Search results for "sustainability"

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Hitting Benchwallmarks

Governor Cuomo presents plan to prevent L train tunnel closure
At a 12:45 p.m. press conference Thursday afternoon, Governor Andrew Cuomo unveiled plans to prevent the 15-month-long L train shutdown that was set to begin on April 27. Seated between a panel of engineering experts from Cornell and Columbia Universities and representatives from the Metropolitan Transportation Authority (MTA), Cuomo repeatedly touted the innovative nature of the proposed solution—as well as his success in building the new Mario Cuomo Bridge. After Hurricane Sandy struck New York City in 2012, the Canarsie Tunnel that runs between Manhattan and Brooklyn was flooded with salt water. The L line, which ferries 250,000 riders a day between the two boroughs, still requires extensive repairs to fix the corrosion caused by the storm. The concrete bench walls lining the tunnel were damaged, as were the wires and other electrical components embedded behind them. The MTA was scrambling to implement alternatives for commuters, including turning an east-west stretch of Manhattan's 14th Street into a dedicated bus lane, but it now looks like the planning was for naught. The new scheme presented by Cuomo, a joint effort between the governor’s engineering team, WSP, Jacobs Engineering Group, and the MTA, restricts the slowdowns to nights and weekends. Instead of removing and rebuilding the tunnel’s bench wall, and the components behind it, only the most unstable sections will be removed. Then, a fiberglass wrapper will be bonded to the tunnel’s walls via adhesive polymers and mechanical fasteners. A new cable system will be run on the inside of the tunnel via a racking system and the old wiring will be abandoned. New walkways will be added to the areas where the bench walls have already been or will be removed. Finally, a “smart sensor” network of fiber-optic cables will be installed to monitor the bench wall’s movement and alert the MTA to potential maintenance issues. Governor Cuomo hailed the move as innovative, saying that this cable racking system was commonplace in European and Chinese rail projects but that this would be the first application in America. He also claimed that the fiberglass wrapping would be a “structural fix”, not just a Band-Aid, and that it was strong enough to hold the new Mario Cuomo bridge together. To increase the system’s sustainability, floodgates would be added to the First Avenue station in Manhattan and the Bedford Avenue station in Brooklyn. After the presentation was complete, Cuomo passed the microphone to MTA acting chairman Fernando Ferrer, who said that the agency would be implementing the changes immediately. Still, skepticism over whether the MTA would be able to implement the plan quickly bubbled up from the members of the press in attendance and on social media. Because this method of tunnel repair has thus far been untested in the U.S., the question of whether the MTA would be able to find skilled workers to implement the plan was raised. Cuomo, for the most part, brushed the concerns off, claiming that each piece of the repair scheme has been conducted individually before. If the L train repair plan proceeds as scheduled, one track at a time will be shut down on nights and weekends for up to 20 months. To offset the decrease in service, the MTA plans on increasing service on several other train lines, including the 7 and G.
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Cementing Climate Change

Concrete production produces eight percent of the world’s carbon dioxide emissions
Concrete is perhaps the most prolific and malleable construction material in the world, but our continued dependence on it may be contributing to climate change more than was previously known. The English international affairs think tank Chatham House recently released a report that attributed approximately eight percent of the planet’s annual carbon dioxide emissions to concrete production. The chemical processes used to create cement, burning limestone and clay in a high-temperature kiln and grinding the result, contributes the greatest share of emissions (though the collection of sand, a commonly used aggregate, has its own problems). With the 24th Conference of the Parties to the United Nations Framework Convention on Climate Change (COP24) complete, a “rulebook” for enacting the 2015 Paris Agreement on climate change was agreed on by the 23,000 international delegates present. Even with a guide in place for reducing carbon dioxide emissions, the problem with concrete is that demand is only expected to rise. Currently, the world produces 4.4 billion tons of concrete annually, but that number is expected to rise to over 5.5 billion tons by 2050 as poorer countries rapidly urbanize, according to the Chatham House report. For the concrete industry to fall in line with the Paris Agreement’s targets, emissions will need to fall 16 percent from current levels by 2030. The report argues that target is already an ambitious goal. The production of Portland cement, the kind most widely used today, has remained largely the same since the 1800s. Limestone and clay combine in the kiln to form carbon dioxide and “clinker,” a substrate then mixed with limestone and gypsum to create cement. According to Chatham House, research into “alternative clinker” and low-carbon production methods has thus far been slow going. Less energy-intensive kilns, new types of clinker, carbon capture technology, and switching to renewable energy during the production process will all be necessary “to achieve CO2 reductions consistent with at least a 50 percent chance of limiting the average global temperature increase to 2°C above pre-industrial levels by 2100," according to the BBC. Timber, which sequesters the carbon dioxide absorbed by trees over their life, has slowly but surely made strides in replacing concrete in some projects. High-rise timber buildings have gotten a green light in Oregon, and continued research into carbon-neutral (or negative) projects is continuing apace.
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Political Innovation

