to come up on the steps of his home and tell Arnold, "Hey, Adam Gibson, you’re coming with us." And he looks at me and he says all this stuff. That’s how the scene’s supposed to go. Well, the scene started. I go in, I walk up to him and nothing comes out of my mouth. I was scared to death. Instantly, I was like, I don’t belong here. I’m a football player, I have no skills. I don’t know what this is, and I doubted everything about myself and in a split second, I mean it was like, brrrr! Magically, something went wrong with the camera, which was crazy, and they had to shut everything down and all that and they said, Terry, we’re going to take a break, something is wrong with the camera, we’re going to just take five minutes. Now, they didn’t notice that I suck, but that’s what happened and I went to the side and I said, Terry, what are you doing? And I remember feeling like, if you don’t do this, you’re never going to get this opportunity again. And I used that energy and I went back at them and I looked at Arnold and I’m like, "I’m here, sir and you’re coming with us." And he was like [imitating Arnold saying his lines] and I was like, “Oh my God.” And let me tell you something, I learned something that day – you have to trust yourself. I was even so stuck on this furniture, and then I came up with a story for it and all of a sudden it started making itself. I think you’re absolutely right. I get nervous, I worry about stuff. This is super therapeutic, actually. It is. I’ve been there with you, man. It’s a hard thing, but practice makes it easier. Let’s go to the next question, which is about transformation or metamorphosis. You’re a person who’s gone through this once. You went from being an NFL player to a film actor, and now you’re about to go through it again. And during our Terry Crews week, we stumbled on your Sesame Street episode … violinist, sculpture, mime. So, here, you’re about to undergo this metamorphosis once again. Are there things that you can take away from the first time that will teach you again? First of all, being a football player is a very limiting world. It’s very, very limiting. People already have so many preconceived notions of who you are because it’s almost like a cookie cutter. But you have to understand the football thing and the art thing has never been separate with me, ever. When I went to college, I would go to the little art classes with the people in black who were so sad and I was like, Hey you all, how are you all doing? I got my letterman jacket on, I was like, alright! And then I go right to practice after that and people … there were others that had issues. Now, I know I’m an artist. I know what I do. And then when Jerry Helling, the President of Bernhardt Design came to me and said, "I want to do something with you," and I’m like, "Cool, we can find a designer, we can… " He’s like, "No, no, no, no, no. I want you to design it—pivot time." It just went back to – we need you, we know you’re a linebacker, but we need you to play defensive end on this point. We know you do drama, but here’s comedy right here. I’m the riskiest guy ever. I try everything. They were like, we want you to host the "Who Wants to be a Millionaire." I was like, okay, and I didn’t know what I was doing. I mean, look at Regis and look at me. I got a 200-pound difference, me and Regis or any other host they have, Meredith Vieira. But I said, you know what? This is where all the action is and it’s funny because I’m thankful. By this practice of doing this, I’ve built a career where no one is shocked at what I’m doing. So, that’s a long answer to that question. These are deep questions. They’re so good. Beautiful answer. I really admire your courage. This takes so much courage. Words can’t really describe how thankful I am that you’re here and so glad to be sitting here with you and having this conversation. We’re really looking forward to your design. My pleasure, man. This is awesome. I love this world. I love this. Thank you, guys.
David Adjaye has L.A. projects in the pipeline
This post is part of our years-long running Eavesdrop series (think page 6 for the architectural field). It’s your best source for gossip, insider stories, and more. Have an eavesdrop of your own? Send it to: eavesdrop[at]archpaper.com.
Does David Adjaye, lead designer behind the National Museum of African American History and Culture in Washington, D.C. have Los Angeles–based projects in the pipeline?
Yes, according to the architect himself. During a recent interview at the Dwell on Design conference with Los Angeles Times architecture critic Christopher Hawthorne, Adjaye teased that his office had several potential L.A. projects on the way—up to half a dozen of them, in fact.
The architect could not elaborate further, but he hinted the projects might be diverse in their programming and occupy sites scattered across the city.
Next Generation Design
Jerry Helling on helming Bernhardt Design, America's changing tastes, and more
In 1981, Lenoir, North Carolina–based Bernhardt Furniture Company founded Bernhardt Design with a mission to focus more internationally and to cultivate a roster of established and new talent. Jerry Helling has been president and creative director of Bernhardt Design since 1991 and has established a number of initiatives, including an interdisciplinary course with the world-renowned ArtCenter College of Design in Pasadena and ICFF Studio, a scholarship program that provides exposure for emerging designers. Helling and The Architect's Newspaper's Editor-in-Chief William Menking discuss Bernhardt Design’s past, present, and future.
