Everyone’s been talking about Richard Rogers’s big win as the 2019 American Institute of Architects (AIA) Gold Medal recipient, but he isn’t the only visionary being honored at next year’s AIA National Conference on Architecture in Las Vegas. Four other firms and leading architects will be recognized by the AIA for their career-long contributions to the fields of architecture, engineering, and design. Check out the boundary-breaking winners below: 2019 AIA Architecture Firm of the Year: Payette This 86-year-old, Boston-based firm paved the way for some of the industry’s biggest technical advancements. Founded in 1932 by industrial engineers Fred Markus and Paul Nocka, the interdisciplinary organization is home to over 160 employees that specialize not only in architecture, but visualization technology, building science, landscape design, interior architecture, fabrication, and data science. Its massive portfolio features large-scale health, science, and academic facilities for global institutions such as Grainger Hall for the Nicholas School of the Environment at Duke University in Durham, North Carolina; the Rajen Kilachand Center for Integrated Life Sciences and Engineering at Boston University in Boston, Massachusetts; and the Biosciences Research Building at the National University of Ireland in Galway, Ireland. 2019 AIA/ACSA Topaz Medallion: Toshiko Mori Toshiko Mori, founder and principal of her namesake firm, has an extensive background teaching architecture. The AIA and the Association of the Collegiate Schools of Architecture (ACSA) will recognize Mori next year for excellence in architectural education. She’s taught at the Cooper Union, Columbia University, Yale University, as well as the Harvard Graduate School of Design, where she’d worked for 23 years. She was the first female faculty member there to get tenure, and became chair of the architecture department in 2002, leading the program for six years. Through her New York–based firm, which she established in 1981, Mori most recently designed the Thread Artist Residency & Cultural Centre in Sinthian, Senegal, as well as the Center for Maine Contemporary Art in Rockland, Maine. 2019 AIA Whitney M. Young Jr. Award: Karen Braitmayer As founder of the Seattle-based consulting firm Studio Pacifica, Karen Braitmayer advises architects, developers, government and state agencies, as well as schools on accessible design. After starting her organization in 1993, she’s become widely recognized for her leadership in promoting equality, inclusivity, and social sustainability for people living with disabilities. The AIA’s Whitney M. Young Jr. Award will be given to Braitmayer for her work in advancing human rights. She’s served on the boards of the Northwest ADA Center, the Northwest Center for People with Developmental Disabilities, and the United States Access Board, which President Barack Obama appointed her to in 2010. Her firm works regularly with Olson Kundig, the city of Seattle, and Starbucks. She’s consulted on projects with Kiernan Timberlake, Oregon State University, REI, Kaiser Permanente, Nike, and Amazon. 2019 Edward C. Kemper Award: Robert Traynham Coles Robert Traynham Coles’s eponymous firm, opened in 1963, is the oldest African-American–owned architecture studio in the Northeast U.S. His work has widely influenced the city of Buffalo, where he was born, raised, and spent most of his 50-year career. Coles will receive the Edward C. Kemper Award for his legacy within the AIA. From 1974-1976, he served as the organization’s Deputy Vice President for Minority Affairs and was appointed to the College of Fellows in 1981. That same year he received the Whitney M. Young, Jr., Award for his commitment to social justice and equality in the industry. In 2016, Coles published his memoir Architecture + Advocacy in which he detailed his career-long effort to design architecture with a social conscience. He has taught at various institutions such as Carnegie Mellon University, the University of Buffalo, and the University of Kansas.
