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Meet the Queens

Announcing the winners of the 2018 AN Best of Design Awards
The 2018 AN Best of Design Awards was our most exceptional yet. After expanding the contest to a whopping 45 categories and opening the competition to all of North America (including Canada and Mexico), we received more than 800 submissions, which made the judging more difficult than ever. An impressive range of projects came from firms big and small all over the continent. While we were surprised by the quantity of submissions, we were not surprised by the quality of the work put forth by architects and designers both familiar and new. There were some telling trends in this year’s submissions. First, our drawing categories received more and better entries than ever before. This resurgence in drawing, both analog and digital, seems to mirror what we see in the field: moving away from hi-fi digital photorealism toward more personal drawings utilizing a variety of techniques. See pages 70 and 71 for this year’s winners. It was also a good year for exhibition design, which you can see on page 22. For our Building of the Year award, our esteemed jury was fiercely divided between two exemplary but very different projects. The final debate came down to SCHAUM/SHIEH’s Transart Foundation—a private gallery across from the Menil campus in Houston—and NADAAA’s Daniels Faculty of Architecture, Landscape, and Design at the University of Toronto. SCHAUM/SHIEH’s relatively small but mighty building employs punched-through balconies and a blurred program to utilize the space to maximum effect. Meanwhile, NADAAA’s extension and renovation of a 19th-century neo-Gothic building includes dramatic, complex lunettes that let in Aalto-esque light. In the end, the jury chose the scrappy Houston project, but the decision really could have gone either way. The panel members were also enamored with the quotidian allure of the Saxum Vineyards Equipment Barn in Paso Robles, California, by Clayton + Little Architects. See this year’s winner and finalists starting on page 14. Our jury this year was incredible as always, with a very talented group (see opposite page) who engaged in spirited discussion and refined the way we look at architecture. It is always good to get more people involved in the conversation, and we are always shifting our views on what is relevant and interesting. We hope you enjoy learning more about this year’s winners and honorable mentions, and we look forward to hearing from you next year as we keep searching for the best architecture and design in North America! —William Menking and Matt Shaw We will be updating this list over the next few days with winner and honorable mention profiles. To see the complete feature, don't miss our 2018 Best of Design Awards Annual issue, out now! 2018 AN Best of Design Awards Building of the Year Winner Transart Foundation SCHAUM/SHIEH Houston Finalists Daniels Building NADAAA Toronto Saxum Vineyard Equipment Bard Clayton + Little Paso Robles, California Public Winner Schomburg Center for Research in Black Culture Marble Fairbanks New York Honorable Mentions Banc of California Stadium Gensler Los Angeles River’s Edge Pavilion Alley Poyner Macchietto Architecture Council Bluffs, Iowa Urban Design Winner Triboro Corridor Only If and One Architecture & Urbanism New York: Brooklyn, Queens, Bronx Honorable Mentions Los Angeles River Gateway AECOM Los Angeles North Branch Framework Plan for the Chicago River Adrian Smith + Gordon Gill Architecture Chicago Cultural Winner Transart Foundation SCHAUM/SHIEH Houston Honorable Mentions Magazzino Italian Art MQ Architecture Cold Spring, New York The ICA Watershed Anmahian Winton Architects Boston Exhibition Design Winner Arakawa and Madeline Gins: Eternal Gradient Norman Kelley New York Honorable Mentions Living in America: Frank Lloyd Wright, Harlem, and Modern Housing Leong Leong and Project Projects New York Visionaire: AMAZE Rafael de Cárdenas / Architecture at Large and Sahra Motalebi New York Facades Winner Amazon Spheres NBBJ Vitro Architectural Glass Seattle Honorable Mentions The Emma and Georgina Bloomberg Center at Cornell Tech Morphosis PPG New York Museum Garage WORKac, J. Mayer H., Nicolas Buffe, Clavel Arquitectos, and K/R Miami Small Spaces Winner Sol Coffee Mobile Espresso Bar Hyperlocal Workshop Longmont, Colorado Honorable Mentions Cabin on a Rock I-Kanda Architects White Mountains region, New Hampshire Birdhut Studio North Windermere, British Columbia Infrastructure Winner Confluence Park Lake|Flato Architects and Matsys San Antonio Honorable Mentions Rainbow Bridge SPF:architects Long Beach, California Los Angeles Union Station Metro Bike Hub Architectural Resources Group Los Angeles Commercial — Office Winner NVIDIA Headquarters Gensler Santa Clara, California Honorable Mention C3 Gensler Arktura Culver City, California Commercial — Retail Winner FLEX LEVER Architecture Portland, Oregon Honorable Mention COS Chicago Oak Street COS in-house architectural team Chicago Commercial — Hospitality Winner Saxum Vineyard Equipment Barn Clayton & Little Paso Robles, California Honorable Mention Brightline Rockwell Group Florida: Miami, West Palm Beach, Fort Lauderdale, Orlando Green Building Winner Orchid Educational Pavilion FGP Atelier Oaxaca, Mexico Honorable Mention R.W. Kern Center Bruner/Cott Architects Amherst, Massachusetts Interior — Workplace Winner Expensify Headquarters ZGF Architects Pure+FreeForm Portland, Oregon Honorable Mentions CANOPY Jackson Square M-PROJECTS San Francisco Dollar Shave Club Headquarters Rapt Studio Marina del Rey, California Interior — Institutional Winner Brooklyn Aozora Gakuen Inaba Williams Brooklyn, New York Honorable Mention Jackie and Harold Spielman Children’s Library, Port Washington Public Library Lee H. Skolnick Architecture + Design Partnership Port Washington, New York Interior — Retail Winner Jack Erwin Flagship Store MILLIØNS New York Honorable Mention Valextra Bal Harbour Shops Aranda\Lasch Miami Interior — Hospitality Winner Hunan Slurp New Practice Studio New York Honorable Mentions City of Saints, Bryant Park Only If New York Sant Ambroeus Coffee Bar at Hanley Bonetti/Kozerski Architecture New York Interior — Healthcare Winner NYDG Integral Health & Wellness Brandon Haw Architecture New York Honorable Mention Studio Dental II Montalba Architects San Francisco Healthcare Winner Phoenix Biomedical Sciences Partnership Building, University of Arizona CO Architects Phoenix Honorable Mention Zuckerberg San Francisco General Hospital and Trauma Center Fong & Chan Architects San Francisco Interior — Residential Winner 15th St Mork Ulnes Architects San Francisco Honorable Mentions Fort Greene Place Matter of Architecture Brooklyn, New York Little House. Big City Office of Architecture Brooklyn, New York Residential — Single Unit Winner Terreno House Fernanda Canales Mexico Federal State, Mexico Honorable Mentions Sky House Julia Jamrozik and Coryn Kempster Stoney Lake, Ontario V-Plan Studio B Architects Aspen, Colorado Residential — Multi Unit Winner St. Thomas / Ninth OJT New Orleans Honorable Mentions Tolsá 61 CPDA Arquitectos Mexico City Elysian Fields Warren Techentin Architecture Los Angeles Landscape — Residential Winner Folding Planes Garden Colwell Shelor Landscape Architecture Paradise Valley, Arizona Honorable Mentions Greenwich Village Townhouse Garden XS Space New York Landscape — Public Winner Hunter’s Point South Waterfront Park SWA/BALSLEY and WEISS/MANFREDI with Arup Queens, New York Honorable Mentions Naval Cemetery Memorial Landscape Marvel Architects and NBWLA Brooklyn, New York Ghost Cabin SHED Architecture & Design Seattle Education Winner Daniels Building NADAAA