An audit by the City of Portland, Oregon, has found that the DLR Group’s renovation of the Michael Graves–designed Portland Building is over budget and, once complete, will cause the building to lose its historic landmark status. The renovation began last year as an alternative to scrapping the postmodern Portland tower, which desperately needed waterproofing, seismic, and efficiency upgrades. The plan to overhaul the 360,000-square-foot building eventually ballooned to $195 million as DLR Group opted to reskin the tower with a unitized aluminum rainscreen designed to imitate the original facade. Because of budget constraints when the building was originally constructed in 1982, Michael Graves opted to support the building using a cheaper exterior concrete wall, but poor workmanship led to water infiltration issues. DLR Group will also replace the dark windows, value engineered in for insulation, with lighter insulated glass. However, according to the City of Portland’s audit of the renovation, a follow-up to an initial risk analysis report, the budget has increased to $214 million. It was also revealed that once the project is complete, the building will be removed from the National Register of Historic Places. According to the audit, “As a part of the local Historic Landmarks Commission reviews in June 2017, the National Parks Service and the State Historic Preservation Office alerted the City that it would remove the Portland Building from the register if the City pursued the proposed exterior design to address water leaks.” The city will have to enter into a “mitigation agreement” with the State Historic Preservation Office as well to offset the delisting, although what that entails is uncertain at this point. If the Portland Building is removed from the register as expected, the city will have the option of designating it a local landmark instead. The report notes that as the budget grew, the project team decided to scale back the renovation’s scope. While DLR Group is on track to meet the minimum waterproofing and seismic requirements, and to replace most of the building’s heating and cooling systems, several elements were eliminated from the original $195 million budget. The audit cites “furnishings, technology equipment, as well as tenant improvements for parts of the building that would otherwise be left unfinished—two and a half floors of offices, and the childcare center on the first floor” as having been “spun off” into separate projects, which accounts for the 10 percent cost increase over what was originally proposed. However, despite the fervor, Michael Graves Architecture is in favor of the changes. In a letter from 2017, the studio stood behind DLR Group's reskinning, nothing that several of their changes, including the decision to change the glass from black to clear, were part of the original design but were cut due to budgetary constraints. Work on the retrofit is currently ongoing and is expected to be completed sometime in 2019, six months ahead of schedule.
All posts in Preservation
In January, several cracks appeared on the exterior of the historic Los Angeles Times building in downtown L.A. While some have suggested the fissures may be due to ongoing transit construction next door, preservationists also say they could signal a larger problem—one that could threaten a controversial, mixed-use development on the site. The Times Mirror Square project comprises the restoration of the L.A. Times’s flagship building, a 1935 structure by Gordon Kaufmann, as well as a 1948 addition by Rowland Crawford—both recently landmarked buildings—as well as the build-out of two apartments towers in place of what’s now a William L. Pereira–designed office structure from 1973. Vancouver-based developer Onni Group bought the five-building complex in 2016 and has since been through a fraught preservation battle to move the project forward. But now, the sight of cracks have people wondering what it will mean for the mega-project’s future. “Who is responsible for this?” said preservationist Richard Schave, co-founder of historic L.A. tour company Esotouric, in reference to the cracks. “It’s the $64 million question. That number refers to the cost of phase one construction on the Regional Connector project, L.A.’s massive rail line expansion. A new station is under construction next door to Times Mirror Square and the agency building it, the Metropolitan Transportation Authority (Metro), may be responsible. Metro is already monitoring the cracks of the L.A. Times buildings using geotechnical sensors. Details on the severity haven’t been released yet, but some think Metro may be forced to provide data for the final environmental impact report (EIR) of the Time Mirror Square project, which is due out in a few months. Don Spivack, a former administrator at the L.A. Community Redevelopment Agency, said if the cracks on the structure are one to two millimeters, there’s nothing to worry about. “They may be cosmetic, not structural cracks,” he said. “But this complex has a tangled history due to its layered construction. Each building was individually engineered and connected to the others in ways that permitted passage between