Search results for "sustainability"
The Museum of Modern Art and MoMA PS1 have announced the five finalists for next year’s 20th annual Young Architects Program (YAP). The finalists are each invited to propose an installation design for PS1’s outdoor courtyard in Long Island City, Queens. The winning proposal will be revealed in early 2019 and installed next summer. The selection below hints at MoMA’s commitment to showcasing forward-thinking architects who use eye-catching design, strategic planning, and social media to garner global influence. Not only do these teams create innovative spaces and experiences, but they incorporate imaginative materials and movement into every project they pursue. Meet the finalists below: Pedro & Juana Ana Paula Ruiz Galindo and Mecky Reuss Mexico City This Mexican design duo has made major splashes in the architecture world since establishing their firm in 2012. Many of their projects feature furniture-driven designs, as seen in their interior public space installation, Dear Rudolph, for the 2015 Chicago Architecture Biennial. The pair met in 2005 while attending SCI-Arc and formed their practice years later. Not only do they design their own furnishings and fixtures for many of their projects, but they incorporate art and whimsy into every piece. For the 2017 Chicago Architecture Biennial, Pedro & Juana created a festive and colorful ceiling full of lanterns and planters within the Museum of Contemporary Art Chicago. Low Design Office (LOWDO) DK Osseo-Asare State College, Pennsylvania DK Osseo-Asare of the Austin, Texas-based firm LOWDO explores the links between sustainability, technology, and geopolitics. Together with his design partner, Ryan Bollom, the young practitioner designs eco-friendly family homes and living systems. In 2017, they created the Agbogbloshie Makerspace Platform (AMP), a transnational project that helps bolster maker ecosystems in Africa by teaching students and young professionals how to reuse recycled materials. One of the firm's biggest projects includes designing and planning the new towns of Koumbi City in Ghana and Anam City in Nigeria. Oana Stanescu & Akane Moriyama New York Romanian architect Oana Stanescu is a founding partner of the New York–based design firm, Family, and cofounder of the Friends of +Pool nonprofit. Her work in architecture features a multidisciplinary approach, which can be seen in the ambitious design of the world’s first floating pool and Family’s 2013 stage design for Kanye West’s Yeezus tour. Stanescu recently stepped out to start a practice under her own name, taking her extensive experience working on exhibition design, public housing, and commercial projects, as well as urban development, with her. She’s has held teaching positions at MIT and Columbia University GSAPP, and served as a critic at Yale and Harvard. Stockholm-based artist and designer Akane Moriyama weaves the fields of architecture and textile together in her work. After studying at both the Kyoto University of Technology in Japan and the Konstfack University College of Arts, Crafts and Design in Sweden, she began incorporating the practices of dying, knitting, sewing, and printing into her projects. In 2013, she won the Center for American Architecture and Design's competition CURTAINS, installing a large-scale prism made of billowy, sheer drapes in a courtyard at the University of Texas at Austin. Her work has been shown widely from Tokyo to Venice. Matter Design Brandon Clifford Boston Matter Design, led by director and cofounder Brandon Clifford, isn't afraid to experiment. The Boston-based design/research studio regularly publishes architectural research into new fabrication techniques but also combines the theoretical with the practical in using those same techniques to create products. This synthesis of research and practice is at the heart of Matter Design; for example, take The Cannibal's Cookbook, a guidebook for constructing walls from interlocking pieces of scrap masonry, and Cyclopean Cannibalism, a real-world realization of a "recipe" from the book. Carving, stacking, and discovering new twists on ancient craft techniques have driven much of Matter Design's research. The studio was also recognized with an Architectural League Prize for Young Architects + Designers in 2013. TO Carlos Facio and Jose G. Amozurrutia Mexico City To TO founders Carlos Facio and Jose G. Amozurrutia, the line between art and architecture was meant to be blurred. TO, a small, three-year-old Mexico City–based practice, regularly blends hand-crafting with architectural ideas. For their 2016 Hermés Pavilion in Milan, the studio collaborated with Taller Mauricio Rocha + Gabriela Carrillo to abstract one element of a typical building—the colonnade—into a spiraling structure made solely of brick piers. The resultant interplay of light and shadow was just as important to the project as the columns themselves, demonstrating the studio's attention to architecture's more ethereal qualities. Past YAP winners include Dream the Combine (2018), Jenny Sabin (2017), and Escobedo Soliz Studio (2016).
New York's nonprofit Van Alen Institute has sold its building, the organization said in a Monday press release. The sale of its property at 30 West 22nd Street in Manhattan closed on November 28. The organization explained the sale by saying that its offices no longer host exhibitions or a bookstore as they used to, and the institute presumably does not need its prime storefront real estate. "Our current ground floor space is no longer adequate to support our staff or audiences," Van Alen said in a statement. "We have been located elsewhere in New York City in the past and intend to purchase a new home in the future." The statement went on to say that "a rebalancing of assets was in order to ensure the long-term sustainability of the organization," after the Flatiron District property's value had increased faster than expected. The statement also said that the organization was outgrowing its current space and that a buyer had offered to buy the building at a price that exceeded what the Institute would earn from rents. The organization will remain at its current location for the immediate future while it looks for a new home. The news comes on the heels of the announcement from David van der Leer that he is stepping down from his role as the organization's executive director to pursue his own consulting projects. No permanent replacement has yet been announced.