Toronto Honorable Mentions UCSB San Joaquin Student Housing Lorcan O’Herlihy Architects Santa Barbara, California Sherman and Joyce Bowie Scott Hall at Carnegie Mellon University OFFICE 52 Architecture Pittsburgh Lighting — Outdoor Winner Spectra, Coachella NEWSUBSTANCE Indio, California Honorable Mention National Holocaust Monument Focus Lighting Studio Libeskind Ottawa Lighting — Indoor Winner The Lobster Club at the Seagram Building L’Observatoire International New York Honorable Mention Midtown Professional Education Center, Weill Cornell Medicine Cline Bettridge Bernstein Lighting Design New York Restoration & Preservation Winner 100 Barclay DXA Studio New York Honorable Mentions Hotel Henry at the Richardson Olmsted Campus Deborah Berke Partners Buffalo, New York Using Digital Innovation to Preserve Taliesin West Leica Geosystems, Multivista, and Matterport Scottsdale, Arizona Building Renovation Winner 1217 Main Street 5G Studio Collaborative Dallas Honorable Mention 1824 Sophie Wright Place studioWTA New Orleans Adaptive Reuse Winner San Francisco Art Institute at Fort Mason Leddy Maytum Stacy Architects San Francisco Honorable Mentions Empire Stores S9 Architecture, STUDIO V, and Perkins Eastman Brooklyn, New York Cristo Rey St. Martin College Prep JGMA Waukegan, Illinois Temporary Installation Winner Trickster studio:indigenous Sheboygan, Wisconsin Honorable Mentions Blue Marble Circus DESIGN EARTH Boston 85 Broad Street Ground Mural FXCollaborative New York New Materials Winner Cyclopean Cannibalism Matter Design Seoul, South Korea Honorable Mentions One Thousand Museum Zaha Hadid Architects and ODP Architects Miami Clastic Order T+E+A+M San Francisco Digital Fabrication Winner 260 Kent COOKFOX Architects Brooklyn, New York Honorable Mentions A.V. Bath House Facilities Design Group Custer, Michigan MARS Pavilion Form Found Design Los Angeles Representation — Digital Winner Fake Earths: A Planetary Theater Play NEMESTUDIO Honorable Mention Cosmorama DESIGN EARTH Representation — Analog Winner Public Sediment for Alameda Creek SCAPE California: Fremont, Newark, and Union City Honorable Mentions Adidas P.O.D. Plexus Standard Set the Objective SAW // Spiegel Aihara Workshop Young Architects Award Winner Runaway SPORTS Santa Barbara, California Honorable Mentions Noodle Soup office ca Lake Forest, Illinois Malleable Monuments The Open Workshop San Francisco Student Work Winner mise-en-sand Jonah Merris, University of California, Berkeley Honorable Mentions Cloud Fabuland Eleonora Orlandi, SCI-Arc Real Fake James Skarzenski, University of California, Berkeley Research Winner Stalled! JSA Honorable Mentions Marine Education Center Lake|Flato Architects Ocean Springs,Mississippi After Bottles; Second Lives ANAcycle design + writing studio/Rensselaer Polytechnic Institute Brooklyn, New York and Troy, New York Unbuilt — Residential Winner Brooklyn Senior Affordable Housing Only If Brooklyn, New York Honorable Mentions 150 Central Park South penthouse SPAN Architecture New York Courtyard House Inaba Williams Santa Monica, California Unbuilt — Urban Winner Whitmore Community Food Hub Complex University of Arkansas Community Design Center Wahiawa, Hawaii Honorable Mentions The Hydroelectric Canal Paul Lukez Architecture Boston Brooklyn Navy Yard Master Plan WXY Brooklyn, New York Unbuilt — Interior Winner Children’s Institute DSH // architecture Long Beach, California Honorable Mention Holdroom of the Future Corgan Unbuilt — Commercial Winner Uber Sky Tower Pickard Chilton Los Angeles Honorable Mention Nansha Scholar’s Tower Synthesis Design + Architecture and SCUT Architectural Design & Research Institute Nansha, China Unbuilt — Cultural Winner Beggar’s Wharf Arts Complex Ten to One Rockland, Maine Honorable Mention NXTHVN Deborah Berke Partners New Haven, Connecticut Unbuilt — Education Winner Arizona State University Interdisciplinary Science and Technology Building 7 Studio Ma Tempe, Arizona Honorable Mentions Bedford Stuyvesant Community Innovation Campus Ten to One Brooklyn, New York 80 Flatbush Public Schools Architecture Research Office Brooklyn, New York Unbuilt — Green Winner 6 Industrial Way Office Park Touloukian Touloukian Salem, New Hampshire Honorable Mention Cooling Tower for Chicago Spire site Greyscale Architecture Chicago Unbuilt — Public Winner The American Construct Christopher Myefski American West Honorable Mentions Urban Canopy Buro Koray Duman New York Anacostia Water Tower Höweler + Yoon Architecture Washington, D.C. Unbuilt — Landscape Winner Greers Ferry Water Garden University of Arkansas Community Design Center Heber Springs, Arkansas Honorable Mention Murchison Rogers Park Surroundings El Paso, Texas A special thanks to our 2018 AN Best of Design Awards Jury! Tei Carpenter Founder, Agency—Agency Andrés Jaque Founder, Office for Political Innovation William Menking Editor-in-Chief, The Architect’s Newspaper Pratik Raval Associate Director, Transsolar Jesse Reiser Principal, Reiser + Umemoto Matt Shaw Executive Editor, The Architect’s Newspaper
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Mosaic, Mo'Problems

The World's Fair Grounds in San Antonio gets a playful facelift courtesy of MIG
Some consider the most formative date in San Antonio's history to be the fall of the Alamo, while others believe it’s the day the World’s Fair took over the city for six months in 1968. It was just a dusty city before more than 6.3 million attended the HemisFair ’68. A few of the original structures built for the fair still exist on the 92 acres in the heart of downtown, and many of them were left unused for decades. In 2009, the San Antonio City Council established the Hemisfair Park Area Redevelopment Corporation (HPARC) to revitalize a 37-acre new development, including a 4-acre park designed by MIG. The project’s name, Yanaguana Garden, comes from a folktale told by the Payaya Native Americans of a blue panther that chases a bird through the night sky. A drop that fell from its wings left the blue hole that came to be the source of San Antonio’s river. This fable inspired the mosaic tile benches, panther sculpture, murals, and a blue paved pathway that represents the river, which snakes through the entire site. HPARC’s mission for Yanaguana Garden was to bring both children and adults to the city center. MIG focused on placemaking, designing a public space with courtyards, greenery, artwork, and playscapes. The park features a winding promenade, partly covered by a vine-draped pergola, which leads to the central square with giant checkerboard paving by Pavestone Company. The entire park is illuminated by Lumascape street light fixtures and lined with Victor Stanley benches. MIG also installed an outdoor theater with a dedicated seating area, play equipment by Landscape Structures, and a splash pad water fountain by Vortex Aquatic Structures. In addition to the frolicsome furnishings, the landscape includes mature trees to provide shade. The saplings prevent soil run-off and help maintain proper irrigation year-round. This environmentally sustainable approach will also be applied by the organization to expand and improve the rest of what used to be the HemisFair World’s Fair Grounds. Yanaguana Garden at HemisFair The ’68 World’s Fair Grounds, San Antonio Landscape Architect: MIG Landscape Planting: Bender Wells Clark Design Lighting: Lumascape Playground Equipment: Landscape Structures, Corocord Splash Pad Water Wall: Vortex Aquatic Structures Custom Precast Spheres: Quickcrete Products Corp. Benches: Victor Stanley Paving: Pavestone Company Mosaic Glass Artist: Oscar Alvarado
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Pokemon Go to the Polls

What did the 2018 midterms mean for East Coast architects?