them. If some of those connections were not properly engineered at the time or modified later, the question stands whether or not this poses a risk to their preservation.” This isn’t the only issue. There’s a history of subsidence on buildings in the area when subways are built, and seismic activity has also likely caused them to move over the years, according to Spivak. The L.A. Times reported that, so far, cracks have been noticed in the cafeteria, newsroom, and the Pereira-designed garage of the complex. Visible cracks on the facade can be seen on the first floor of the Crawford Building (a.k.a Mirror Tower), and on its northwest facade at the corner of 2nd and Spring Streets, across from Regional Connector construction. While the idea that the building is sinking has sparked fear, Spivack and John Lorick, a former vice president at the L.A. Times, said it would be nearly impossible for that to be true. They also remarked on the overall neglect that Times Mirror Square had suffered under its last owner, Tribune Media. But, they said, any demolition and construction on or near the site could inevitably alter the historic structures—and Onni Group doesn't have a great track record with that. “I was not completely surprised when I first read about the damage to the [Kaufmann and Crawford] buildings," said Lorick. "Although the reported damage was attributed to subway construction, I had always eventually expected to read about some accidental but irreparable damage to the Crawford and Kaufmann buildings during demolition or construction on the site because of the complex interconnection of the buildings and their foundations.” When asked for comment, the developer didn’t respond by the time of publication. The L.A. Department of Building & Safety told AN that once the project goes through the entitlement process at City Planning, inspectors will investigate any structural issues brought to light.
Federal judge rejects Obama Presidential Center lawsuit as opponents vow to fight on
Four months after a district judge ruled that a lawsuit against the potential Obama Presidential Center (OPC) in Chicago would be allowed to proceed—stalling construction until its conclusion—a federal judge has tossed out the case on June 11. The lawsuit was filed by the environmental group Protect Our Parks and three other community groups against both the City of Chicago and the Chicago Park District, arguing that the Obama Foundation’s plan to place the OPC in the Olmsted and Vaux–designed Jackson Park was illegal. Protect Our Parks argued that, because the Center wouldn’t actually be a government-run presidential library but a privately-run museum tower, complete with parking, a training center, and 5,000-square-foot Chicago Public Library location, the land transfer from the city to the Obama Foundation was invalid. However, in a 52-page written decision (viewable here), U.S. District Judge John Robert Blakey ruled that the public benefits offered by the museum would still constitute a public good, and, in his view, merit the land transfer. The OPC, according to a written statement from Blakely, “surely provides a multitude of benefits to the public. It will offer a range of cultural, artistic, and recreational opportunities…as well as provide increased access to other areas of Jackson Park and the Museum of Science and Industry.” Blakely added that there will be no halt in construction to the Tod Williams Billie Tsien Architects and Interactive Design Architects–planned $500 million, 20-acre campus as a result. After the ruling, Mayor Lori Lightfoot issued a statement in favor of building the OPC in Jackson Park. “Chicago is where President Obama discovered his love for community service,” wrote Lightfoot, “and the Obama Presidential Center will honor his presidency and inspire the next generation of leaders. The court today made unequivocally clear that this project may be located in Jackson Park, marking a significant step forward in this historic project and for our entire city. I am committed to ensuring that this community hub creates unprecedented cultural opportunities and economic growth on the South Side.” While this wasn’t the ruling that Protect Our Parks was hoping for, the coalition of plaintiffs has vowed to appeal. The group was hoping to force the Obama Foundation to move the Center to a privately-owned lot to the southwest. Aside from the forthcoming appeal, this isn’t the last hurdle the OPC faces. Dropping a 20-acre project into a park listed on the National Register of Historic Places requires a federal review, which is still ongoing. “Today’s ruling, while disappointing, is by no means the final word,” said Charles A. Birnbaum, president and CEO of The Cultural Landscape Foundation, in a statement. The Foundation is an “official consulting party” in the federal review process and has made its opposition to siting the OPC in Jackson Park clear. “Though the carefully orchestrated local approvals process has been enabled by pliant municipal officials, there are still federal-level reviews underway for this nationally significant work of landscape architecture that is listed in the National Register of Historic Places.”