Andrés Jaque offers an approach to “intersectional architecture”

Andrés Jaque is the founder of the New York and Madrid–based Office for Political Innovation. By exploring the expanded potential of architecture through both speculative and realized designs, the firm has received numerous accolades, including the 2015 MoMA/PS1 Young Architects Program and the 2016 Frederick Kiesler Prize for Architecture and the Arts. In 2014, Jaque’s SALES ODDITY: Milano 2 and the Politics of Direct-to-Home TV Urbanism garnered a 2014 Venice Architecture Biennale Silver Lion award. The 2011 IKEA Disobedients was the first “architectural performance” piece to enter the Museum of Modern Art’s collection. In this project, local residents were invited to hack IKEA furniture, and in doing so publicly perform their everyday private talents and determine their own lifestyles. The project suggests that not all people necessarily abide by the same normative principles or architectural dictates. Jaque is also the director of the Columbia University GSAPP postgraduate Advanced Architectural Design program.

As a member of this year’s AN Best of Design Awards jury, Jaque spoke to The Architect’s Newspaper contributor Adrian Madlener about the current state of architecture. 

The Architect’s Newspaper: What roles do architecture and urbanism play in addressing today’s global challenges?

Andrés Jaque: Architecture and urbanism have a responsibility to mediate some of the most pressing topics reshaping contemporary life: environmental degradation, mounting geopolitical tensions, and the articulation of physical and virtual worlds. There are three unavoidable facts facing society today: Climate change is forcing humanity to redefine how we engage with nature; technology is becoming increasingly autonomous, making it impossible for humanity to maintain control over its impact; and the evolving interaction society has with the offline and the online realms is blurring the distinction between what is real and what is virtual.

Attempting to set clear boundaries between these two realities requires a greater effort. Architecture plays an important role in all these issues. The field has a great capacity and responsibility in the making of facts catering to the collective sense of truth that all forces in society should now—more than ever—respect. Architecture is in the best disciplinary position it has ever been to shape the present and propose potential scenarios for the future.

AN: How can the discipline look to the past to inform the present?

AJ: As architects, we have to reflect on our practice, but also on our legacy. On one hand, we need to develop new ways to operate and respond to changing societal and environmental paradigms. On the other hand, we need to reconsider how we view our predecessors, how we understand and learn from architectural history. Just a few years ago, figures like Cedric Price, Lina Bo Bardi, the Ant Farm collective, and Frederick Kiesler were seen as marginal. Today, these unsung innovators are proving to be the best sources of information for tackling the field’s evolutionary challenges.

AN: You often say that architecture needs to incorporate knowledge from other disciplines. What are the benefits of this interdisciplinary approach?   

AJ: Architecture has the unique capacity to express different perspectives, materialities, temporalities, and scales in interventions charged with multiplicity. Whatever priorities we’re going to address, our response needs to be informed by different realities. Architecture is not an isolated practice. We have to consult other fields: science, art, technology, etcetera. In that way, the discourse around our discipline is becoming more intersectional. It’s important to understand that the design of a building or environment cannot just be accomplished with form and aesthetics alone. Different political, social, economic, and ecological implications need to be considered if a design is to be relevant. 

I defend the concept of intersectional architecture in my capacity as a practitioner and educator. My goal is to develop methodologies that can shift architecture’s interdependence on different realities into an opportunity to engage criticality and to intervene in many areas of contemporary life that are currently being disputed.

AN: Do any of your current projects exemplify the concept of intersectional architecture?

AJ: At Office for Political Innovation, we’re currently designing an experimental school. The project obliges us to simultaneously consider the daily life of its students, but also the larger context that they will occupy. On a larger scale, we’re actually structuring an ecosystem that addresses its own consumption. This aspect will also become an important resource when teaching the students about sustainability. 