Poutine on the Ritz
Sidewalk Labs releases a new site plan for its Toronto neighborhood
Alphabet subsidiary Sidewalk Labs is continuing to refine its plans for Toronto’s waterfront Quayside neighborhood. The tech company released its first look at the mass timber development in August of this year and has now released a more in-depth breakdown of how its 12-acre site will be developed. The latest vision of Quayside comes in advance of a roundtable on December 8 with community members and elected officials, the second-to-last such meeting before the release of the master innovation and development plan in 2019. The new draft site plan, which Sidewalk Labs described as “more Jetsons, less Black Mirror,” has slashed the development’s height and set specific affordable housing and sustainability targets. Quayside, which will be 90 percent affordable in accordance with the area’s existing zoning, is leaning on mass timber for its mixed-use towers. The Vancouver-based Michael Green Architecture was tasked with creating a kit-of-parts that could work with buildings of every scale. Each building will be anchored by an open-air “stoa,” covered walkways supported by rows of V-shaped heavy timber columns. New York's Beyer Blinder Belle is responsible for the project's master planning. Development will now be clustered around 12 mixed-use mass timber towers, with the tallest topping out at 30 stories. The tallest building in the sensor-integrated smart neighborhood was originally supposed to reach 50 stories tall. Sidewalk Labs now expects approximately 5,000 residents to call Quayside home, and have earmarked 20 percent of the units as affordable, and another 20 percent as below-market rate. Fifty percent of the development’s housing will be rental units. On the transportation side, Quayside is positioning itself to connect with Toronto’s light rail network. The neighborhood is also looking into a “flexible street” system that can transition from supporting traditional cars to autonomous vehicles once the technology comes to fruition. Quayside is shooting to reduce emissions over a typical neighborhood by 75-85 percent through a combination of geothermal wells and solar panels. The timber used, all of it locally sourced in a boost to the Canadian lumber industry, will also produce less carbon dioxide emissions overall when compared to a typical concrete-and-steel building. As Engadget noted, Sidewalk Labs has been less-than-successful in its attempts to create a trust to oversee the massive amounts of data the neighborhood would collect on its residents. Last month, the project’s lead expert and consultant, Ann Cavoukian, quit over concerns that the trust would not be able to anonymize the information it was receiving. Following the final roundtables and the approval of a master plan in 2019, Sidewalk Labs expects construction of the project to last three to five years.
Rent the Planet!
Airbnb expands into ground-up housing
Not content with monopolizing the home sharing market, Airbnb will soon start designing their own houses. Yesterday, Airbnb co-founder Joe Gebbia announced that the tech company would begin recruiting architects, engineers, industrial designers, roboticists, and more to join their housing prototype initiative Backyard. More than just a design exercise, Airbnb is looking to create sustainable, flexible units to infill a wide variety of unused spaces. Backyard is an initiative of Samara, the product development lab launched by Airbnb in 2016 to study design and urban planning issues (or, as they describe it, “exploring the future of human connection”). Although the company hasn’t released specifics as to the types of units that Backyard will be building, the scope will go beyond accessory dwelling units (ADUs), the typical micro-dwellings slotted into backyards or other under-utilized parcels. Gebbia has indicated that these homes will act as living labs that are able to change and adapt along with their inhabitants, breaking the typical cycle of consumption and disposal. The increased flexibility will also boost the Backyard units’ rental appeal, as they’ll likely be adaptable based on guests’ needs as well. Trying to design one home that can be used forever and changed to meet its users’ needs has been a hot topic lately—take for example the modular Open House revealed earlier this year. The U.S. is currently beginning construction on about 3,300 new homes a day, and with that number only expected to rise, the amount of waste generated is staggering. “We began with a simple question,” wrote Gebbia,“What does a home that is designed and built for sharing actually look and feel like? The answer is not simple at all. Other questions quickly emerged. Can a home respond to the needs of many inhabitants over a long period of time? Can it support and reflect the tremendous diversity of human experience? Can it keep up with the rate at which the world changes? Can we accomplish this without filling landfills with needless waste? It’s a tall order.” Backyard’s homes will likely be at least partially prefabricated and fully integrate smart-home technologies to help meet the company’s sustainability goals. No design details have leaked out yet, but Backyard is hoping to unveil its first wave of prototypes for testing in fall of 2019.