The Spoils of Babylon
Arquitectonica’s second finished building is being torn down
Arquitectonica’s second completed project, the multifamily Babylon apartment block in Miami, is set to be demolished before July. Fears over the now-abandoned building’s demolition have swirled for years, but last January, the ziggurat-inspired complex had its historic designation overturned by Miami city commissioners. The building’s owner, former spaghetti western star Francisco Martínez Celeiro (known professionally as George Martin), wants to replace the 37-year-old postmodern Babylon at 240 SE 14th Street with a 24-story condo tower, a far cry from the existing five-story structure. The Babylon, with its distinctive stepped, fire-truck-red facade, made an immediate splash when it was completed in 1982 and helped propel Arquitectonica on towards larger projects. While the stepped profile, which is extruded through the long, narrow site it sits on, stood out when it was first erected, the building is now overshadowed by the surrounding condo towers in the Brickell neighborhood. While Celeiro originally sought to build a narrow tower on the site that could have stood anywhere from 48 to 80 stories, the 15,000-square-foot lot is only zoned for a 12-story building. Now, Celeiro is seeking to upzone the lot for a 24-story tower, but according to the Biscayne Times, that request is driving a wedge between the city and Brickell residents and urban planners, who fear the precedent will open the floodgates for other developers to request variances. The primary motivation for revoking the Babylon’s protected status seems to have stemmed from an engineering survey commissioned by Celeiro, who argued that the building was too far gone to repair, and the inexorable link the complex has to the gritty 1980’s—a drug trafficking-filled era that many are keen to forget. “This is the real history of the Babylon,” said Commissioner Joe Carollo in 2018, during the 4-1 vote to strip the building of its historic designation, according to the Miami Herald. “This is a place built on the cheap by a guy who was so high he didn’t know if he was coming or going most of the time. I’m amazed that we’re talking about this 35 years later. I’m amazed we have spent too much time glorifying one of the worst buildings in an era many of us would like to forget.” AN will follow up on this story once further details on the Babylon’s replacement come to light.
The suburban corporate campus Pei Cobb Freed & Partners designed for computing giant IBM could become a private school focused on science, math, and the arts. The town of Somers, a small municipality in northern Westchester County, recently heard a proposal from a developer who wants to convert about half of the 750-acre campus and all its five buildings into a STEAM (science, technology, engineering, arts, and math) high school for day and boarding students. For-profit developers Evergreen Ridge told the town board that the campus's 1.2 million square feet would be converted into the school in three phases. Ultimately, the school plans to accommodate around 1,530 boarding and 270 day pupils, for a total of 1,800, lohud.com reported. Operations would kick off in 2021 with a summer program and the campus would reach full capacity three years later. Sports fields, a field house, and an arts building would be erected during the second phase of construction. The Pei Cobb Freed–designed campus, known for its pyramidal, zig-zagging buildings, was erected between 1984 and 1989. At peak occupancy, it hosted about 3,000 workers on the nine-to-five (they even had a song!). In 2016, however, IBM vacated the property and sold it to Sebastian Capital for almost $32 million. This isn't the only Pei news to emerge recently: Unless you're an architecture aficionado who's elected to live under a rock, you probably know that the Pritzker Prize–winning architect died last month at the age of 102.
