Search results for "Atlanta"

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Building Digitally

Meet the Georgia Tech laboratory advancing digitally integrated design
Meet the incubators and accelerators producing the new guard of design and architecture start-ups. This is part of a series profiling incubators and accelerators from our April 2018 Technology issue.  Founded by Professor Chuck Eastman, a renowned trailblazer in building computer sciences and one of the creators of BIM, Georgia Institute of Technology's Digital Building Laboratory (DBL) in Atlanta quickly earned a sterling reputation after its founding in 2009. Now led by Associate Professor Dennis Shelden, an architect and digital technology expert who previously was the director of research and development and computing for Frank Gehry, the lab aims to harness its educational position as an indispensable source for knowledge capital. “We have a strong connection to the professional practice,” said Shelden. “Our ability to connect between technology and projects as an academic institution is one of our most valuable assets. We are very much focused on solving concrete problems through our research and our role as an academic and open research institution.” The DBL particularly focuses on “helping students disrupt the industry in order to collectively advance it.” This includes pushing open-source initiatives and embarking on ventures that might be too risky for a company to take on, with the awareness that free innovation now could yield big returns later. In addition to supporting Georgia Tech’s School of Architecture, the DBL creates programs around entrepreneurship along with developing new and advancing technology. “What is happening now is that reduced friction across the building industry creates new opportunities and risks,” said Shelden. “Architects have an expanded reach into other domains and can tackle environmental engineering and other tasks that used to require retaining an outside consultant. But on the other side, that means developers and contractors can do in-house architectural and consulting work. So, we see a convergence in the industry, and there are great opportunities but also a lot of new competition that didn’t exist before.” The incubator champions AECO technology-related entrepreneurship while focusing on four technical areas representing the most disruptive potential for the AECO industries: data standards and interoperability, integrated project systems, design and construction automation, and smart buildings and cities. The laboratory currently hosts several departments: the living laboratory campus, a testing ground for “digitally integrated design, construction, and operations projects;” the technology test bed, a place for testing data exchange and interoperability scenarios; and a Digital Fabrication Lab, a 13,000-square-foot space for prototyping and research; as well as research and entrepreneurship programs. Contributing members to the DBL are Autodesk, Oldcastle, and Vectorworks, and associate members include Perkins+Will, the Smithsonian Institute, Thornton Tomasetti, Skanska, and SmartBIM Technologies.

Notable alumni include:

Kereshmeh Afsari

Defended thesis in November 2016 and is now an assistant professor in the School of Construction Management Technology and the Department of Computer Graphics Technology at Purdue University.

Marcelo Bernal

Graduated spring 2016 and is now an assistant professor in the department of architecture, Universidad Técnica Federico Santa María.

Yongcheol Lee

Defended thesis in November 2015 and is now an assistant professor at Louisiana State University, Baton Rouge, in the department of construction management.

Hugo Sheward

Defended thesis in fall 2015 and is now an assistant professor at the School of Architecture, University of Kansas.

Shiva Aram

Defended thesis in December 2015 and is now the strategy lead and senior product line manager at Cisco.

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Pirelli Believe It

Breuer's Pirelli Tire Building will be reborn as a hotel
One of Marcel Breuer's two New Haven, Connecticut buildings will be preserved and converted into a hotel. When it was finished in 1969, researchers and administrators at Armstrong Rubber worked out of the company's Pirelli Tire Building, a Brutalist structure whose office tower core is bisected by beguiling angled windows. The building—vacant since the 1990s—is now owned by IKEA and sits aside a store parking lot. IKEA is in talks with a developer to convert the I-95-adjacent concrete building into a hotel, the New Haven Independent reported. AN IKEA spokesperson told the paper that the company hasn't gone public with its plans for the structure yet. The conversion scheme were revealed at a meeting of the city's development commission. Breuer's work is enjoying a strong revival, thanks in part to renewed popular interest in Brutalism. In Atlanta, city officials are looking to revamp the Breuer-designed main library, while back in 2016, the Metropolitan Museum of Art restored the Whitney's former home and re-christened it the Met Breuer. (H/T NHVmod and Docomomo US)
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Earth Daze