The Architect’s Newspaper: You have been president and creative director of Bernhardt Design since 1991, and in that time it has become a company known to value good contemporary furniture design. Were you brought into the company to push design thinking, or did you come to realize its importance in the marketplace?
Jerry Helling: I’m usually accused of being ahead of the curve, which is probably accurate. I had a hard time understanding why the American market was still so rooted in historical reproductions when other countries were doing interesting contemporary design. I decided to change direction and see if we could find a market in America for well-designed contemporary furniture. It was a big risk and it took ten years to really catch on. Some of our best pieces were discontinued in the early 2000s because people didn’t understand them or want them at the time. You must remember this was before the re-emergence of the Eameses and the entire midcentury catalogue. Design Within Reach hadn’t opened yet in the mid-’90s, so it was difficult to educate an audience on the value of original design.
Do you see contemporary furniture becoming more appreciated by American consumers?
Yes, definitely—it is fashionable and it sells, so everyone is interested in it now. There are a number of reasons why this entire phenomenon has coalesced and it is hard to pinpoint a turning point.
Design became a business buzzword and many studies and books were written about design thinking in everything we do. The media started covering design in a major way and that brought it into the public consciousness, and Design Within Reach’s outreach to consumers helped too. The idea that everything goes in cycles also played a role; in America we were ready for a new modern design cycle, which the Europeans had adopted after the Second World War and continue to support. The interesting point of all this is that at first, you think it is driven by the younger generation, when in fact the baby boomers are fueling the demand. They are leaving their homes filled with family antiques and want to downsize with modern furniture and accessories. I find the younger generation more eclectic, combining modern furniture with flea market items, IKEA, and traditional furniture. They are less likely to be driven by trends.
You are well known for your support of design education and mentoring of young designers. What brought you to focus on education?
It was purely a matter of need. While design students receive a wonderful education in design, they don’t receive much guidance regarding what to do after they graduate. How do you present your ideas and concepts to manufacturers? How do you create designs that can be manufactured and that people want to buy? This has been the basis of our annual program with ArtCenter College of Design—striving to give students a real-life design experience before they graduate. From there we moved on to creating ICFF Studio, a platform to help young designers once they have graduated and need exposure to manufacturers, retail, and the press.
What initiatives are you working on at the moment that excite you?
I’m pleased that we are presenting the American Design Honors award to a wonderful couple from Oregon called Studio Gorm. They are doing interesting and exciting work and I Iook forward to people being introduced to them.
We are also doing a project under the title of “The Creatives.” It features actor Terry Crews, Grammy-nominated singer Tift Merritt, and Airbnb cofounder Joe Gebbia. People will have to visit ICFF to see what it is all about, but I can say their work is great and you won’t be disappointed!
Violet Crown Jewels
No two projects from Austin-based Miró Rivera Architects look alike
As Austin has become the hippest city in Texas (to the excitement of millennials everywhere), its architectural scene has also become the liveliest, with Miró Rivera Architects, the Texas Society of Architects architecture firm of the year for 2016, as one of its shining stars. The practice began when Juan Miró—born in Barcelona and educated in Madrid—was working for New York City firm Gwathmey Siegel Kaufman Architects, and was dispatched to Austin to oversee construction of an opulent villa commissioned by personal computer magnate Michael Dell. When the Dell House was completed in 1997, Miró realized he preferred the sunny Hill Country—with its passably Mediterranean climate—to Manhattan. Much like another émigré, the Viennese architect, Rudolf Schindler, who was sent to Los Angeles in 1920 by his boss, Frank Lloyd Wright, to keep tabs on a then-under-construction mansion for oil-heiress Aline Barnsdall, Miró decided to go out on his own afterward using the connections from the Dell House to get commissions (and crucially at first, also to get a steady teaching gig at the UT School of Architecture). Three years later, he was able to coax his Puertorriqueño brother-in-law, and fellow Gwathmey Siegel alum, architect Miguel Rivera, to join him and the firm was officially established in 2000.