Let out a sigh of relief (or keep holding your breath); the 2018 midterm elections are over, and voters passed judgment up and down the Eastern Seaboard on a wave of politicians and ballot measures that will impact architects, construction workers, and transportation enthusiasts. Climate change policy was also, though not as explicitly, up for a vote alongside more concrete measures. Although the dust is still settling, AN has put together a primer on what the election results mean from Miami to Maine. New York Democrats now control all three branches of government in New York State and are poised to rewrite the state’s rent stabilization laws…assuming Governor Andrew Cuomo lets them. As Gothamist noted, the 1971 Urstadt Law prevents New York City from usurping Albany’s authority and passing more stringent rent control laws than those at the state level, even as the city spirals deeper into its affordable housing crisis. The new year will bring a vote on all of the laws that oversee the city’s affordable housing stock, meaning that the newly inaugurated state legislators will be in prime position to demand stronger tenant protections. The real estate industry in New York City has historically donated to campaigning Republicans and the reelection of the industry-friendly Cuomo, however, so it’s unclear how far the governor will acquiesce. As the NYPost broke down, tenant activists are amped up at the possibility of tamping down annual rent increases and ending the ability of landlords to raise rents after investing in capital improvements. Cuomo’s reelection also likely locks in the decision to place Amazon’s HQ2 (or 2.5) in Long Island City. The governor had been a huge booster for NYC’s bid for the tech hub, promising hundreds of millions in state subsidies. On the national front, the election of a number of “climate hawks,” including New York 14th District representative Alexandria Ocasio-Cortez and the 19th District’s Antonio Delgado, will bring a group of climate-action hardliners to Washington. It’s expected the new crop of progressive voices will press the House on plans to transition toward sustainable energy and curb America’s dependence on fossil fuels. More importantly, 16 Republican House members—more than half—on the 90-person bipartisan Climate Solutions Caucus were voted out. On its surface, the collapse of the caucus sounds like a bad thing for environmentalists, but as Earther notes, the group was known for advancing milquetoast, business-friendly proposals that ultimately went nowhere. Although any climate action coming from the House needs to pass the Senate and would land on the President’s desk, where it would presumably wilt, the momentum for change is slowly building. Any climate change–confronting action will likely have an outsized impact on zoning codes in New York and beyond and would require construction teams and architects to implement steeper resiliency measures into their projects. Maine In Maine, voters overwhelmingly passed Question 3 by a measure of 2-to-1, ensuring that the state would issue $106 million in general bonds for transportation projects. Of that, $80 million will be used for roadway and bridge infrastructure construction and repair, $20 million for upgrading airports, ports, harbors, and railroads, and $5 million for upgrading stream-facing drainpipes to lessen the impact on local wildlife. One million will also be spent to improve the pier at the Maine Maritime Academy in Castine. Florida Ron DeSantis is the new governor and Rick Scott is likely to move up to become a senator. During his tenure as governor, Scott, although presiding over a state uniquely vulnerable to flooding and coastal storms, was a staunch climate change denier and banned the phrase from all state documents and discussions. DeSantis appears to be cut from the same cloth, telling crowds during a campaign stop over the summer that climate change, if it exists, can’t be mitigated at the state level. What this likely means will be a continued lack of action to mitigate climate change and its effects on a state level. Soccer lovers can rejoice, though, as 60 percent of voters endorsed allowing David Beckham’s Freedom Park to build on the Melreese Country Culb. The $1 billion Arquitectonica-designed soccer stadium, hotel, “soccer village,” and office, retail, and commercial space will span 73 acres. Michigan Gerrymandering looks like it’s on its way out in Michigan after a 60-40 vote to redraw the state’s districts. Over several decades, the state legislature had used its redistricting power to cram Democrat or Republican constituents (depending on who was in power at the time) into congressional districts where their impact would be marginalized. Now, after the passage of Proposal 2 and the subsequent amending of Michigan’s constitution, a 13-person, bipartisan panel will be established to redraw the state’s internal boundaries. Four Republicans, four Democrats, and five non-party identifying individuals will make up the commission. Barring a court challenge, money for the initiative, including pay for its members, will be allocated from the state budget come December 1, 2019. After that, the commission will draw up the new districts for the 2022 election using data from the 2020 census. The panel will convene every 10 years, in time with the census, and can only be disbanded after the legal challenges to its decisions are completed. Any Michigan citizen who hasn’t held political office in the last six years can apply to become a commissioner.
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Like Chilean Miners...