AIA honors the top eleven sustainable buildings of 2018
As a fitting kickoff to Earth Day weekend, the American Institute of Architects (AIA) Committee on the Environment (COTE) has announced the 2018 recipients of its COTE Top Ten Awards. Honoring ten projects that have surpassed rigorous thresholds in integration, energy use, water conservation, and wellness benchmarks, the award showcases cutting-edge buildings that are not only sustainable, but that contribute to the surrounding neighborhood. This year’s jury included:
  • Michelle Addington, Dean, School of Architecture, The University of Texas Austin Austin, Texas
  • Jennifer Devlin-Herbert, FAIA, EHDD. San Francisco
  • Kevin Schorn, AIA, Renzo Piano Building Workshop, New York
  • Julie V. Snow, FAIA, Snow Kreilich, Minneapolis
  • Susan Ubbelohde, LOISOS + UBBELOHDE, Alameda, California
The 2018 awardees ranged in usage from libraries to art galleries, as well as one single-family home. While the COTE Top Ten Awards are given to buildings that meet certain requirements, an additional “Top Ten Plus Award” is handed out to a single project with exceptional post-occupancy performance. The winners are as follows: Albion District Library; Toronto, Ontario, Canada Architect: Perkins+Will According to the jury: "This project clearly demonstrates the immediate positive impact of good design. A district library that serves a diverse and newly-immigrant community, the library has a dramatically increased visitorship (with a notable 75 percent increase for teenagers) over the old facility." Georgia Tech Engineered Biosystems Building; Atlanta, Georgia Architect: Lake|Flato in collaboration with Cooper Carry According to the jury: "The Georgia Tech Engineered Biosystems Building weaves a large array of active and passive strategies into a highly tuned machine for this university research laboratory." Mundo Verde at Cook Campus; Washington Architect: Studio Twenty Seven Architecture According to the jury: "A 25,000-gallon cistern holds rainwater for reuse, while the gardens have increased site vegetation from zero to 40 percent." Nancy and Stephen Grand Family House; San Francisco Architect: Leddy Maytum Stacy Architects According to the jury: "This cost-effective building serves a community of sick children and their families while prioritizing environmental performance." New United States Courthouse; Los Angeles; Los Angeles Architect: Skidmore, Owings & Merrill LLP According to the jury: "We were impressed with the quality of the calm, light-filled interior spaces for occupants who are often in the courthouse under difficult circumstances." The Renwick Gallery of the Smithsonian American Art Museum; Washington, D.C. Architect: DLR Group According to the jury: "The Renwick Gallery renovation wove complex and robust new systems while preserving the impressive historic design and collection and allowing opportunities for new works to be displayed." San Francisco Art Institute - Fort Mason Center Pier 2; San Francisco Architect: Leddy Maytum Stacy Architects According to the jury: "The design team recognized the assets of the existing structure and created a great, low-energy building with a healthy interior environment." Sawmill; Tehachapi, California Architect: Olson Kundig According to the jury: "The team is commended for their site-specific analysis, as evidenced by the decision to let rainwater recharge the water table rather than collect it. If a single-family dwelling is to be built in a desert climate, this is how to do it." Sonoma Academy’s Janet Durgin Guild & Commons; Santa Rosa, California Architect: WRNS Studio According to the jury: "This project demonstrates that, even with an energy-heavy program that includes a commercial kitchen, a fully integrated and dedicated design team can produce a beautiful and extremely well-performing building." Top Ten Plus winner: Ortlieb's Bottling House; Philadelphia, Pennsylvania Architect: KieranTimberlake According to the jury: "An exceptional example of passive strategies used in adaptive reuse of an historic urban building."
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Brutal Truths

Architect wants to add more windows to Breuer's Brutalist Atlanta library
This week, architects presented revised plans for the renovation of Marcel Breuer's Central Library in Downtown Atlanta to Fulton County officials and members of the public. The new scheme adds large windows to the building's lower stories, and converts some of the library's common areas into spaces that will be rented out by private interests. At that meeting, Tim Fish of Atlanta firm Cooper Carry previewed design and programmatic changes to the 1980 building. The firm plans to add an atrium and more windows to the front of the building, in addition to upgrading the electrical and mechanical systems. While the 250,000-square-foot library is exclusively public property now, the renovations will convert 50,000 square feet into private, leasable space. Library officials are hoping to rent the ground and second floors to restaurant or university tenants. The portions of the seventh and eighth floors that aren't taken up by mechanical equipment will be rented out to private interests, too. Back in 2016, the city wanted to scrap the Brutalist building and replace it with a contemporary structure. But after an outcry from preservationists in Atlanta and all over the country, the city decided to renovate the library instead. The renovation is expected to cost $50 million in total, and bids for construction work will go out next month. The SaportaReport noted that many residents at the meeting spoke out against the windows scheme, and questioned the need for more natural light, especially as adding multiple windows to an existing building is an expensive proposition.
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Net Zero Plugins