We’re also currently designing a house on one of the outer islands near Corpus Christi, Texas. Our proposal offers solutions on different levels. On one hand, it’ll serve as a getaway for a Dallas-based family; on the other, it’ll collect fresh rainfall to irrigate the surrounding mangrove—an important line of defense that can combat erosion and rising sea levels. The house can accommodate the owner’s almost hedonistic desires while still ensuring the survival of its surroundings. What we’re realizing in our practice is that architecture needs to simultaneously cater to different realities within a single response. A design has the ability to address often disparate elements and perspectives.

AN: From your experience as a cocurator of 2018’s Manifesta 12 biennial in Palermo, Italy, how do you think art practice influences the way we imagine and/or create cities?

AJ: Palermo is not a city but rather a hub for the stratified relationships that tie it to distant places like sub-Saharan West Africa, Bangladesh, and the United States. These connections occur through the flow of capital and investment—that dispute the future of the city’s built environment—but also the nearby military base that foreign powers use to strike the Middle East and northern Africa. Palermo’s architecture, the dialectic between its role on a local and global level, has proved to be ineffectual in dealing with these transnational interactions.

In this scenario, architecture and art are the only disciplines that can bring heterogeneous situations together. Whether it’s the migration crisis or a personal struggle, these realities simultaneously develop on different scales. Architecture and art can mediate the evolution of these realities by introducing the values of urbanity, new forms of citizenship, and the aesthetics of inclusivity. This can only happen if such interventions take stock of what is already in place and grasp the full scope of complexity that the context might contain. To be truly impactful, the initiatives must cater to all parts rather than just the most powerful elements. An open cultural platform like the Manifesta art biennial offers architects and artists the space to test out independent action that the urgency of commercial commissions rarely provides. 

AN: How is architecture education changing?

AJ: Within the Advanced Architectural Design Program that I direct at Columbia University, students—who already have significant experience with design as a critical medium—explore new forms of practice in different contexts. They gain an analytical understanding that will allow them to intervene and apply architecture as a contemporary methodology. Various speculative exercises allow them to test out how the field could have a wider scope of influence in the future. They don’t learn a predetermined set of skills, but rather work together and with faculty to reinvent architecture as a discipline that can respond to the world’s greatest problems. 

It is crucial that they are able to translate this discursive approach when entering or reentering the profession. In our program, we’re trying to change architectural education by introducing an experimental pedagogy. Students are given the time and space to develop situated projects that address specific, real-world briefs. With its many firms, experts, advocacy agencies, and organizations, New York offers the perfect context for these investigations.

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A Year in Sports (Architecture)

Let’s kick it: Here are the top sports architecture stories of 2018
Is the United States becoming more serious about soccer? We think we have evidence to say that it is. AN’s most popular sports stories of 2018 center around the world’s greatest sport, telling us that this year’s uptick of soccer-related architecture news signals a newfound appreciation for the game in our country. Read on for several developments you should pay attention to, and other stories about why sustainable stadium design is also on the rise. David Beckham’s Miami soccer village reveals Arquitectonica’s designs Miami is set to receive its first Major League Soccer (MLS) team, backed by soccer superstar David Beckham who plans to build a 73-acre campus for the city called “Miami Freedom Park.” Arquitectonica revealed new renderings of the sports village, complete with a sweeping, 25,000-seat soccer stadium. In November, local residents voted to approve the project and its projected location on the city-owned Melreese Country Club golf course, meaning Beckham’s vision is one step closer to breaking ground. Nashville’s new $2 million soccer stadium takes shape In December 2016, MLS announced a major club expansion to four U.S. cities including Nashville, Tennessee. Though the southern city wasn’t sure it’d be awarded a new team, plans for a multimillion-dollar stadium project had been in the works for over a year. This February, HOK released its first renderings of the new stadium, which will be constructed inside the Fairgrounds, home of the Tennessee State Fair. Selecting the central site was a contentious process throughout 2017 when a lawsuit was filed citing the city had violated its charter by proposing the project on public grounds. 2026 World Cup preview: Which U.S. cities will host? As Qatar preps for the 2022 World Cup, the United States is on deck to host the 2026 games alongside Canada and Mexico. That’s exciting news for a country whose national team rarely makes it into the World Cup lineup—the joint bid automatically ensures us a spot. But what’s not yet official are the 10 cities that will host events. We know that 60 of the 80 planned matches will be played in the U.S., including those from the quarterfinals onwards, but currently, 17 cities are still in the running. Which top towns, along with their state-of-the-art stadiums (which are an integral part of the individual bid), will make the cut? We’ve listed all the contenders here from Atlanta’s new Mercedes Benz Stadium by HOK (host of the 2019 Super Bowl) to the classic Rose Bowl in Los Angeles. Naturally-ventilated Louis Armstrong Stadium debuts at US Open Ahead of this September’s US Open, the USTA Billie Jean King National Tennis Center finished a five-year, $600 million renovation project of its campus in Flushing, Queens, New York. The massive update included the buildout of the new Louis Armstrong Stadium, the world’s first naturally ventilated tennis arena with a retractable roof. Designed by Detroit-based firm Rossetti, the 14,000-seat stadium replaces the former Louis Armstrong Stadium, which was demolished after the 2016 championship. The new structure features the same stacked seating style as its predecessor but serves up extra sustainability with the exterior overlapping terracotta louvers that act as horizontal window blinds. New home of the Texas Rangers has a climate-controlling, retractable roof HKS has designed a new 41,000-seat baseball stadium for the Texas Rangers in Arlington, Texas, set to replace the old Globe Life Park in 2020. The aptly named Globe Life Field will be a glass- and brick-clad structure featuring new climate-controlling infrastructure and a retractable roof. HKS’s design for the 1.7 million-square-foot ballpark was inspired by the vernacular style of Texas farmhouse porches. BIG unveils designs for new Oakland A’s stadium featuring a rooftop park Late this November, Bjarke Ingels Group (BIG) and the Oakland Athletics unveiled plans for a new baseball park and mixed-use campus in Oakland, California. Complete with a literally diamond-shaped stadium, the project is being pitched as a double-play for the city. It will feature an open and accessible landscape situated within Oakland’s underutilized Howard Terminal and will also include housing, recreational spots, and a business hub. Gensler and James Corner Field Operations will work alongside BIG to build out the mega-green space by 2021.
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Professor of Cities