Brutalism at its Best
Moshe Safdie’s personal Habitat 67 unit gets upgraded and restored
Safdie Architects has officially completed a two-year-long restoration of Moshe Safdie’s personal unit at Habitat 67, a landmark apartment complex designed by a young Safdie himself for Montreal. The project was done in conjunction with the 50th anniversary of the seminal structure. Safdie’s light-filled duplex unit is located on the 10th floor of the 238,500-square-foot brutalist building and overlooks the Saint Lawrence River and downtown Montreal. The careful restoration of the prefabricated piece of architecture has been a serious undertaking. Safdie Architects worked to bring the entire facility into the 21st century by upgrading its technical systems to modern sustainability and energy conservation standards. They also stripped the exterior concrete walls that showed severe signs of decades-long water damage in order to repair, insulate, and waterproof the envelope from the harsh Canadian winters. For the interior of Safdie’s apartment, the design team restored the space to its original 1960s condition. They repaired the wood parquet flooring, installed new windows, and restored the sliding patio doors that retract into the concrete walls. The wood-slatted terraces were revamped to include the clear polycarbonate railings found on the original structure. The bathrooms, outfitted with molded fiber glasses, were also rehabilitated, along with the fixtures and fittings. The kitchen was completely restored as well. Now in mint condition, the unit will be dedicated to the public realm as a resource for research and tours as Safdie Architects continues an ongoing restoration of the building’s envelope.
University of Miami School of Architecture completes its new concrete studio
The University of Miami School of Architecture has added a concrete home for design research and collaboration to the institution’s Coral Gables campus. Designed by Arquitectonica, the 20,000-square-foot Thomas P. Murphy Design Studio features a new digital fabrication lab and ample collaborative space. It’s the first construction completed on the site in the past decade. The project broke ground in October 2015 and opened to students this fall semester. Located on the edge of the campus, the stark structure stands out among a swath of palm trees and nearby boxy buildings. Though it may look dramatic, its design centers on a simple geometry, according to Arquitectonica principal Raymond Fort. It’s a single, oversized shed featuring two main materials and a southern sloping edge that blocks harsh sunlight while aligning the building with Southern Florida’s modernist architectural style. “Even though the forms appear to be expressive, we wanted to keep it as simple as we could with the components of the architecture visible,” he said. “The 25-foot cantilever curves at the bottom to address the portico of the nearby Perez Architecture Center, designed by Leon Krier, which is the center of the architecture campus.” From the exterior, Arquitectonica’s dynamic design studio looks sleek and shaded. But inside, loads of daylight seep into the structure through glass window walls, and an exposed ceiling showcasing the building’s mechanical elements gives away its structure. The open plan studio is designed around a 25-foot square module that allows up to 120 students to rearrange workstations as they see fit. For private meetings, juried critiques, and seminars, students can utilize scattered cubes with glass walls or curtains running through the center of the nave-like space. Showing off the structure’s core through a transparent layout was a deliberate design decision—one that was lauded by both the students and the university administration. Previously, students were confined to cramped studio space within the old, Marion Manly–designed buildings, which were originally built to house returning veterans from World War II. Arquitectonica envisioned a modern and industrial open plan for the Thomas P. Murphy Design Studio to directly fix the spatial constraints architecture students faced within the old facilities. While each of the school’s buildings features one-of-a-kind designs, none brought together studio space under a single roof. “It complements the school’s constellation of buildings that constitute a campus-within-the-campus,” said Dean Rodolphe el-Khoury in a statement. “The vast studio space designed to enhance co-creation and the digital fabrication lab, among several other features, are welcome additions to our beloved historic and award-winning facilities.” Not only was the structure designed to elevate the students’ daily experience, it was built to serve as a teaching tool by showcasing the basics of modern design, construction, and sustainability. It can operate during the day without any artificial light thanks to the 18-foot-high hurricane resistant glass panels and remain cool at night due to the large envelope of thin concrete covering the interior. These materials ensure the project will remain durable for years to come. An official dedication ceremony for the Thomas P. Murphy Design Studio, named after the late father of Coastal Construction CEO and President Tom Murphy, Jr., will be held on November 29.