The Cultural Air Up There
Construction begins on massive Machu Picchu airport despite protests
Ground has been broken on a $5 billion airport meant to connect Peru’s mountainous Machu Picchu more easily with the outside world, but conservationists are up in arms over the impact the facility will have on the fragile world heritage site. Machu Picchu is one of the most famous Incan archeological sites in the world but is currently strained past capacity with tourists. According to The Guardian, 1.5 million visited the fortress in 2017, twice the amount recommended by UNESCO. Currently, the site is only accessible through a single runway airport in the nearby city of Cusco, and to ameliorate crowding and provide easier access to the fragile mountaintop, land is already being cleared at the town of Chinchero—between Machu Picchu and Cusco—for a major international airport that would receive direct flights. Machu Picchu sits in the 37-mile-long Sacred Valley, once the heart of the ancient Incan empire, and activists are worried that the airport (and increased tourism) would despoil the miles of paths, terraces, and other vulnerable sites in the valley. Opponents of the airport claim that the environmental ramifications would be huge, and that runoff from the construction would pollute the nearby Lake Piuray, which provides nearly half of Cusco’s water supply. Additionally, the low-flying planes and influx of tourists may damage the sensitive archeological campus. Peruvian art historian Natalia Majluf has started a petition in opposition to the airport, that at the time of writing, has 48,000 signatures. In it, Majluf cites the potential damage to the area’s canals, ritual lines, and agricultural heritage, which is a direct continuation of the Incan traditions and knowledge that originated in the valley. Majluf is appealing directly to Peruvian President Martín Vizcarra to at least reconsider the airport’s location, but according to The Guardian, the government seems committed to the project. “This airport will be built as soon as possible because it’s very necessary for the city of Cusco,” Finance Minister Carlos Oliva said last month. “There’s a series of technical studies which support this airport’s construction.”
Soul Food Makes History
Museum of Food and Drink acquires Ebony's psychedelic test kitchen
The Museum of Food and Drink (MOFAD) in New York has been selected as the new owner of a salvaged psychedelic interior from the landmarked Johnson Publishing Building in Chicago. Designed by local African-American architect John Warren Moutoussamy, the 11-story office building on Michigan Avenue was the longtime home of Ebony magazine, founded by John H. Johnson in 1945 as one of the first publications oriented towards African-American audiences. The magazine focused on black culture, celebrities, and leaders, but also explored politics and race issues throughout the 20th century. An especially popular feature was the cooking column by editor Charlotte L. Lyons, whose recipes were tested and photographed in the building’s custom-designed test kitchen, now headed to MOFAD. After the magazine was purchased by Clear View Group in 2016, the headquarters was sold to Columbia College, who planned to use it as a new student center. However, as the plan lost momentum, the building was sold again, this time for redevelopment by 3L Real Estate in 2017. The developer is turning the old offices into residential apartments and the landmark protections do not extend to the interiors. The kitchen was slated for removal. In advance of this planned residential conversion, however, a group of preservationists and volunteers from the not-for-profit organization Landmarks Illinois meticulously studied, documented, and preserved the space, placing its deconstructed components in storage. The group then published an RFP in February seeking a qualified institution that would be sensitive to the space’s history in order to best tell the public about the story of Johnson Publishing and the legacy of Ebony magazine from its inaugural 1945 issue to today. Designed in 1971 by interior designers William Raiser and Arthur Elrodwood, the kitchen is composed of an oblong central island, wooden cabinets, and walls all covered with orange and purple marbled wallpaper. The yellow countertops are curved around the island, and custom appliances are often playfully integrated—a toaster can be pulled out from a nearly invisible nook in the wallpaper when needed, rather than sitting on the surface. The original 1970s appliances remained intact, complete with their orange and brown paneled surfaces to match. As the winning institution, MOFAD plans to use the 70s-style marbled interior as the centerpiece for their upcoming exhibition, African/American: Making the Nation’s Table. Dr. Jessica B. Harris, the curator of the exhibition, said in a statement: “We seek to create the country’s first major exhibition to recognize how African Americans have laid the foundation for American food culture.” Harris believes that the salvaged interior is “a perfect embodiment of this exhibition’s story.” Freda DeKnight’s cookbook and Lyon's popular column were both celebrations of African-American culinary tradition that were shared with the world starting in Ebony’s kitchen. The exhibition has been in concept planning since December of 2017, but the recent acquisition has become the centerpiece. Peter J. Kim, the museum’s director, included the image and news of the interior’s purchase in a May 22nd announcement calling for donations for the development of the exhibit. The bold yellow countertops are visible in countless vintage images from both the column and cookbook, but the swirly space and quirky appliances that will live on at the MOFAD welcome interaction with history and help tell the story of African American culture in America.