Thom Mayne to take over SCI-Arc’s cities program
Thom Mayne of Morphosis will be rejoining the Southern California Institute of Architecture (SCI-Arc) as a full-time distinguished faculty member as the new coordinator for the SCI-Arc EDGE Design of Cities postgraduate program. Mayne, one of the original founders of SCI-Arc, will be taking over the Design of Cities program from current coordinator David Ruy, who will stay on as head of postgraduate studies at the school. Regarding Mayne’s new post, SCI-Arc director Hernan Diaz Alonso said:
“It is wonderful to have Thom Mayne come back home. He is a major part of what SCI-Arc is, was, and will be. Thom Mayne represents everything that we want our students to aspire to. Thom embodies the best aspirations of architecture as a historical, cultural, and political force that is unique among creative disciplines. Thom will help us to maintain the unique spirit of exploration that defines SCI-Arc. In the contemporary world, architectural thinking should be a platform for challenging the status quo. We welcome back to SCI-Arc, one of the pioneers of this idea.”
Mayne has extensive experience as an educator and has held teaching positions at Columbia, Yale, the Harvard Graduate School of Design, the Berlage Institute in the Netherlands, the Bartlett School of Architecture in London, and most recently at the University of California, Los Angeles, where Mayne led the school’s Suprastudio, among other institutions. The Design of Cities program is focused, according to the SCI-Arc website, “against the conventional wisdom that cities are hopelessly complex, informal networks beyond the reach of any design model, this program fundamentally believes in the power of the architectural imagination to create sustainable urban designs for the twenty-first century and beyond.” With a long legacy of urban- and sustainability-focused work and research under his belt and a growing momentum toward regional urban transformation in Los Angeles and California more broadly, expect to see Mayne’s provocative ideas take on new life as he undertakes his new position.
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To Live is to Learn

2018 Best of Design Awards winners for Education
2018 Best of Design Award for Education: Daniels Building Designer: NADAAA Location: Toronto

The University of Toronto’s Daniels Faculty of Architecture, Landscape, and Design (DFALD) tapped NADAAA to design a new, 155,000-square-foot center that could incorporate studio spaces, fabrication workshops, classrooms, and offices. The school wanted the new building to also operate as a working sustainability prototype. The facility is connected to the adjacent landmark Knox College building, an existing 19th-century structure that features Gothic spires and edges. Though significantly different in style and detail, the historic building creates the ideal foil for the contemporary, boxlike facility. The folds of the roof aim to capture daylight while the glazing maximizes northern views. A Miesian curtain wall complements the building’s sober yet bold concrete and steel structure.