AN interviews six emerging designers to watch
Who are the names you need to know? Who are the designers to watch? These six up-and-coming talents in architecture and design should be on your radar. Alda Ly New York City Alda Ly likes a good piece of custom millwork. “I like to think about the purposefulness of each cut,” she says. Her namesake practice is built around a similar mission. “We’re pursuing end-user research to develop a more human-centered approach with our designs.” For Ly, both qualitative and quantitative data are imperative to design spaces that break the molds of conventional architectural programs. She designed the Wing’s private women-only professional clubs for flexibility, knowing that users might be recording a podcast on one day, and on another, working solo on their laptops. In this way, she sees herself beholden not only to the client, but also to the client’s stakeholders. Ly has made a name for herself by designing shared spaces, from incubators to offices and apartments. Most recently, the firm designed Bulletin, a store merchandising products from female-led brands that features a social area and a venue for live programming. “There are an infinite amount of situations you have to plan for, but a key point is knowing how to make people feel comfortable.” –Jordan Hruska Brian Thoreen LA/Mexico City “I didn’t really know what I was doing,” said Brian Thoreen. Reflecting on the first show where he unveiled his namesake furniture company at the Sight Unseen outpost during Collective Design in 2015, he admitted: “I was thrown in the deep end—I didn’t even know how to price the pieces.” Since then, Thoreen has gone on to show his works several times at Design Miami, create custom commissions, and be the subject of the first solo exhibit at Patrick Parrish. All of this was born out of his new focus on furniture and a recent move to Mexico City—both of which he was able to fully commit to after leaving his L.A.-based architecture practice, Thoreen+Ritter. In the context of “being somewhere else,” Thoreen now finds himself collaborating with local artists, including Hector Esrawe and Emiliano Godoy on a sculptural series of metal furnishings accentuated by hand-blown amorphous orbs of glass. The material will continue to be at the heart of his future work in a new studio, which he formed with Esrawe and Godoy to continue to collaborate their collaboration on glass and metal projects. As for his own studio, Thoreen also plans to design installations, spaces, and architecture where he can continue work with local artists. –Gabrielle Golenda CAMESgibson Chicago CAMESgibson is a Chicago-based partnership between Grant Gibson and the fictitious late T.E. Cames. Gibson, also a professor at the University of Illinois at Chicago (UIC) School of Architecture, works at multiple scales, from small residential rehabs to a popular community arts center. The practice is not limited to conventional built work. Some of the office’s exhibition work includes a 20-foot-tall quilted column installed in the Graham Foundation foyer and a skyscraper design in collaboration with Skidmore, Owings & Merrill at the 2015 Chicago Architecture Biennial. In each of its projects, a playful sensibility fills spaces with color and soft forms. A recent project involved converting a laundry room into a cool ethereal lounge for the UIC basketball team. Deep blue tones and carefully controlled lighting brand the space instead of the typical kitschy, logo-laden locker rooms of most teams. It is this approach to cleverly transforming spaces, whether they are institutional or private, that sets CAMESgibson apart from the average small practice. –Matthew Messner Material Lust New York City Partners in life and partners in practice, Lauren Larson and Christian Lopez Swafford are indifferent to mass production timelines and trends. Together, they work with artisans to conjure otherworldly objects that cross the boundary between sculpture and decorative art, producing a series of furniture with true grit. Known as Material Lust, their Lower East Side-based company was officially established in 2014 but began long before that. It has been producing works that reflect the historical context of design, including the Alchemy Altar Candelabra inspired by pagan and alchemical symbolism; and the Fictional Furniture Collection of gender-neutral, monochromatic children’s furniture inspired by surrealism. Now the pair is venturing into lighting with their new sister company, Orphan Work. As the story goes, it began when they found lost designs from the Material Lust archive and after they visited Venice’s Olivetti Shop, by Carlo Scarpa. The result? A collection that is somewhere between Scarpa’s richly layered forms and the couple’s unapologetically “metal” aesthetic, with nods to both the musical genre and the material itself. –GG MILLIØNS Los Angeles Los Angeles–based MILLIØNS dubs itself an “experimental architectural practice” that liberally explores space-making as a “speculative medium” that can be manifested in any number of objects, structures, or experiences. Founded by Zeina Koreitem and John May, the growing practice recently designed a communal wash basin that aims to reintroduce shared social interactions into the act of bathing for an exhibition at Friedman Benda gallery in New York City. In the show, a 3-D printed mass reveals itself as a fluted drum containing a sink and a slender, brass spigot that is approachable from all sides. Though better known for writing heady treatises and engineering glitchy, digital media works that use televisions and closed-circuit cameras to create new spatial dimensions, MILLIØNS has some more grounded works on the way. A forthcoming, Graham Foundation–supported exhibition designed and curated by the duo that aims to revitalize the experimental spirit of modernist housing, for example, is headed to L.A.’s A+D Museum early next year. MILLIØNS also has several brick-and-mortar projects on the way, including a retail storefront in Manhattan and a lake house in upstate New York. ­­–Antonio Pacheco Savvy Studio NYC/Mexico City Savvy Studio, an interiors and branding firm with offices in New York City and Mexico City, has been busy this summer with an array of projects popping up in New York. It has just launched a Tribeca seafood restaurant (A Summer Day Cafe) which features a beachy interior with light woods, primary-colored metal accents, and of course, nautical stripes. The studio also redesigned Alphabet City mainstay Mast Books using plywood to elevate the space, making it a “gallery of books, rather than simply another bookstore.” And by combining interior architecture with visuals befitting a fashion campaign, Savvy Studio developed branding language, communications, and interiors of the rental offices and showrooms for the Mercedes House, a Hell’s Kitchen luxury condo designed by TEN Arquitectos. Founder and creative director Rafael Prieto points out that there are “no specific boundaries” between branding and interior design. “The reason we do both is based on our interest in creating and designing experiences, and being able to make an impact in every interaction.” For Savvy Studio, their multifaceted practice is about making sure each space or branded element is simultaneously “emotional, aesthetic, and functional.” ­–Drew Zieba
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Post-pre-digital

The Venice Architecture Biennale turns away from the digital
The most cogent critique of Freespace, the current Venice Architecture Biennale, is that it fails to recognize the degree to which contemporary urban space is a result of digital technology and computation. The curators, Yvonne Farrell and Shelley McNamara of Grafton Architects, are practicing architects who wanted their Biennale to return to the basic principles of spatial design and what they consider “the generosity of spirit and a sense of humanity at the core of architecture's agenda.” There is nothing wrong with this sentiment, but it meant they chose to focus on individual projects and not their means of production. The pair focused on craft; social, political, and technological “demand”; and featured figures and groups like Amateur Architecture Studio (Wang Shu and Lu Wenyu), Cino Zucchi, the Dutch architecture historian collective Crimson, Dorte Mandrup, Sigurd Lewerentz, and the British group Assemble. The results add up to a thoughtful and unique perspective on today’s architecture, but there is little doubt that it bypasses the “digital.” This direction infuriated those who believe that only a focus on digital production is an authentic summary of today’s architecture. For these critics, the results are old-fashioned and no longer offer a relevant analysis or typology, but a “purely phenomenological formal, material, or tectonic understanding of architecture,” in the words of Alessandro Bava. This digital versus demand formulation of architecture is not just a generational divide but represents a profound difference between an architecture grounded in an expression of the digital and one that primarily seeks to respond to site, program, function, and reception. In The Second Digital Turn: Design Beyond Intelligence, Mario Carpo describes the importance of the first digital turn of “mass customization” as one of the most important architecture inventions of all time because it “changed—or at least subverted, upended, and disrupted—almost every aspect of the world.” He sees an unintended benefit of mass customization, the possibility to change the notion of detail and form that has remained constant since Leon Battista Alberti toward the possibility of an “infinite number of variations” for the designing architect. He believes that modern classicism “continues to stifle technological innovation in building,” (even the golden age of modernism was a “retardataire phenomenon”) and this new technology offers a way forward to a new relationship, or, as Christopher Alexander would say, a new “pattern” of parts to the whole. In the 1990s, as Carpo wrote, the “first turn” saw “the best architects adopting and embracing digital change sooner than any other trade” and established the basis for the second wave, in which the avant-garde uses “Big Data and computation to engage somehow the messy discreteness of nature.” But this first wave, as we know, created a new architectural style of “smooth and curving spliny lines and surfaces” that, despite the potential possibility of first-wave, open-source collaboration and a return to medieval-style authorship, led to something else totally predictable. A new style, parametricism, took over and continues to this day, “with ever-increasing degrees of technical mastery and prowess. Ideas and forms that twenty years ago were championed by a handful of digital forms engender architectural masterpieces at a gigantic, almost planetary scale.” This planetary architecture, perhaps because of the high cost of design and construction of the complex forms it can produce, has become, counterintuitively to the claims of many theorists, a truly corporate style of design for the 1 percent and corporations. It should then come as no surprise that many of today’s younger architects are looking for a different kind of architecture and that many of the brightest are returning to the postmodernism of the 1980s. In this way, the current generation are like the designers of the first Venice Architecture Biennale’s Strada Novissima, who nearly 40 years ago looked for an alternate model to the modernism that they believed was destroying the historic layered fabric of our urban settlements. Though this style is still fraught with the problems (primary authorship, individuality, and history as a precedent) that brought it to an end in the 1990s, its reemergence is an authentic and important shot across the bow to technologists like Carpo, who are apoplectic at its return. It is an important attempt to find a way out for the profession, which all too often focuses on neoliberal, avant-garde experiments to the exclusion of real-world problems that daily become more urgent for everyone.