Six LGBTQ-related sites could be landmarked in New York City
Six sites significant to LGBTQ history have been calendared by the New York City Landmarks Preservation Commission (LPC), a significant step towards formal landmark designation. The Gay Activists Alliance Firehouse at 99 Wooster Street; the Women’s Liberation Center at 243 West 20th Street; the Lesbian, Gay, Bisexual & Transgender Community Center at 208 West 13th Street; the Caffe Cino at 31 Cornelia Street; the James Baldwin Residence at 137 West 71st Street; and the Audre Lorde Residence at 207 Saint Paul’s Avenue on Staten Island are all one step closer to greater protection. This official calendarization arrived four years after the groundbreaking 2015 designation of the Stonewall Inn, the long-standing Greenwich Village gay bar that witnessed the 1969 Stonewall riots, as an official New York landmark. However, this official protection came nearly a half-century after the riots immortalized the bar, illuminating the tepid pace at which the LPC has moved to acknowledge LGBTQ-related landmarks. This month's calendaring could be seen as a response to this, spearheaded by activists and advocates who see the potential for progress through the landmarking process. Many pioneers are encapsulated in the selections—Caffe Cino is considered a hotbed of early gay theater, and both James Baldwin and Audre Lorde, whose homes were recognized, revolutionized the possibilities for gay people of color. The Lesbian, Gay, Bisexual & Transgender Community Center, also known as The Center, has been a vital meeting place since the early days of the AIDS crisis. While many of these spaces are no longer actively serving their original purposes, the physical spaces are visual reminders of the struggles for justice that so many faced, and continue to face, today. Now that the calendar process has been completed, the next step for the Commission is to hold a hearing on June 4, where the general public can testify before commission members. A formal vote will follow.
Sorry, Glass Enthusiasts
French Senate declares Notre Dame must be rebuilt as it was before, quashing competition
The French Senate has seemingly dealt a blow to French president Emmanuel Macron, approving a bill that requires the damaged Notre Dame Cathedral be rebuilt as it was before and from the same materials, wherever possible. On Monday night, according to French newspapers Le Monde and The Local, the Senate approved a Notre Dame reconstruction bill first passed by the lower house of the French parliament, the National Assembly, but precluded altering the cathedral. Senators added a clause stating the cathedral must be repaired to its “last known visual state” and use original materials, with exemptions allowed in extenuating circumstances for newer materials. The Senate agreed with the National Assembly that an oversight body headed by the Ministry of Culture would need to be created, but took out text from the lower house’s bill that would have, as per Macron’s request, allowed the reconstruction to sidestep environmental and preservation laws. Both houses of French parliament will now need to hash out the final text of the bill before it can move forward, but whatever they ultimately agree to will form the groundwork for the reconstruction process. If the Senate’s additions hold, it would be an explicit rebuke to Macron and Prime Minister Édouard Philippe. Two days after a fire ravaged Notre Dame on April 15, Macron pledged that the cathedral would be rebuilt by 2024, in time for the Summer Olympics in Paris, and that timetable may still hold. A competition to replace Eugène Emmanuel Viollet-le-Duc’s downed timber spire from the mid-19th Century was also announced, and architects all over the world took the opportunity to imagine a Notre Dame topped in glass, parking lots, greenhouses, and more. Opposition to rebuilding the Parisian cathedral using modern materials and bypassing the existent preservation standards gathered steam, and over a thousand architects, historians, curators, and other interested parties have signed a petition calling on Macron not to rush the reconstruction.