Honorable Mentions Project Name: UCSB San Joaquin Student Housing Designer: Lorcan O'Herlihy Architects Location: Santa Barbara, California Project Name: Sherman and Joyce Bowie Scott Hall at Carnegie Mellon University Designer: OFFICE 52 Architecture Location: Pittsburgh
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Eat Your Heart Out

London’s Gingerbread City goes high-tech for 2018
The sprawling Gingerbread City is back in London for another year, bringing the biggest names in European architecture together for an exercise in edible design. Over 60 studios have contributed gingerbread buildings to the Museum of Architecture’s annual holiday exhibition, bringing an abundance of sugar glass to the Victoria & Albert Museum (V&A) until January 6, 2019. The 1:100 scale city was again master planned and sponsored by Tibbalds Planning and Urban Design, and like last year’s installation, champions progressive urbanist ideas such as sustainability and accessible mass transit. Rooftop (candy) farming, a stadium, high rises, shorter multifamily housing, a botanical garden, college campus, opera house, and more are all present. Foster + Partners went high-tech for their contribution this year, using a robot arm to construct a serpentine, open-air pavilion reminiscent of BIG’s Unzipped. London-based Apt created the SugarLoop, a walkable green corridor through the city that references the High Line but also includes several literal loop-the-loops. Zaha Hadid Architects stacked sheets of rounded gingerbread to create a ribbed concert hall that wouldn’t look out of place in their real-world portfolio. Hopkins Architects contributed the Bakewell Bridge, which features a variety of different gingerbread people meant to bolster the city’s diversity. The professionally-designed buildings aren’t available to eat, but the Museum of Architecture is offering workshops on 10 different days for families who want to construct their own gingerbread masterpieces. Not in London? New Yorkers can check a more staid, but equally impressive, scale recreation of NYC’s landmarks rendered in cookies at the Columbus Circle Williams Sonoma.
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Jury Perspective

Jean Lin of Colony talks the future of independent furniture design
When Jean Lin founded Colony in 2015, she established a new kind of platform for New York City’s thriving community of independent furniture, lighting, textile, and object designers. The multihyphenate creative—a fashion designer, editor, trend forecaster, professor, entrepreneur, and consultant—set up the gallery based on a co-op fee system rather than the standard commission model. This made it a more feasible and attractive option for many of the city’s emerging talents. Today, Colony’s roster includes design studios like Fort Standard, Allied Maker, Moving Mountains, Vonnegut/Kraft, Earnest Studio, and Hiroko Takeda, to name a few. Lin has also spearheaded initiatives such as the charitable design organization Reclaim NYC and the Tribeca Design District event. She is also a member of the NYCxDesign Steering Committee and on the board of the Female Design Council. As a member of this year’s AN Best of Products Awards jury, Lin spoke to The Architect’s Newspaper contributor Adrian Madlener about the current state of furniture and product design while touching on the issues facing the industry and changes that have taken place in the past few years.
The Architect’s Newspaper: What are some of the challenges for independent designers today?
Jean Lin: Independent designers are the most prone to the impact of a changing economy—it affects them on a micro level. For many of the talents that show at Colony, the difficulty is in determining whether they can grow while staying true to their initial goals. Right now, they might be manufacturing their own furniture. If they decide to hire new people or outsource production, how will they be able to maintain the identity of their practice?
AN: Are these talents addressing or shying away from some of the larger problems society is currently dealing with, such as sustainability, the pace of technological advancement, or gender-based, racial, and economic inequalities?
JL: What these small companies do is personal. It’s hard to miss what they’re about. The designers I work with are very socially and environmentally conscious. A lot of the causes that are getting wide, mainstream attention now have been addressed by this community for a long time. Seattle-based duo Grain had a ten-year anniversary exhibition at Colony in September. They are sourcing materials responsibly, and their entire practice is based on sustainability. It’s inherent to what they do, and so they don’t need to promote it as something radical.
AN: Can these issues also be addressed through aesthetics and form?

JL: Good design is always about the interaction between an object and the environment it occupies—the people it interfaces with. There are ways that we can talk about social and ecological issues through form and aesthetics. Is the product masculine or feminine? How long does that piece last versus how long will that piece seem appealing? However, I wouldn’t say that what’s coming out now is a direct visual or formal reflection of everything that’s going on in the world. What designers are now taking into closer consideration is how they source material, what companies and vendors they decide to collaborate with, and how they run their businesses. Sometimes, it’s simply a question of being active and not apathetic toward the things that are changing in the world around them. That awareness seeps into everything they do.

AN: How do these changes in the way talents work affect trends?