AIA outlines 6 key post-election issues to pursue with new Congress
As the architecture industry’s chief lobbying organization, it’s the American Institute of Architects’ job to get the issues architects care about up to Capitol Hill. It hasn’t always made decisions that resonate with everyone on both sides of the aisle, such as its pledge to work with President Trump, and it's been accused of being too slow to respond to obvious problems instigated by the government, like the Environmental Protection Agency’s recent new rule on asbestos. But it has continued to battle in the political arena on behalf of architects across the country and revise its plans based on its constituents' goals. This year, as part of 2018 AIA President Carl Elefante’s vision, the AIA is urging architects to exercise their role as architect-activists and “take a seat at the table” in order to guide leadership at the local, state, and federal government levels on the future of American cities. Following last week’s midterm elections, the AIA held a “Post-Election Debrief” to outline six key issues it’s set to focus on as the new United States Congress takes shape. Affordable Housing It’s no secret that many cities across the country are experiencing an affordable housing crisis. From Naples to New York, Los Angeles to Salt Lake City, it’s harder than ever to find reasonable rent and mortgages for the nation's low-income families. The AIA wants to expand the current Low-Income Housing Tax Credit (LIHTC) and push for a similar program catered to middle-income households. Proposed by Senate Finance Committee Ranking Member Ron Wyden (D-Ore.), the Middle-Income Housing Tax Credit would allow participating states the chance to receive federal tax credits based on population with 60 percent of units saved within a rental property for residents earning up to the median area income. Some see this motion as an unnecessary waste of federal resources, as it takes away from the poorest of the poor, and argue that changing exclusionary zoning laws would have essentially the same impact. Sustainability Numerous American cities have committed to reducing energy consumption by 2030 in an effort to comply with the 2016 Paris Agreement to combat climate change. New York’s own grand goal is to cut 80 percent of its greenhouse gas emissions by 2050. To do so, the city must focus on retrofitting its existing buildings with energy efficient materials. The AIA says it will continue to back legislation that helps developers do this, though right now, it’s a very costly task. The Tax Cuts and Jobs Act (H.R. 1), which passed last December, does a lot to incentivize property improvements for individual-income business owners. However, it raises the after-tax cost of retrofitting a building for energy improvements. To combat this, the AIA believes such investment should be credited as a “qualified improvement property,” so more property owners will be interested in greening their standing structures. Resilience Natural disasters are wreaking havoc on coastal American cities and beyond. Each hurricane, wildfire, and tornado season brings more devastation than the year before. While architects can’t control Mother Nature, they can support in-need communities in numerous ways once disaster strikes. The AIA seeks to expand its Safety Assessment Program (SAP) in order to train more architects with the skills necessary to analyze buildings post-hurricane, windstorm, or flood. Additionally, Congress passed the Disaster Recovery Reform Act (DRRA) last month which gives states more room to manage post-disaster rebuilding efforts, as well as greater investment in preventing serious damage from occurring in the first place. Through a new National Public Infrastructure Pre-Disaster Hazard Mitigation Grant Program, communities can plan and build resiliency projects with fair federal funding. School Safety Mass shootings are a nationwide epidemic. Architects may not have much jurisdiction over the design and security of nightclubs, open concert venues, or religious institutions, but they can impart their expertise into the future of educational architecture. This August, the AIA launched its school safety initiative, calling for schools to receive more federal funding and grants for architectural and design services. The AIA also wants the government to help create a new public resource full of best practices and design guidelines for architects to use in order to mitigate violence in schools through well-thought design. AIA representatives have spoken out on this matter already at the White House and in front of the U.S. Department of Education as well as Homeland Security. The new Sandy Hook Elementary School designed by Svigals + Partners opened this fall and has been lauded as a prime example of the kind of “open architecture” now needed for 21st-century schools. The AIA plans to introduce legislation on safe school design to the new Congress in the coming year. Architecture Firms A section of the federal tax code forces a high tax on any foreign entity investing in a U.S. commercial real estate property if they supply up to a certain percentage of funds. This law, called the Foreign Investment in Real Property Tax Act (FIRPTA), was enacted in 1980 and partially repealed by Congress in 2015. The AIA believes it still stops new projects and jobs from reaching architecture firms by discouraging investment in local communities. The AIA is urging Congressional leaders to sign as cosponsor of the Invest in America Act, which would fully repeal FIRPTA and potentially bring 147,000 to 284,000 new jobs to the U.S. economy while providing hundreds of billions of dollars of investment in infrastructure, affordable housing, and more. Student Loan Debt In 2013, the AIA and the American Institute of Architecture Students (AIAS) introduced the bipartisan National Design Services Act to help emerging architectural professionals with student loan assistance in exchange for community service. According to the bill, the Department of Housing and Urban Development (HUD) would either reimburse students on their tuition who worked in underprivileged areas on public projects or provide grants for internships at community design centers. The bill was reintroduced to Congress in 2015 but has sat stagnant since. The AIA is asking architects to write into their local Congressperson to educate them on the initiative and call attention to how the student debt problem affects rising architects. To learn more about these issues and contact your local Congressperson, visit the AIA’s Architect Action Center.