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Labor Day Plans

Check out these exhibits this weekend before they close for the fall
Looking for something to do this Labor Day weekend? Check out some of our favorite architecture and design exhibits from across the country that we've covered over the summer. They're all closing this fall, so don't wait. Go get inspired! Donald Judd: Specific Furniture SFMOMA The exhibition presents a mix of his work and his acquired pieces that served as major influences. “The difference between art and architecture is fundamental,” Judd once wrote. “Furniture and architecture can only be approached as such. Art cannot be imposed upon them. If their nature is seriously considered the art will occur, even art close to art itself.” 50 Years After Whitney Young Jr. On view through November 24, 2018 The Octagon Museum 1799 New York Ave NW Washington, D.C., 20006 Thursday–Saturday, 1–4 p.m. Fifty years ago, civil rights leader Whitney M. Young Jr. stood before a crowd of mostly white and male architects as he delivered a historic speech that called out racism and other issues of diversity in the architecture and design industries. Today, the profession has arguably improved thanks to his words and subsequent leaders. A new exhibition, 50 Years After Whitney Young Jr., at the Octagon Museum in Washington, D.C., surveys the legacy of the National Urban League, which Young led for a decade, and his impact on the AIA. Poetic Structure: Art + Engineering + Architecture MAK Center for Art and Architecture Los Angeles, California The widely-traveled exhibition titled Poetic Structure: Art + Engineering + Architecture showcasing the engineering and design legacy of Skidmore, Owings, & Merrill (SOM) will be on display at the MAK Center for Art and Architecture in Los Angeles through September 2. Hyperobjects Ballroom Marfa 108 E. San Antonio St., Marfa, Texas Through October 14 Hyperobjects is co-organized by philosopher and Rice University professor Timothy Morton and Ballroom Marfa Director and Curator Laura Copelin. It looks at Morton’s theory in addressing the prevalent ecological crisis faced by the world today. With immersive video and sound installations, landscape interventions, and other direct sensory experiences, the artists’ pieces seek to challenge the way the audience sees and experiences the universe. GlassBarge The Corning Museum of Glass has tapped the McLaren Engineering Group’s nautical and entertainment departments for the creation of GlassBarge, a mobile glassworking studio set to travel from Brooklyn across the state.
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Roundup

Weekend Edition: Asbestos is back, and it's as bad as ever, among other news
Missed some of our articles, tweets, or Facebook posts from the last few days? Don’t sweat it—we’ve gathered a few the week’s must-read stories right here. Enjoy! AIA calls for blanket ban on asbestos after online uproar After a week of outrage on social media, the AIA submitted a formal comment in opposition to the U.S. Environmental Protection Agency's recent decision to enact a SNUR on asbestos-containing building products. San Antonio’s architecture has a bright future illuminated by a rich heritage San Antonio is the second largest city in Texas, but it is constantly overshadowed by its brethren architecturally. That's all changing as more projects, many of which reference the city's history, are coming online. Initial notes on Houston after theory Houston is a city that has seemingly developed out of step with the rest of the country, operating on a cycle of boom and bust tied to the oil, not stock, market. But when faced with climate change and other issues, can it adapt? Stay cool, and see you next week!
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A H-E-B of the Pack

Lake|Flato blends high design with sustainability for an Austin grocery store
Imagine shopping for groceries in a LEED Gold–certified building on a site once occupied by Austin’s airport, and you can picture the Mueller H-E-B structure designed by Lake|Flato Architects. The glass-clad building is one of the many collaborations between the Texas supermarket chain and the San Antonio–based firm Lake|Flato. Triangular steel trusses support a soaring, curved roof made of corrugated metal. The H-E-B Market’s design responds to Austin’s highly variable humidity with a vestibule that transports and expels heat out the top. The building is also a testing ground for many sustainable concepts, such as a rain garden that doubles as a water filtration system, rooftop sensors that monitor how much daylight the building gets, and smart air-conditioning—all aimed at reducing energy use and improving the interior environment for shoppers. In 2016, it was awarded an AIA Committee on the Environment Top Ten Award, recognizing the architects for their commitment to sustainability.