JL: The talents that are leading the way are now pushing themselves to create timeless pieces. This is a reaction to Instagram culture, the latest and flashiest designs that often look the same, go viral, and get all the attention—but only for a fleeting moment. I love trends and believe they become popular for valid reasons, mainly because they are approachable at the given time. Right now, monolithic forms and earthen jewel tones are all the rage, but next year we could be talking about much more delicate shapes and a different color palette. Trends get pushed to their threshold and spark antitrends that then take over. The designers that show at Colony are using material, but in an aesthetic and formal language that can last much longer. 

AN: Do the collectible and art design markets create economic conditions that give independent designers the time and space necessary to develop these types of designs? 

JL: I don’t see the collectible design market as something that has a great impact on the wider design industry. It’s aspirational and only targeted to the 1 percent of people who are able to afford a luxury item that isn’t necessarily functional, and perhaps it’s more reflective of artistic expression. What truly pushes designers to innovate is a different kind of high-end market that is educated in the quality of craftsmanship and the value of good design. Emerging designers are finding a comfortable place in the market. The upper middle class, interior designers, and the hospitality industry are starting to appreciate the quality of this output. In turn, there is a demand for beautiful, functional, and well-crafted work that doesn’t have to sit on a shelf to be acknowledged. 

AN: You mentioned that interior designers are important clients. This is especially true in New York City, where a strong surge in real estate is keeping the industry busy. How are independent designers faring in other parts of the country?

JL: This summer, Colony and Design Milk launched an initiative called Coast to Coast to help dispel the misconception that the only design market in the United States is New York. I think that this city is an amazing commercial and creative center for design. I also think that the sentiment that people never have to leave because all the best talents come or sell here is too insular and no longer accurate. We visited Detroit, Nashville, New Orleans, and Santa Fe to get a better understanding of how the independent design movement has expanded. Many local or transplanted talents are becoming a force for good in their communities, helping to change the market and creative landscape. I’m now planning to orient Colony with a broader focus and to incorporate design from different parts of the country.

AN: The independent design or maker’s movement has been going strong for the past 15 years or so. Is there a potential for autonomous talents to collaborate with larger manufacturers and the contract market?

JL: It would be a challenge. A lot of independent talents have altogether discounted the possibility of collaborating with big companies. The gap between these two areas of design is wider than ever. Unlike in Europe, major manufacturers and design brands in the United States don’t have the time to dig in and find talents who aren’t on a top 10 list. They’re always going to go with the star designers they’ve worked with before. This reality forces and facilitates independent design companies to grow, out of necessity. However, large companies definitely look to young and emerging talents as a resource, even if they don’t give credit where credit is due. As independent practices become a stronger commercial force, this will happen even more. The good news is that consumers are also seeing the value of well-made furniture and product design, even if it has to be sold at a higher price point.

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A Darker Shade of Berry

2018 Best of Design Awards winners for Commercial — Hospitality
2018 Best of Design Award for Commercial — Hospitality: Saxum Vineyard Equipment Barn Designer: Clayton & Little Location: Paso Robles, California Located in West Paso Robles, California, this unassuming agricultural storage facility was constructed using salvaged oil drill stem pipes, WT steel, Douglas Fir plywood, and perforated metal screen panels. Sliding barn doors are clad in a tube steel frame forged from remnants of the winery’s shoring wall. The pole barn sits sentry as the first structure near the entry of the 50-acre James Berry Vineyard. The building’s renewable energy system speaks to the winery’s commitment to sustainability. Its prime objectives are to provide an armature for a photovoltaic roof system—offsetting more than 100 percent of the adjacent winery’s power demands—and to provide covered storage for farming equipment. Mounted on the pole barn, a future rainwater harvesting system will collect just under 30,000 gallons annually. Honorable Mention Project Name: Brightline Designer: Rockwell Group Location: Florida: Miami, West Palm Beach, Fort Lauderdale, Orlando
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buildin' green