Meet the Architect-Activist
Designing Justice + Designing Spaces cofounder wins 2018 Berkeley-Rupp Prize
Today, the University of California, Berkeley, announced Deanna Van Buren, co-founder of Designing Justice + Designing Spaces (DJDS), as the recipient of this year’s Berkeley-Rupp Architecture Professorship and Prize. An award honoring architects or academics who show a commitment to sustainability and the community, it offers up the chance to teach and conduct research for a semester at UC Berkeley’s College of Environmental Design (CED). Van Buren is the mind behind DJDS, an Oakland-based nonprofit aiming to holistically transform the American jail system through a vision called restorative justice. As a national leader and advocate for smart justice architecture, her work zeroes in on supportive justice interventions that can help solve the serious issues caused by mass incarceration. Her architecture and real estate development practice, which she launched with Kyle Rawlins in 2015, works with government, non-profit, and community partners to spread awareness and create design projects that address social justice needs. “Deanna is a visionary leader, whose design work and activism are reshaping the cultural construct of justice in the U.S.,” said CED Dean Jennifer Wolch in a statement. “Her support for underserved communities, and efforts to create spaces that cultivate diversity in our field, exemplify the values we strive to encourage with this prize.”Van Buren’s extensive background showcases her commitment to the role of architect-activist. Last November, she spoke at a TEDWomen conference where she challenged the audience to consider what the world would like without prisons, and what we could build in their place. Before beginning DJDS, Van Buren founded the public interest design studio FOURM, and earlier this year started BIG Oakland, a new co-working space for minority- and women-owned architecture, engineering, and construction companies. Van Buren previously held positions at Perkins+Will, The Buchan Group, and Eric R. Kuhn & Associates where she completed institutional, educational, and urban design projects around the world. Her portfolio with DJDS includes a handful of peacemaking centers, roving villages, and housing units for youth in both Syracuse and Oakland, among other places. Her latest project is Restore Oakland, a restorative justice and economics center in East Oakland that, when open next spring, will be the first of its kind in the United States. Her team also recently launched the Pop-Up Resource Village in the greater San Francisco Bay Area, which brings resources and dynamic programming to in-need communities of color via mobile architecture and nature. Van Buren believes in the power of design and creative placemaking as means to help keep people out of the jail system and provide room for healing as well as training on the systemic injustices that stem from inequality. “Architecture is a potent medium for shifting and solidifying and fomenting movements,” she said. “We can’t do much without space. We can’t launch movements without a place for us to gather that is safe and nourishing.” Among her many accolades, Van Buren is the only architect to have ever been awarded the Rauschenberg Artist as Activist Fellowship, and she’s also held the Loeb Fellowship at Harvard’s Graduate School of Design. As part of the Berkeley-Rupp Professorship and Prize, she will be awarded $100,000 and the visiting professorship at UC Berkeley starting next fall. There she’ll focus on a book project and teach an intensive seminar that explores architectural responses for peace-building. She’ll also give a public lecture and hold a gallery exhibition. Past recipients of the Berkeley-Rupp prize include Carme Pinós in 2016, Sheila Kennedy in 2014, and Deborah Berke in 2012.
Swedish photo museum plans its first New York City outpost
The Church Missions House, a historic, Renaissance revival building located at 281 Park Avenue South in New York City, will soon be the new home of Fotografiska. The Stockholm-based photography museum is scheduled to open an outpost in New York in spring 2019. The organization has chosen New York–based CetraRuddy to lead the design makeover and restoration of the landmarked space. Other collaborators on the project include Roman and Williams, which will design an avant-garde restaurant and bar on the second floor, Higgins Quasebarth & Partners, which will preserve and restore the stained-glass windows and limestone and granite facade of the building, and Linq, a tech firm that will design a multi-sensory experience for visitors using flavor, scent, and art. Fotografiska, which views sustainability as a core part of its philosophy, strives to use the power of photography to leave a significant impact on the world. “By following our vision of inspiring a more conscious world, we aim to raise the level of awareness and question what we eat, drink, and take for granted—nudging society towards more sustainable habits,” states Fotografiska on its website. The six-story Church Missions House building will further enhance the cultural significance of Fotografiska and the surrounding Gramercy neighborhood. Built toward the end of the 19th century, the extravagant facade embodies an era in which New York City became a center for art, architecture, and creativity, and it has housed numerous offices and non-profit organizations in the years since. The building is also recognized for its role in the Anna Delvey story, where in 2017, the New York City socialite was arrested on six charges of grand larceny for trying to swindle her way into owning the building by scamming wealthy business acquaintances and hotels. The building’s Italianate style is evident in its arched windows, elegant columns, and decorative enrichments—including elaborate cornices and balustrades. Although the building is located in the midst of lofty skyscrapers and bustling city blocks, it conjures images of the elegant Italian villas of the Renaissance, while at the same time providing the city with valuable restaurant, gallery, and exhibition space. As swaths of Midtown Manhattan continue to disintegrate beneath the rapidly expanding, corporate-run metropolis, the landmark building at 281 Park Avenue is becoming more prominent than ever before. “We have been looking for the right New York location for a while, and the Park Avenue South space is a great opportunity for us to finally start to change the world in the spirit of Fotografiska,” said Geoffrey Newman, project manager and shareholder of Fotografiska New York, in a recent press release.