As would be expected from a firm begun by transplants with such sophisticated pedigrees, the approach is decidedly cosmopolitan. This contrasts in an interesting way with the typical emphasis on formal regionalism espoused by the best-known modern architects in Texas, like O’Neil Ford and his spiritual descendants, Lake|Flato. These regionalists take inspiration from pre-industrial, rural buildings and tend to use specific local materials like limestone and brick. Miró Rivera’s projects, with their markedly varied, but always starkly modern appearances, appear almost to be the work of multiple firms, much like the multi-faceted Eero Saarinen. According to Rivera, the firm seeks to create an architectural vocabulary or iconography drawing from a variety of sources specific to the requirements of each commission. In this way, each project gets its own identity, but through the same analytic process, and through this dialectical exercise, the local becomes cosmopolitan.
Chinmaya Mission Austin, Texas
An educational center and worship space for a Hindu spiritual organization is an unusual program for central Texas—not known for accommodating a large South Asian immigrant population. Although strict budget constraints precluded the traditional stone temple the clients initially hoped for, the architects were able to devise a vocabulary of forms that could be built of inexpensive materials, but still recall typical Indian architectural typologies specific to the school and temple. Simple strategies, like alternating the colors of the metal roof panels and building a stone precinct wall of limestone slabs that could be individually sponsored as part of the fundraising effort, combined pragmatism and poetry.
Pedestrian Bridge Lake Austin, Texas
This bridge connects the main house on a property facing Lake Austin to a separate guesthouse. Its structure is made of several 80-foot-long, 5-inch diameter welded steel tubes that arc gracefully over a watery inlet separating the two buildings. The deck and sides of the bridge are made of half-inch steel rebar wrapped around the tubes. These common elements combined in an unexpected way evoke wetland plants growing on the site and transform what could be an intrusive element into a symbiotic, almost invisible link.
LifeWorks Austin, Texas
This headquarters was built for a nonprofit organization that helps at-risk children and families reorient their lives through educational programs and counseling. The architects physically suggested the organization’s mission by orienting it outward and opening it up to the neighborhood. The building is aligned to the edge of its site along a curving street with parking set to the rear. A continuous, three-story colonnade runs along this front-facing elevation. Its columns are slightly askew, an oblique reference to the organization’s clients, who come seeking support and assistance.Another design element doing double duty is the mix of three different exterior cladding materials, which alludes to the organization’s three cornerstones: counseling, education, and youth development.
Circuit of the Americas Del Valle, Texas
The 1,500-acre Circuit of the Americas, just outside Austin, is the first purpose-built Formula 1 racing facility in the United States. For this project, the architects were commissioned to design a 9,000-seat main grandstand, a 27-acre Grand Plaza, a central greenspace with a 14,000-seat outdoor amphitheater, and a 251-foot-tall observation tower. (A specialist German firm designed the super curvy track itself.) Naturally, the team looked to cars and auto culture for formal design cues. This is perhaps most clearly expressed in the band of sinuous red pipes shrouding the observation tower, the most prominent element on the site. According to Rivera, the idea for them came from watching the endless taillights of cars in the evening commute on the notoriously crowded Austin freeways winding their way through the city.
The results are in! We deliberated over hundreds of entries, covering everything from residential furnishings to smart home systems and facade products. Our superb team of judges evaluated entries for innovation, aesthetics, performance, and value. In addition to selecting a winner and two honorable mentions for each category (there were too many amazing products to just select one), we included some standout products in our “Visionaries” section, highlighting the year’s very best designs.
Becca Blasdel: products editor, The Architect’s Newspaper
Rafael de Cárdenas: founder and designer, Architecture at Large
William Menking: editor-in-chief, The Architect’s Newspaper
Jean Sundin: founder and principal, Office for Visual Interaction
Marc Tsurumaki: principal and founding partner, LTL Architects
Bob Williams: co-founder and president of design, Mitchell gold + Bob Williams
Kitchen + Bath
VAL SaphirKeramik Collection Laufen
Designed by Konstantin Grcic, Val features simple architectural lines, extremely slim rims and walls, and a fine surface structure. The collection of washbasins, washbasin bowls, storage dishes, and bathtubs is meant to be simple, but expressive.
Neorest 500H Toto
With features like tornado dual-flush technology that only uses a gallon (or less) of water per flush, an automatic mist of electrolyzed water, and a special glaze that utilizes nanotechnology, the Neorest 500H stays clean and fresh. Plus it has a motion sensor, which means it opens, closes, and flushes automatically.