New building products from Greenbuild help to meet LEED standards
Meeting LEED standards isn’t easy. If you’re trying to design a healthy building environment, a great place to start is Greenbuild, the annual conference and expo dedicated to sustainability in the built environment. From November 20 to 22, professionals in architecture, design, construction, engineering, and planning flocked to Chicago's McCormick Place to learn more about environmentally friendly building materials and practices. You’ll find our favorite products that we saw below. Each answering to a different set of needs, they help to enhance building efficiency, human health and wellbeing, and promote sustainable design. Landmark Premium Double Hung Window  Silber Double hung?! Silber’s Landmark Premium Double Hung window opens in two directions: outward and downward. It is passive house–rated with thermal insulation and a multi-point locked, triple gasketed sash, making it airtight. Formawall with Halogen-Free Insulating Foam Core CENTRIA Dress up the facade and meet sustainability goals with Formawall. It can be used to make both vertical and horizontal designs. Better yet, the insulated panel system makes for a healthy building environment with a halogen-free foam core that provides thermal efficiency and moisture control. Mermet USA GreenScreen Nature Draper High-tech shade expert Draper paired up with sun control textile purveyor Mermet to offer a 100 percent fiberglass shade that’s 100 percent recyclable. GreenScreen Nature blocks up to 51 percent of sun, undesired heat, and harmful UV rays, helping to meet those green LEED building codes. It is offered in seven mineral-toned colors.   Metropolitan AF-690 Benjamin Moore Benjamin Moore’s color of the year is a cool, very agreeable shade of gray dubbed Metropolitan AF-690. Featuring cool undertones in a “neutral spectrum,” the shade and its harmonious 15 corresponding hues create “impactful common ground.” Living up to its namesake, it makes any room look “Metropolitan AF.” Pentagonals Tarkett Pentagonals is a collection of colorful modular tiles made of rubber, making it perfect for high-traffic areas. Pick and choose three different shapes to create virtually endless design combinations. And, with the help of Tarkett’s online visualizer tool, you can get motivated by the online inspiration gallery and create custom layouts with the design platform. Aromatic Cedar Columbia Forest Products Bye-bye pests and mildew! Cedar protects kitchens, pantries, basements, and indoor spaces alike from stink with its inherent natural properties (especially its scent). Columbia Forest Products' ¼-inch-by-4-feet-by-8-feet aromatic cedar plywood panels are offered in both mirrored and symmetrical styles.
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ISTBEST

2018 Best of Design Awards winners for Unbuilt – Education
2018 Best of Design Awards for Unbuilt – Education: Arizona State University Interdisciplinary Science and Technology Building 7 Designer: Studio Ma Location: Tempe, Arizona The Arizona State University Interdisciplinary Science and Technology Building 7 (ISTB-7) by Studio Ma will be an interdisciplinary science and research complex that incorporates a new generation of sustainable design solutions, as well as climate-responsive, regenerative technologies. ISTB-7 is a next-generation, triple net-zero facility, envisioned as a prototype for a stand-alone, closed loop infrastructure that ultimately produces and collects more energy and water than it uses. The cross-laminated timber frame building anchors a new research precinct on the Gateway Edge of ASU’s Tempe Campus. Wastewater and air is recycled through a central biome located within the facility’s massive daylit atrium. Set for completion in 2020, the 258,000-square-foot building will support advanced research in sustainability and robotics to help solve the emerging energy, water, and food crises. Honorable Mentions Project name: Bedford Stuyvesant Community Innovation Campus Designer: Ten to One Location: Brooklyn, New York Project name: 80 Flatbush Public Schools Designer: Architecture Research Office Location: Brooklyn, New York
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Building Public Trust