Downtown Fort Lauderdale, Florida, will be home to a new affordable housing unit as part of the collaborative work between Glavovic Studio and the AIDS Healthcare Foundation (AHF), an organization that delivers medical care and services dealing with HIV/AIDS to over one million people worldwide. Fort Lauderdale–based Glavovic Studio plans to transform one-and-a-half city blocks into a green, multi-functional neighborhood for locals to enjoy, all within walking distance of South Florida’s New River. The 3.4-acre design concept called “ON3RD” strives to tackle the nation’s affordable housing and homeless crises by providing fast access to cheap and environmentally friendly housing for low-income individuals. The “affordable residential development campus” will contain a 15-story residential tower, parking garage, and two preexisting service buildings owned by AHF. With the growing number of workers and residents in the area, as well as the steady increase of homelessness generally in the United States, there has been a rising demand for pedestrian and transit-friendly environments in downtown Fort Lauderdale, especially those that incorporate greenery, support infrastructure, and urban open space. Glavovic Studio sought to create a community that reflects the existing fabric of Fort Lauderdale, sandwiched between the Atlantic Ocean and the Everglades. The firm made sure to include multiple landscaped plazas, terraces, and micro-gardens in the site plan, contributing to the idea of a wholesome, walkable, urban space. While the housing units are designed to tie in seamlessly with the existing fabric of the city, its various zones and neighborhoods will provide visitors with a sense of being in a “city within a city.” The L-shaped residential building that serves as the focal point of the site will house 680 modular micro-apartments, including 260-square-foot-units and 400-square-foot-townhomes on its first four floors. These unit types were chosen primarily because they can be built efficiently using basic construction methods, and they include prefabricated interior bathrooms and kitchens, repeated window wall systems, and standard floor plates, all of which can be built off-site and installed into the building with ease. To diminish the building’s massive scale, its protruding balconies fluctuate at various angles to make it seem as though the structure is composed of a series of interconnected, smaller buildings. Glavovic Studio, which views sustainability as a core part of its philosophy, will layer the building with decorative masonry breeze blocks, which will not only give the structure a sense of texture and depth, but also regulate its exposure to sun and shadow in order to provide each unit with an abundance of shading and cooling. Because the breeze blocks will reduce the need for air conditioning systems, they will save energy and drastically lower the monthly electric bills for the residents. The jutting balconies provide shade and further lower the room temperatures of each unit, a necessary feature for South Florida's hot and muggy climate. “Working with AHF, we have looked far beyond architectural solutions to include political, social, and strategic approaches as well, including community partners and the public on affordable housing issues,” stated Margi Nothard, founder of Glavovic Studio, in a statement. “The ultimate goal is to create a model for a sustainable, economically viable and dignified solution to this entrenched problem.”