Transpara Vertically Frameless Shower Door System C.R. Laurence
This shower door system from C.R. Laurence eliminates the need for hinges and vertical framing in order to secure large glass panels. It incorporates low-profile door rails and matching u-channels on adjacent fixed panels that maintain a continuous sightline across the entire enclosure, with visible hardware being only three-quarters of an inch tall.
Interiors + Furnishings
Exchange Chair Crème Design
This contemporary chair is inspired by the traditional Windsor form but exchanges the traditional wood spindles and stretcher-with-steel for a new style. Crème also designed several other backs that can be substituted on the chair and offers the choice of a custom back, multiple wood species, and steel finish options.
Valet by David Rockwell for Stellar Works Rockwell Group
David Rockwell’s collection for Stellar Works is meant to symbolize a new sector of furniture that supports everyday living, working, and entertaining. The valet itself creates an area of reprieve to transition from the busy outside world into a relaxed home. The leather bag holds two pairs of shoes and the walnut shelf is for personal items.
Series A Ping-Pong Table Poppin
Maximizing fun and productivity, Poppin’s brand-new conference table is regulation size for playing ping-pong and also seats 12 people comfortably. An easy-roll top opens to reveal a storage tray that holds teleconference equipment (to minimize visible wires), a color-striped net, four ping-pong paddles and six ping-pong balls.
While the complete roster of winners can be found in our just-published print edition, AN will be publishing the results daily over the coming weeks. View all of the published categories here.
AequoreaBelgian architect Vincent Callebaut has revealed ambitious plans for Aequorea, a series of self-sufficient floating villages constructed of recycled plastics from the Great Pacific garbage patch. Each jellyfish-like eco-village would spiral down to the sea floor—forming 250-floor "oceanscrapers"—and house up to 20,000 people. The 250 floors would contain science labs, offices, hotels, sports fields, and farms. Micro-algae would grow in the aquatic walls, and the villages would operate on algae fuel or hydrocarbons. According to Vincent Callebaut Architectures, the objective of Aequorea's residents would be to "explore the abyssal zones in a respectful way, in order to speed innovation and to democratize new renewable energies – by definition inexhaustible – massively." See the Aequorea project page here.
LilypadCallebaut also designed Lilypad, a floating city that could house 50,000 people. The proposed city's form mimics the intensely ribbed Victoria water lily. An artificial lagoon would lie in the center, surrounded by three marinas and three mountains. These ribs would house work, shopping, and entertainment, while food and biomass would be produced below the water line. Callebaut hopes for Lilypad to be built by 2100. See the Lilypad project page here.
The Ocean SpiralThe Ocean Spiral, an underwater metropolis proposed by Japanese construction firm Shimizu Corp, would drive energy from the seabed and house up to 5,000 people. Homes, businesses, and hotels would reside in a sphere 1,640 feet in diameter and connect to a 9-mile spiral that extends to a submarine port and factory. Ocean Spiral would use micro-organisms to turn carbon dioxide into methane. According to Shimizu Corp, the project is being researched by Tokyo University, Japanese government ministries, and energy firms. Shimizu Corp believes the necessary technology will be available in 15 years and construction would take five. See the Ocean Spiral project page here.
Sub Biosphere 2London based design consultant, Phil Pauley, designed Sub Biosphere 2, a network of biomes to house 100 people below water. The center biome would rise 400 feet above water, submerge 20 feet below water, and regulate fresh air, water, food, electricity, and atmospheric pressure. The surrounding biomes would split ten stories above water and ten below. Residents would live off hydroponic crops, grown in the biome seed bank. See Phil Pauley's webpage here.
Floating CityChinese construction firm, CCCC-FHDI, commissioned England and China based firm, AT Design Office, to design a four-square-mile floating city utilizing the technologies CCCC-FHDI is using to build a 31 mile bridge between Hong Kong, Macau, and Zhunai. AT Design Office proposes prefabricated hexagons connected by underwater tunnels. The hexagons would contain residential, commercial and cultural facilities. All residences would have ocean scenery from every direction. The top of each block would have a club, while the bottom would contain an equipment room and a gravity regulation system. Architect Slavomir Siska said, "China Transport Investment is reviewing the proposal and is likely to start to test this ambitious project from a smaller scale next year." See AT Design Office's webpage here.