How the Trust for Public Land is converting schoolyards to playgrounds
The third and last case study in this three-part series related to breaking borders is an interview with Carter Strickland, the New York State director of the Trust for Public Land (TPL), regarding the TPL's Schoolyard to Playground Program. The previous interview was with Deborah Marton of the New York Restoration Project. The Architect’s Newspaper: Can you give me some background on the Trust for Public Land Schoolyards program and how it breaks down borders? Carter Strickland: Since 1996, the Trust for Public Land (TPL), has been working out of its New York City office to partner with the City of New York and its Department of Education, to transform low-performing asphalt “play yards” into multi-benefit play spaces used by the schools during the school day and the local community after school, on weekends, and on holidays and vacations—including all summer. Our work breaks down the physical border between schools and the surrounding community by unlocking fences and opening a new neighborhood park and breaks down institutional and other borders by involving the community in the visioning and design process before the park is built, and in the programming and use of the park after it is built. AN: How do you choose where to work? CS: Over the last 20 years, TPL has worked with the city to identify asphalt schoolyards that offer little in play value—mostly barren, uninspiring asphalt yards that have no play equipment except for rundown basketball courts, that shed water from their impervious surfaces to the storm sewers and retain pools of water days after rainstorms, and, because they are black asphalt and absorb the sun’s rays, are increasing the urban heat island effect. These areas are surrounded by high wire mesh fences; they have all the charm of a prison yard. Worse, they were historically locked up, only used by the school, and not available to poor communities starved for open space. We look for principals, teachers, and custodians who are ready and willing to invite the community in. AN: How has the program grown? CS: That model was pursued on a small scale initially dependent on corporate funding, with 12 sites built in the first eight years. By 2004, the city had obtained mayoral control of the school system and was open to public-private partnerships, and TPL was able to formalize its partnership in an MOU with the NYC Department of Education and the NYC School Construction Authority to renovate schoolyards. The agreement provided 2 to 1 matching funds from the City of New York for the development of five playgrounds a year for five years, a pace maintained from 2004 to 2007. Former mayor Michael R. Bloomberg launched PlaNYC, a comprehensive sustainability plan for the city that adopted a goal of having every New Yorker live within a 10-minute walk of a park. To meet this goal the city encouraged creative approaches and especially cross-silo efforts, and the program really took off. The city entered into a partnership with TPL, which would serve as the community engagement intermediary with schools and neighbors, the Department of Education (which Mayor Bloomberg got control of from the State of New York), and the Department of Parks & Recreation, which designed and built the playground transformations, and approximately 150 more part-time schoolyards were transformed into full-time community playgrounds between 2007 and 2013. The PlaNYC work wrapped up but NYC Department of Environmental Protection stepped up as a funder for parks that absorb water to meet the goals of the NYC Green Infrastructure Plan, and many councilmembers and borough presidents sought to fund these mini-parks for the benefits of their communities. Recently, New York State has funded playgrounds in central Brooklyn as part of its comprehensive Vital Brooklyn health initiative. To date, TPL has worked with the city and various funders to build 197 green playgrounds, with 15 more in various stages of design and construction. AN: What are the environmental benefits of the initiative? CS: Since 2013, TPL has designed playgrounds to include green infrastructure elements such as rain gardens and absorbent turf fields, turning each of the spaces into a stormwater capture system. This has helped the city to meet its legal mandate to reduce stormwater runoff going onto the Combined Sewer System (CSS) in NYC that contributes to Combined Sewer Overflows (CSOs) during rainstorms, a significant source of pollution to the nearby rivers and harbor waters. AN: Can you explain the design process? CS: TPL and its consultant landscape architects work with students, teachers, and neighbors to design a new, full-service playground for the school’s use, with new play equipment, sports fields with synthetic turf (it was determined that real grass would not survive even one week of intense use), a running track, performance areas, trees, and gardens with both flowers and places to grow vegetables. We spend five-to-ten weeks in the schools and community, with schoolchildren measuring the grounds, undertaking a sun/shade analysis, surveying the community for a recreational needs analysis, and learning about budget and other constraints. Our professionals turn this data and vision into alternative designs, which are then voted on by the school community. In this way, we transform not only public spaces but empower the community and students with knowledge and the experience of improving their neighborhood. AN: How is TPL using New York City as a prototype for work across the country? CS: The TPL Schoolyard to Playground model has been replicated in other cities in the US, including in Philadelphia, where it works with the very progressive Philadelphia water department in creating “water-smart” playground in both parks and at schools, as well as in Newark, New Jersey, and in San Francisco and Los Angeles. Epilogue Use of vacant lots for parks and community gardens is not a new idea. A March 28, 1896, article in Scientific American article titled “Cultivation of Vacant Lots by the Poor,” described prototypical gardens on New York City vacant lots intended to be a prototype for cities across the country. While the focus was on food production the social value cannot be discounted. An important difference between this work and that of the three leaders interviewed is an attitude that works across demographics and socioeconomic borders. They are opening up space and expanding attitudes about how we treat one another. This progressive move away from the anti-planning that Commissioner Silver described to an open and inclusive process is helping us move beyond postwar attitudes that created so many urban ills. Every organization is buttressed by new data, analysis, and design tools to make more public space available in the growing city. Parks Without Borders has very meaningful perceived and real physical impacts. To the extent that that streets, sidewalks, neighborhoods, and parks become more fluidly connected to the city, quality of life in neighborhoods across the five boroughs will improve. The work of NYRP in developing vacant lots and underused NYCHA property for community gardens has had a transformative impact on the social and economic well-being of underserved communities. At Trust for Public Land, opening up schoolyards has direct benefits on local neighborhoods, and engagement of kids, teachers, and principals in a design process that involves both form-making and environmental considerations will have a long-lasting impact on the people involved in the development process. The city of the future is evolving as a greener connected polis thanks to the efforts of these and other visionary leaders. Borders are opening on the city level as political rhetoric nationally suggests a grim alternative.