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Alamo City

San Antonio's architecture has a bright future illuminated by a rich heritage
When it comes to notable architecture in Texas, it would seem strange to place San Antonio on par with Houston or Dallas. As the second-largest city in the state, San Antonio seems to only mimic the kind of architectural largesse seen in those cities. There are plenty of jewel-like late modern skyscrapers and austere civic buildings by Skidmore, Owings and Merrill, Caudill Rowlett Scott, and Marmon Mok in the city, but these are not the kinds of projects one would mention in the same breath as Houston landmarks like Johnson/Burgee’s Pennzoil Place and Williams Tower, Renzo Piano’s sublime Menil Collection, or Fort Worth's iconic Kimbell Art Museum by Louis Kahn. A selective itinerary of San Antonio’s past and future architectural projects reveals a steady commitment to buildings with bold, expressive forms that reference the city’s unique environment, history, and culture. Alamo City warmed up to these compelling architectural additions as it expanded during the late 1940s and early ’50s, and became a home to energy and utility companies during the 1970s and ’80s. Funded by philanthropic organizations and influxes of oil cash, many of these buildings are now hidden by giant, swooping highway overpasses, corporate plazas, and other developer-driven projects. Despite the earlier innovative and controversial projects, San Antonio remains overlooked. This will soon change. Newly appointed mayor Ronald Nirenberg has re-energized discussions about creating new housing, battling gentrification, and committing to more public art. This will certainly place a spotlight on San Antonio’s rich architectural offerings while reminding us of how these and other past projects have embodied this city’s distinctive topography, Latino heritage, and dry, arid environment. Emilio Ambasz’s Lucile Halsell Conservatory, completed in 1988 at the San Antonio Botanical Gardens, is a good starting point. Located on the city’s northeast side, Ambasz’s scheme took advantage of the sunken site with a series of prismlike canopies that appear to rise out of the bermed earth like upturned shards of glass. Each canopy creates its own kind of climate and features particular plant ecologies—architecture designed, as Paul Goldberger observed in 1987, for the interaction between plants and humans. The project is notable for its combination of building, landscape, and infrastructure into a seamless whole. The Lucile Halsell Conservatory accommodated some very particular environmental and topographical conditions, and did so with a formal and technological expressiveness unlike anything that had been built in San Antonio. Mexican architect Ricardo Legorreta’s San Antonio Central Library, completed in 1995, continues in this vein. Here, cubic volumes are stacked at various angles, creating a series of triangular-shaped courtyards intended to be outdoor reading rooms. Legorreta’s debt to Mexican architect Luis Barragán’s minimalist polychromy is clear. Working with the painter Mathias Goéritz, Barragán created spaces framed by walls and surfaces doused in highly saturated reds, blues, yellows, oranges, magentas, and pinks. At his Central Library, Legorreta appears to invert Barragán with a simple, playful interplay of volumes that seem to be wrought from its own color palette as well. The reddish-brown colored cubes appear gutted in some places, revealing inner planes of yellow, blue, and purple. When viewed from the air, the Central Library appears otherworldly, framing circular plazas made from grass and limestone and located on a triangular-shaped site near the geographical center of the city, as if something from another time had arrived here. That a Mexican architect was chosen for this project is important. As the seventh-largest city in the United States, San Antonio has one of the biggest Spanish-speaking populations. Over 62 percent of its residents are of Latino origin. The appeal of Legorreta’s Central Library stemmed as much from the need for more public libraries as it did from the desire to reflect the city’s heritage. Though this was the first building in San Antonio designed specifically to reflect the city’s Mexican-American heritage, there are older buildings that expressed the cultural richness so important to the city. The Alamo and the four Spanish Missions (recently designated as UNESCO World Heritage Sites) all combine Spanish and Catholic influences while referring to the rituals and structures of indigenous peoples. This is to say that San Antonio’s architecture continues to find a way to embody its venerable cultural geography. It also incorporates its distinct environmental geography. San Antonio is a city hewn from mesquite-dappled hills, limestone quarries, and deep-set aquifers. Lake|Flato continues to be the standard-bearer among the city’s firms for a kind of tectonic and environmental sensitivity that is immediately recognizable for its ingenious references to these conditions. Imagine a version of John Lautner’s spacious geometric forms where large cornices made from corrugated metal peer over meticulous compositions of glass, limestone, slats, and brise-soleil made from local woods, all culminating in views that privilege the rolling, arid mesquite and persimmon landscapes of the Texas Hill Country. This would not do justice to Lake|Flato’s work, but perhaps it is as close as we can get to a kind of South Texas regionalism. Yet some of Lake|Flato’s current work points to something altogether different. Their recently completed pavilion at Confluence Park designed in collaboration with Matsys connects the joining of the San Antonio River and San Pedro Creek, to nearby Mission Concepción, an 18th-century basilica. This is a highly-charged site in predominantly Spanish-speaking South San Antonio. The most visually arresting parts of Lake|Flato’s project are the concrete “petals” that reference the local flora while reminding the most architecturally astute observer of Spanish-born Mexican engineer Felix Candela’s sweeping hyperboloid structures, like Los Manantiales Restaurant (1958) in Mexico City’s Xochimilco Park, or the Chapel Lomas de Cuernavaca (also 1958) in Cuernavaca. Confluence Park is also part of the larger San Pedro Creek Cultural Park. This scheme is projected to transform a once-neglected 2.2-mile-long drainage spur into a cultural attraction with water features, public art, and areas dedicated to the preservation of local grasses and wildlife. In a nod to its aspirations, lead architect Henry R. Muñoz and others have embraced this project’s more common nickname—the “Latino High Line”—which may say more about Diller Scofidio + Renfro/Field Operation’s celebrated scheme than the actual goal of the project, which is to create a version of the Riverwalk devoid of its tourist traffic while celebrating Latino heritage. Urban designers are finding new ways to move San Antonio forward while referring to curious artifacts from the history of American cities. Architect Antonio Petrov, who teaches at the University of Texas at San Antonio and is the founder of Urban Future Lab, is one of the most outspoken voices when it comes to redevelopment in the city. He is a proponent of bringing back skyrides, which were already used during HemisFair ’68 as a means of connecting the city’s downtown with San Antonio International Airport. Petrov’s proposal, though evocative of pie-in-the-sky urban transportation schemes, is to be taken seriously. Similar proposals were actually in use at the 1932 Century of Progress Exhibition in Chicago as well as in Disneyland and Disney World (which were, in a sense, attempts to envision cities of the future.) Other schemes, though funded by corporate dollars and serious placemaking advocacy firms, are barely more pragmatic in their approach. A case in point is the proposed Alamo Plaza Redevelopment. Philadelphia-based Preservation Design Partnership authored one of the first master plans, a scheme that caused controversy when it called for relocating many of the businesses surrounding the Alamo and converting them to privately run cultural attractions. Current versions of the plan have done little to improve on the previous proposal. For example, the recent Alamo Comprehensive Interpretive Plan—spearheaded by St. Louis–based “placemaking” firm Peckham Guyton Albers & Viets; the heritage consulting firm Cultural Innovations; and landscape architects Reed Hilderbrand—still hinges on the creation of a pedestrian-friendly “Alamo District” designed to turn this historically charged site into an open-air museum. A previous scheme took this idea a step further by encircling the Alamo with a glass wall, as if preserving this architectural artifact in a kind of amber. There are plenty of other projects that are reenergizing the architectural scene in San Antonio. The city is in a bit of a gut-rehab frenzy, as landmarks like the Pearl and Lone Star Breweries have been renovated as pricey hotels and higher-end restaurants, all with the end goal of molding San Antonio into a destination for design-savvy millennials with money to burn, in hopes they will ditch an Airbnb in the picturesque King William District in favor of the Hotel Emma’s posh industrial-chic. It is in this milieu that Adjaye Associates’ Ruby City arrives as one of the most exciting projects to break ground in the Alamo City. This 14,000-square-foot gallery and contemporary arts center—scheduled to open later this year near the city’s burgeoning arts district—appears as a strange hybrid, part OMA Casa da Musica, part Legorreta Central Library. Adjaye’s building appears as a literal jewel, a faceted brick-red form whose speckled, punctured surfaces make it seem fleeting and otherworldly. But it is anything but that, for this building, which sits precariously on the edge of the one-acre CHRISpark in downtown San Antonio, will anchor the San Pedro Creek redevelopment scheme, and provide the Linda Pace Foundation’s extensive collection of modern and contemporary art with a bold, exciting home. Adjaye is still earning accolades for his groundbreaking National Museum of African American History and Culture in Washington, D.C., and with Ruby City soon to be completed, this will be the most significant architectural gesture for San Antonio—one that will hopefully inspire an influx of more commissions and projects of a similar caliber. How should we look at San Antonio’s architectural legacies and gestures? It is tempting to stack them up against those in Houston or Dallas, but in doing so, we would risk ignoring how one of the fastest-growing cities in the United States is busy generating its own architectural identity. Don’t call it haphazard, however. The pace of architectural developments in San Antonio may appear slow, but like the city, its architecture is humming busily from what once was an undetectable purr to something greater. This sleepy South Texas city is anything but, and its architecture will demonstrate how this is the case.