Wright or Wrong?
Frank Lloyd Wright cabin outside of Chicago faces demolition
For the second time in less than two years, a Frank Lloyd Wright–designed building is facing the wrecking ball. This time, the owners of the Wright-designed Booth Cottage in Glencoe, Illinois, a suburb of Chicago, filed for a demolition permit, according to the Frank Lloyd Wright Building Conservancy (FLWBC). The 1,755-square-foot cottage at 239 Franklin Road was originally built for attorney Sherman Booth in 1913 as a temporary home, while Booth helped develop the nearby Wright-designed Ravine Bluffs neighborhood in 1915—which included Booth’s permanent home. As the Chicago Tribune reported, 239 Franklin LLC purchased the modest, single-story, three-bedroom cottage in mid-May for $550,000, almost half of what was originally asked when the home went on the market in October 2017. The building sits on a much larger plot of land, and the FLWBC wrote that it expected the new owner wants to demolish the cottage so that they can build a larger home on the site. As the Tribune noted, while the Booth Cottage may seem unassuming, it bears Wright’s signature leaded windows and provided a template for the low-cost Usonian and model homes later in his career. The demolition permit application is reportedly incomplete at the time of writing, but once finished, there will likely be a 180-day review period triggered by the home’s historic status. While the home was declared a local landmark in 1996 by the Village of Glencoe, that doesn’t afford any protection against its demolition. If the cottage is torn down, it would follow the loss of the Lockridge Medical Clinic building in Whitefish, Montana, which was razed in January of last year for a three-story mixed-use complex. The loss of the Booth Cottage would also represent the first demolition of a Wright-designed residential building since 2004, when the W.S. Carr cottage in Grand Beach, Michigan, was torn down. On May 1, the nonprofit Landmarks Illinois had listed the Booth Cottage on their 2019 list of most endangered historic places in Illinois.
Horton Hears a Backhoe
Total conversion of San Diego’s postmodern Horton Plaza sails to approval
A land use exemption required to convert San Diego’s Jon Jerde–designed Horton Plaza Mall complex into a technology office campus has passed after a unanimous City Council vote on May 20, as reported in The San Diego Union-Tribune. That paves the way for the L.A.-based developer Stockdale Capital Partners to slash the retail square footage and reorient the postmodern plaza’s interiors to support high-tech offices—turning the former shopping center into “The Campus at Horton.” The one-million-square-foot, five-story mall will thus be overhauled to reduce the amount of retail space to 300,000 square feet from the current 600,000 square feet, and 772,000 square feet in Horton Plaza will become office space. Everything above Horton Plaza’s first floors will become office space, with retail being relegated to a ground-level “podium.” Additionally, Stockdale can reduce the retail requirement down to only 200,000 square feet if it lands a tenant willing to take at least 100,000 square feet of office space in the next 5 years. The exemption sought by Stockdale, which the City Council passed 9-0, cuts the amount of required retail on the site down from 700,000 square feet to the aforementioned 300,000 square feet. The postmodern Horton Plaza Mall first opened in 1985 and was conceived as a microcosm of the street grid overlain with the typical shopping center typology, including self-constrained streetscapes and multilevel terraces. That sort of defensive urbanism helped the mall thrive (and bolstered the economic fortunes of the surrounding developments) early on, but the complex has fallen on hard times in recent years. Stockdale’s scheme involves adding a glassy 150,000-square-foot, four-story addition to the top of the former Nordstrom building in anticipation of a single tenant company, building an amenity deck for tenants on the site of the former food court, and redeveloping the Bradley Building. The 10-block Plaza is currently sliced through the middle with a pathway running from Broadway to G Street that’s currently peppered with overhangs and sky bridges, and Stockdale will uncover that “street” and remove most of the infrastructure hanging above. However, the underground Lyceum Theater will remain at Horton Plaza until at least 2035 under a $1-a-year lease terms. Stockdale originally purchased the site from Westfield in August of last year for $175 million, and it anticipates that the conversion will cost approximately $275 million. The first phase of The Campus at Horton is expected to open in 2020.