Facades+ Boston will dive into the materials and methods transforming facade design
On November 9, Facades+ is headed to Boston for a full-day conference. The conference features a range of facade specialists and manufacturers, ranging from stone fabricator Quarra Stone to Boston's very own designLAB Architects. Chris O'Hara, founding principal of Studio NYL, and Rishi Nandi, associate at Perkins + Will, are co-chairing the event. With decades of experience across the globe, both firms have been recognized with design awards for their advanced enclosure systems and finely executed architectural preservation projects. To learn more about what the two practices are up, AN interviewed the two co-chairs on the complexities of architectural preservation, environmental performance, and digital fabrication. The Architect's Newspaper: Both Perkins + Will and Studio NYL have been involved in numerous preservation projects. Could you expand on the difficulties of bringing historic structures up to contemporary standards, blending new design elements with the old, and the opportunities present with these projects? Rishi Nandi: The revitalization of historic buildings is challenging but pays great dividends. These buildings often represent something well beyond the program they house to their communities. Approaching the projects in a manner that is responsive to the neighborhood’s needs is critical since the structures often embody the resilience and stability of the communities they are embedded within. The most difficult part of any restoration is making sure the improvements you are making do not have any unintended consequences. For instance, many historic structures breathe differently than today's facade systems. This becomes a significant issue when one considers improving the performance of the envelope through insulation and air barriers. Understanding the hygrothermal properties of the walls is critical to ensure that potential compromising events like freeze-thaw do not occur. Matching old with new is also critical. We simply do not make component pieces the same way they were when many of these buildings were built. For example, no one is field fitting and assembling windows on site to conform to glazing dimensions that are all slightly off. The good news is that mass manufacturing is changing rapidly and customization options that did not exist in the 1980s have proliferated. We are often now able to work with fabricators in a hands-on way to create matching components that can replace those that we have to. By this, I mean that the first option in our approach is to rehabilitate as much as we can. Some of this is driven by the aesthetic. The majority of this, however, is driven by the consideration that the reuse of the existing structure and envelope has a significant environmental and social benefit. In these scenarios, we are able to keep intact the community's connection to the identity of the structure while significantly reducing the carbon footprint of the building through the reduction of primary materials. Chris O'Hara: Existing and historic buildings are a fantastic challenge. As we are always discussing sustainability, and it generally focuses on energy performance and recycled materials, it pales in response to what we can do by saving the embodied energy of an existing structure and breathing new life into it. Taking that existing structure that is either of an age where insulation was not considered and thermal comfort was managed through thermal mass and passive means, and mixing it with modern mechanical systems relying on a reduction of air exchanges–or worse yet a building designed with modern mechanical systems but an ignorance of envelope due to cheap energy–requires more analyses and more clever solutions. Management of the thermal performance of the existing building while trying to take advantage of the systems' drying potential is fun. Getting these buildings to perform at a high level is likely the most good we can do as a facade designer. What do you currently perceive to be the most exciting trends in facade design that boost environmental performance? RN: There are a lot of great products on the market including nanogel insulations, fiber reinforced polymer (FRP), and advances in glazing. That being said, as an architect, I have a tough time understanding the environmental impact of our products. We need better data from manufacturers that tell us clearly the waste stream. We need to know how much water is being used to make the products. Manufacturers should be required to help us better understand the life cycle carbon footprint of the products we are using. This information should be mandatory and should be directly influencing the way we make product selections and decisions. We can then have a more informed discussion on environmental impacts and, hopefully, then come up with a strategy on how to begin to address the concerns addressed within the Intergovernmental Panel on Climate Change (IPCC)’s most recent report. CH: Fiber reinforced polymers (FRP) and vacuum insulated systems. For the FRP, our ability to more cost-effectively thermally break and structure our faces with nearly thermally inert materials opens up possibilities in how we build. Vacuum insulated glass and vacuum sealed nanogel insulation are offering the ability to drastically improve our system U values while thinning down our assemblies. Although these technologies are still new to the market and come with a cost, like all other advances we have seen in the last 20 years or so I expect that cost to come down as we find how to use these systems more efficiently. Digital fabrication offers incredible possibilities for the mass production of individual facade components. In your experience, how is this technology reshaping the industry and your projects in particular? RN: Technology is reshaping our approach. Digital fabrication workflows are being created that are beginning to bridge the gap between documentation and fabrication. Working from a common platform has a number of benefits including allowing for a more detailed conversation on material applications and efficiencies. Robotics and digital printing allow us to create the right responsive materials that maximize the material return while minimizing waste. This increased communication is pushing more and more early involvement from manufacturers. We have employed modified delivery methods such as the integrated design process and design assist to help engage fabricators earlier to better our designs, drive a level of cost certainty and work within proprietary systems that help minimize team risk. The result is a blurring of traditional lines. The next step to me is a disruption in the way we work. We are already starting to see it with companies like Katerra, who with their digital platform are looking for ways to deliver entire projects at all phases from design to construction completion using prefabricated components and an integrated approach not yet seen by the industry. It will be interesting to see how things develop over the next 15 years and the types of efficiencies that may be gained and what it means for the way we all work and deliver projects. CH: The use of digital fabrication seems to have found its way into most of our current enclosure projects, although the aesthetic is not always driven by the technology. We have found that the speed and precision it affords makes it an important part of our toolbox. Whether it is used for an elaborate cladding geometry or for the precise fabrication of repeated parts, it has really opened up the possibilities of what we can achieve while still being conscious of the parameters of schedule and cost. To do this the designer needs to understand the craft that goes into this work. Many do not understand that even with the technologies available there is still craft. The difference between this and a carpenter is simply what is in the tool belt. Further information regarding the conference can be found here.