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Buc-ee Cheese

Gas stations on steroids: Welcome to Buc-ee's
Here are some things for sale at Buc-ee’s: dozens of varieties of beef jerky, jalapeño pepper jelly, fudge, yoga pants, gun cases, faux rusticated wood accoutrements, faux rhinestone belts, cowboy art, meaty kolaches, deer corn, American Hunter game feeders, artisan soap, camo tote bags, sports memorabilia, gummy worms, brisket, BBQ smokers, and just about anything else one could possibly want emblazoned with the portrait of the store's mascot, a cartoon beaver. For the uninitiated, Buc-ee’s is a Texas gas station chain and so much more. Started in Lake Jackson, outside of Houston, by Arch “Beaver” Aplin III in 1982, the chain now has 33 locations throughout the eastern half of the state. Like a watering hole on the suburban savannah, these mega-size mini-marts serve as a social condenser: They provide a place where the diverse populations of Texas can graze together. To generate anticipation, Buc-ee’s maintains billboards hundreds of miles out from its stores, inducing in travelers’ minds a yearning for a bathroom break and a bag of “Buc-ee's nug-ees” before they know their desires themselves. The ads are meme-worthy and infectious: “OMG! It’s a beaver! LOL!,” “My overbite is sexy,” “The Top Two Reasons to Stop at Buc-ee's: Number 1 and Number 2,” and “Only 262 miles to Buc-ee’s. You can hold it.” They lodge in the brain much like the chain's corn nug-ees stick in one's teeth. Buc-ee’s are big. Full-size versions of the store sport over 100 gas pumps. They are truck stop–scaled attractions with no trucks, as big rigs are not allowed at the chain. The number of pumps makes for an absurdly long shade canopy, as if the plan of a normal gas station was enlarged in one dimension prior to construction. It is a gesture of logistical horizontality, and the form embodies the engulfing flatness of a state that takes 12 hours to cross diagonally. The structure captures the state’s vitality and artificiality; architecturally, Buc-ee's inspires the same synthetic blend of patriotism and awkwardness as a stretch Hummer. Some locations include car washes, built with the same strip mall vocabulary as the main building. At the recently opened Buc-ee’s in Katy, the conveyor belt apparatus is 255 feet long and officially set the Guinness World Record for the world's longest car wash. But there’s an ecological reason for this. According to Aplin, quoted in the Houston Chronicle, the car wash's length and the number of brushes involved means that it uses less water than smaller operations: “You're not trying to do it in 50 feet. You have more time…It's very eco-friendly." Inside, the store’s most valuable amenity is its clean restrooms. The bathrooms are immaculately maintained and generously sized, with fully enclosed toilet rooms that are finished, as Kevin Bacon’s character from Tremors might describe it, in tile that goes “all the way up.” After heeding the call of nature, one is immersed in the overwhelming expanse of the retail floor. It feels like a to-go Cracker Barrel on steroids with fewer rocking chairs and more truck nuts. As in a casino, disorientation and interiority dominate the senses. Typically, drink coolers and snack racks are to the right, prepared and fresh food kiosks are in the middle, and hard and soft goods are to the left. Flagship locations are larger than grocery stores, although beyond jams and spices, the stores don’t really sell raw food materials. Square beige tile covers the floors and walls everywhere. Above, the 2x4 pattern of fluorescent lights is a relentless perspectival companion, the grid against which the goods are seen and reflected on every individually packaged unit of merchandise. Buc-ee's is big business for its owners and a decent job for its employees. A sign advertises wages for cashiers starting at $14/hour, nearly the $15/hour rate recommended by some progressives as a baseline minimum wage. Municipalities, knowing the chain's popularity, shell out to land new locations. This year, a Buc-ee's will open in Denton, where the city agreed to $8.1 million in sales tax reimbursements in exchange for the new 38-acre development. The appeal is legitimate, as each location attracts scores of motorists and generates up to 200 jobs, all contributing to the state's strong economy. Buc-ee's bustles at all hours in its performance of consumer culture. Here, people from all walks of life, about to partake in all kinds of activities, arrive in hot pursuit of sustenance and supplies. Much as Buc-ee’s creates its own network of road trip destinations today, in the early 1970s the Truckstop Network, a project by the briefly Houston-based Ant Farm, reimagined the American freeway system as an infrastructure for “media nomads.” They proposed a set of support modules that would provide essential services for travelers, as well as communication services to allow for the broadcast of original content directly to the public. But now that unlimited streaming is the norm, the mediatized aspect of Ant Farm's dream feels outdated. What endures are the creature comforts that still spur us to pull over and join the masses in search of junk food and cheap fountain drinks. In the deserted expanses of roadside America, it is a welcome surprise to suddenly be lost in an air-conditioned crowd as it circulates around a Buc-ee's interior, swirled along by the currents of individual appetites, only to quickly return to one's vehicle, as there are no places to sit down, inside or outside. This dance is overseen by the gaze of the eponymous beaver, a ubiquitous character in the store that oscillates between appearing cheery and creepy, depending on one's mood. The creature's unblinking eyes peer out from every piece of branded product, its buck-toothed mouth frozen open. If able to speak, what would Buc-ee say? Despite the store's appearance of American monoculture, culinary diversity sneaks in; the New Braunfels location offers 37 varieties of jerky, including “bohemian garlic, cherry maple, and ghost pepper,” according to NPR. Like a ten-year high school reunion or an acid trip, Buc-ee's triggers many surprises about one's self and the world. As a lovesick essayist wisely observed, “You go to Buc-ee's for the same reason you break up with someone: to pursue possibility, that narcotic promise of more.” In Content, OMA described a “social condenser” as a "programmatic layering upon vacant terrain to encourage dynamic coexistence of activities and to generate, through their interference, unprecedented events." This matches the chaos of Buc-ee’s. It's not a socialist Narkomfin, where workers might promenade in productive collision after their collective labors, but a capitalist terrain where citizens can stock up on sugared nuts, psychedelic beaver socks, and signs that read, “The most important kitchen utensil is the corkscrew.” Buc-ee's may not be the social condenser we need, but it's the social condenser that shows us everything we didn't know we always wanted.