The City of MériensThis 3,000-foot-long, 1,600-foot-wide manta ray is actually a floating university campus, called the City of Mériens. French Architect Jacques Rougerie designed the city to accommodate 7,000 academics for research and education. The city contains classrooms, lecture halls, laboratories, residences, and recreation, which would all run on renewable marine energy to produce zero waste. Rougerie told Weather.com, "I designed the City of Mériens in the form of a manta ray because it was the best design to accommodate such a community with regards [to] the best possible correlation between space and stability needs." The manta ray form is to counteract turbulence, while the descended structure is to maintain steadiness—rising 200 feet above water and 400 feet below. See Jacques Rougerie Architecte's webpage here. Although these ambitious proposals and renderings can be mistaken for science-fiction, organizations are seriously investing in their research and implementation. Maybe we will see smaller scale aquatic cities in our lifetime, but in the meantime, here is Kevin Costner's Water World:
The facility will serve students, building operators, building energy auditors, and will be used to support the development of new business ventures in energy efficiency.The Consortium for Building Energy Innovation (CBEI)—formerly the Energy Efficient Buildings Hub—at Philadelphia’s Navy Yard, is a research initiative funded by the Department of Energy and led by Penn State University that seeks to reduce the energy usage of commercial buildings to 50% by 2020. KieranTimberlake, a Philadelphia-based firm located three miles from Navy Yard, was selected by Penn State to renovate a 1940’s Georgian-style brick building to be a living laboratory for advanced energy retrofit technology. Included in the brief was an addition to the building, which evolved into a new stand-alone building across the street on Lot 7R, which aptly became the name of the building. The new 7R building, literally tied to the ground with groundwater-sourced heat pumps, is also formally and tectonically organized around passive solar strategies. A number of daylighting studies drove a re-shape of the building. An initial four-story cube was introduced in Robert A.M. Stern and Associates’ masterplan for the site, but became a long linear east-west oriented low-lying building. This configuration maximizes daylighting while minimizing over-shadowing on the site, establishing a framework for campus growth. 7R is loaded with environmental features including a green roof, a gray water reuse system, integrated daylighting strategies, and geothermal wells. These environmental priorities influenced an approach to building envelope design that balances performance with overriding aesthetics and compositional goals. David Riz, a partner at KieranTimberlake, says the composition of the facade is integral to the siting of the building: “In a large number of our projects, we accentuate the orientation of our buildings with facade treatments.” Brick, chosen for its relationship to a historic Navy Yard context, is utilized as a ‘solar shade,’ opening and closing along the south facade to manage direct heat gain, while eliminating the need for mechanized shades. ‘Rips’ in the brick fabric reveal a transparent glazing system adorned with horizontal sun shade louvers. To the north, the building visually connects to adjacent League Island Park by maximizing glazing along an elevated second floor ‘tree-top’ interior walkway. Arguably the most significant feature of the building envelope is a twin-wall assembly of insulated translucent panels, seen prominently along the length of the north facade, allowing the architects to maximize the level of daylight. David Riz says the panels are notably used both performatively and compositionally, spanning 19’ tall from the plenum to the roof coping: “We wanted to create syncopation in the patterning. We were trying to get a dual read on a long linear building introducing key moments as your eye moves along the building.” The panels are incorporated into the west facade as a primary material to help manage a harsh late-afternoon sun in the large auditorium’s break out space. Riz celebrates the success of the facade in managing a difficult western orientation through diffusing harsh sunlight into a soft glow: “When you’re in the break out space, you simultaneously sense the daylight from the west, a view to the north park, and also a view through the flying brick screen to the south. That’s where it all comes together.” Riz considers the quality of daylight filtering through the building envelope to be one of the project’s greatest strengths: “There are very nice moments as you walk through the building because its so narrow where you experience a simultaneity of the south facade and the north facade: a hint of the brick screen through the classrooms, and bays of transparent panels to the other direction.” KieranTimberlake, who recently received an award for Innovative Research at ACADIA 2015, continues to monitor for thermal performance and storm water analysis. In this regard, the 7R building is a blend between high tech data monitoring, paired with low-tech passive strategies and off-the-shelf products. The project, completed within the last year, will be utilized by Penn State for various research programs.