From Notre Dame to Now
Why are architects focusing on Notre Dame and not St. Landry Parish?
One month ago, all of Paris and people around the world watched as flames rose high into the air above France's beloved Notre Dame Cathedral. The sight was tragic and left many asking how, why, and what next. The response was immediate and immense. Less than 48 hours after the Notre Dame fire, Prime Minister Édouard Philippe announced an international design competition to reimagine the iconic arrow-like spire atop the cathedral. In one week, over $1 billion was pledged to restore the cultural icon, with a promise by the president of France himself to rebuild the global landmark in under five years. Within days of that statement, design firms responded eagerly for their chance to impart their ideas on this historic building. For designers, this competition could be viewed as the chance of a lifetime, the opportunity to make a mark on an icon of culture and history. But Notre Dame was far from the only house of worship to suffer catastrophic damage this year. Three historically black churches in Louisiana burned in a series of alleged hate crimes, three churches in Sri Lanka were bombed on Easter Sunday, and a mosque in Christchurch, New Zealand, was riddled with bullet holes, all just in the past few months. All of these events are tragic too. Why is the design world addressing only one? When the three churches of St. Landry Parish in southern Louisiana burned to the ground in the two weeks between March 26 and April 4, these fires quickly made the national news and became a springboard for conversations around race relations in our country. On a national scale, these discussions were, quite necessarily, about the hateful acts themselves, but failed to address what to do in their aftermath. It wasn’t until the massive financial response to the Notre Dame fire took off that a larger spotlight illuminated the plight of these churches as spaces and places in need of financial support as well. People around the world began donating funds to the Seventh District Baptist Church’s GoFundMe page, which before the Notre Dame fire had only raised $50,000. In the two days following April 15, the day of the Notre Dame fire, the campaign brought in nearly $1 million. This display of generosity was not in multi-million dollar donations but in amounts ranging mostly from $5 to $20. One month later, the church has nearly $2.2 million to rebuild. Despite the money now available, there has been no political charge and few design ideas put forward for the rebuilding of the three Louisiana churches. Does St. Landry Parish not warrant as bold a vision for its rebuilding efforts as Notre Dame? One might say the Louisiana buildings were not on the same playing field as Notre Dame. And it’s true that they didn’t have the same grandeur of scale or the global affinity, but they had people who depended on them all the same. We need to stop idolizing the building as an icon, and instead, honor the people of a place. This is also an opportunity to start bridging the expansive gap of access and inclusion that exists in today’s design community—the glaring lack of diversity within the makeup of our industry and its projects. It is a chance to refocus the lens of design beyond massive, global, and wealthy institutions to include those that capture the essence of all people and all experiences. Design is a tool to bring people together and help foster conversations that can lead to healing. For communities in Louisiana, Christchurch, and Sri Lanka, communities that have had some of their most sacred places ravaged by the violence of hate, a new place can help people mourn what and whom they’ve lost, celebrate those lives, and then, in time, focus on their shared beliefs and common goals. A new place can help people to rise above the negativity of a few and honor the positivity of the whole. We should always remember that design is for everyone, not just those where “funding is not an issue.” So let’s open our ears, our minds, and our hearts to the communities who need their voices heard and let’s expand on the definition of design so that it is no longer rooted in the things that we build but instead is measured by the experiences we shape and the memories we create. Meredith McCarthy, AIA, is a senior associate with Sasaki. She is passionate about advancing equity and inclusion within the industry and through her design work with communities around the world.