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Tried All the Angles

Judge clears way for controversial Brooklyn development at Broadway Triangle
Last Friday in New York City, a lawsuit against one of North Brooklyn’s most contentious, high-profile developments was dismissed after a six-month delay in court. The lawsuit, filed by the Churches United for Fair Housing (CUFFH) and local groups in February, claimed the Broadway Triangle project would discriminate against people of color and further segregate the predominantly black and Latino community from the rest of Brooklyn. Currently a vacant piece of land situated at the corner of Union and Flushing Avenues, the contested site is slated to become a massive eight-building, mixed-use complex. It was formerly owned by pharmaceutical giant Pfizer. In their complaint, the plaintiffs said the development violates the federal Fair Housing Act and asked the city to stop the rezoning of the site. They also urged the city to consider requiring racial impact studies when rezoning areas in low-income communities throughout New York. Alexandra Fennell, network director at Churches United, told The Architect’s Newspaper that such a study could easily be incorporated into the Environmental Review process when properties are up for development. “The land use process provides opportunities for tangible remedies for issues that are present,” she said. “If the city refuses to even study segregation in our neighborhoods then we are almost certain to perpetuate it.” The plaintiffs also noted that the Pfizer site’s current developer, Rabsky Group, has a longstanding history of building luxury homes and apartments exclusively for larger Hasidic families with three- and four-bedroom options. They argued these sizes don't make sense for smaller black and Latino families who might be interested in applying for the 287 affordable housing units being offered at the Pfizer Project.  The planned 1,146-apartment complex will include those subsidized units, 65,000 square feet of ground-floor retail, and green space, designed in conjunction with the NYC Department of Planning and Manhattan-based firm Magnusson Architecture and Planning (MAP). According to the architects, the new design will aim to improve the local pedestrian experience on the southwest corner of the 31-acre Broadway Triangle, boost economic activity in the area, and beautify the surrounding neighborhoods of South Williamsburg, Bushwick, and Bedford-Stuyvesant.  Magnus Magnusson, the firm's principal, said since the first goal of the project was to receive the zoning change, the initial drawings specifically show the urban design approach taken to the site. You can’t tell from the images, he said, but going east the scale of the buildings get lower to match the surrounding neighborhood. The tallest structures on Union Avenue—a busy, car-ridden street—feature up to 18 stories. “Another big urban design feature we added was a large, public open space in the middle of the complex,” Magnusson said. “The neighborhood today lacks green space and we wanted to make it a place for the entire community to come together.” Magnusson also noted that there hasn’t been any talk of a luxury development by Rabsky so far. “There are seven apartment buildings ranging in various sizes, so each one could be for a different use and feature either affordable housing versus market rate,” he said. “The attraction here for us was the fact that for decades, this was an empty property. To build a new mixed community is really what New York is all about in trying to do to make the city more inclusive. Even though the opposition wanted more, this will probably be the best compromise." Broadway Triangle has been a public topic of controversy for nearly a decade. The city voted to rezone the area, which it owns, in 2009 to make way for new development and affordable housing options, but a federal judge blocked such actions three years later, citing that it would be detrimental to the local minority populations. After the city agreed to find a new developer for the site last year, plans restarted. In March the court put a temporary restraining order on the site, but the ban was lifted with the final ruling last week. “The city needs more housing...a lot more,” Manhattan Supreme Court Judge Arthur Engoron wrote in his ruling. “The Pfizer Project has already passed political process muster; today it passes judicial process muster. This court finds no legal impediment to it and will not stand in its way one more day.” Judge Engoron also stated that the city has no obligation to carry out a racial impact study when it considers rezoning properties and noted that concerns of gentrification and displacement speak to broad social trends rather than the hidden agenda of developers. For the past month, Churches United has hosted the “Take Back Bushwick” campaign, a series of 17 “actions” or events calling out future local market rate developments that are driving up rents, displacing residents in Brooklyn, and have zero affordable housing options. The last and final action, a rally against an incoming 27-story residential building on Wyckoff Avenue, was held this morning. Fennell calls this particular project the “ultimate middle finger building” in Bushwick and a development that “could not be farther from what the community needs.” “Today’s action was not related to Pfizer but it also focuses on the city’s failure to create policies that encourage development of low income housing which we desperately need in favor of luxury development,” she said. “New York is one of the most segregated cities in the country and this type of development is only segregating us further.” Council member Antonio Reynoso, who represents District 34 where the Pfizer Project will be developed, also spoke at the rally and urged the local community to continue getting involved in these discussions. “Bushwick looks a certain way, it has a character,” he said “That’s what makes it so popular and that’s what's being taken away from us. We’re allowing developers and big money to dictate and determine exactly what they want to do in this community, instead of allowing the community to be the sayers of how we want things to be.” This article was updated on August 2nd with comments from Magnusson Architecture and Planning.
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Grapefruit-Chic

David Adjaye realizes a ruby-red museum in San Antonio, Texas
In 2007 the late artist and philanthropist Linda Pace—of Pace jarred salsa fame—had a vision of a ruby-tinted arts city come to her in a dream. The city, as Pace dreamed it, would become a rough outline for the 14,000-square-foot Adjaye Associates–designed museum complex that will house her foundation’s art collection in San Antonio. Pace passed away in 2007; more than ten years later, her vision is being brought to life bit by bit, an endeavor that is currently in full swing ahead of the building’s projected 2019 opening date. The $16 million dream is being translated into reality by architect David Adjaye and an international network of local architects, contractors, and fabricators who have made plans for a precast concrete panel citadel situated on the Texas plain. There, folded concrete surfaces and expanses of brut walls will house the 800 or so artworks collected by Pace and her namesake foundation. The pink complex is built out of a special concrete and aggregate mix crafted by fabricators across the border in Mexico that will result in a gleaming, rosy edifice. As explained by Mike McGlone, principal at Alamo Architects, the executive architect for the project, most colored concrete starts out in either gray, beige, or white tones, with pigments added incrementally to tint the mixture to the desired color. But ruby red pigment is a particularly difficult hue to achieve. For one, pigment can only be added little by little, resulting in a blended appearance that can appear muddled when combined with cement’s natural coloring. The process is made more difficult by the inherent structural requirements of the materials involved—the more pigment is added, the less resilient the final product—so while Pace’s dream called for a vibrant, beet juice–colored edifice, tests using traditional methods yielded less spectacular results. That was the case until designers began looking south of the border, where concrete fabricators Pretecsa can produce concrete panels made with red rock aggregate and red sand taken from local quarries. There, instead of starting with beige or gray bases, the fabricators begin with white concrete and add colored materials and tints to change the hue of the mix from inside-out. The fabricators include materials such as recycled red glass and mica in the mix to boost coloration, while also creating a glittering finished surface that will reflect sunlight throughout the day. Adjaye’s designs call for a collection of open galleries topped by a pair of sculptural light cannons that will bring light into the building. The complex will make use of several different concrete panel types, including rough surfaces that will line the upper sections of the building to better reflect the sun. Lower sections will be smooth to the touch, with a three-sided forecourt wrapping a sculpture terrace that features sandblasted surfaces. The folded concrete panel structure will also use cementitious panels along its roof, a system that will be supported below by a secondary weather-proof roofing system located directly below the outermost concrete layer. The complex is expected to be completed in late 2018 and will open to the public in 2019.