Cove.tool helps architects green their buildings in a user-friendly format
Cove.tool is an energy vs. cost optimization software for the AEC industry. It offers users the ability to simulate the material performance of a building in its context by assessing energy against cost over a given period of time. It empowers architects, engineers, contractors, and owners to make better decisions about building by presenting cost and energy information in a simple app, with the ultimate goal of helping buildings reduce their carbon emissions in an affordable way. The problem, as they phrase it, is: “When a contractor and architect make choices, they are unable to perceive all of the choices and their impacts collectively.” The software therefore uses large data sets to create material performance profiles for building components which can be run through millions of possible combinations before providing users with optimal solutions for a project’s constraint space. The software has been iteratively developed over the last several years by the sustainability consulting firm Patterns r+d, based in Atlanta, GA. While energy simulation is of course nothing new, Cove.tool is distinct in that it is the first affordable, easy-to-use energy software in the AEC industry to introduce cost into an advanced combinatorial building simulation. It is potentially a watershed development for the sustainable building industry in that it can incentivize sustainable ethics through cost analysis. According to the Cove.tool team, this software is part of a much larger shift. They make the bold assertion in their white paper that “it will not be possible to build any building without simulation within the next five years,” a relatively short time horizon in an industry which is usually slow to innovate. The tool also offers the foundations for a programmable library of materials whose construction and energy costs can be incorporated into the larger BIM workflow. Cove.tool is available as both a Revit and Grasshopper plug-in with dedicated development. It can hypothetically be integrated into the vast majority of medium-to- large scale AEC projects in which marginal savings on energy costs may represent millions of dollars over time and incentivize an increasingly sustainable building culture. For under $3,500 a year, a team of five can leverage Cove.tool in almost any project context, adding robust energy modeling value to their proposals. With a simplified graphical interface which is effective for internal and client-facing purposes, the tool is likely to gain widespread adoption.
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Convention Wisdom

Memphis Cook Convention Center is about to receive a major facelift
The city of Memphis, Tennessee, will be 200 years old in 2019. In anticipation of that milestone, the city is investing in improvements throughout the downtown and along the Mississippi. Along with redeveloping the Mississippi Riverfront, Mud Island, and the Pinch District, the Memphis Cook Convention Center renovation is part of the much larger citywide Bicentennial Gateway Project. Led by the Memphis office of Looney Ricks Kiss (LRK) and Atlanta-based tvsdesign, the overhaul will affect the entire complex, including the neighboring Cannon Center for the Performing Arts. In the first week of the year, the City of Memphis filed for the project’s first construction permit, which lists the budget at $175 million. That money will be drawn from a 1.8 percent hotel tax and Tourism Development Zone (TDZ) funds gathered from the convention center’s surrounding neighborhood. The most dramatic changes to the convention center will come in the form of an expanded footprint and outdoor terraces with views to the river and downtown skyline. New glazed concourses and meeting rooms will increase breakout space while providing more views of the city. In the 125,000-square-foot main exhibition hall, new retractable ceiling lights and additional material upgrades will allow for a 40,000-square-foot secondary hall to be carved out from the west end. The number of breakout rooms will also be expanded from the current 30 to 52. Access to the building will be updated with the addition of a new grand entrance and a new sky bridge. The new grand entrance will open to the Main Street Trolley station and neighboring Sheraton Memphis Downtown Hotel. The sky bridge will connect the convention center to the Sheraton. Back-ofhouse access will also be improved with a redesign of the loading docks. The neighboring 2,100-seat Cannon Center for the Performing Arts will undergo a complete cosmetic update, as well as backstage improvements. Along with the performing arts, more public art will be brought to the complex through a partnership with ArtsMemphis and the Urban Art Commission, as well as private contributions. In order to establish these goals, the Memphis Meeting Planners Advisory Board met with convention and event planners from around the country. Along with this research, feasibility studies conducted in 2010 and 2011 found that redeveloping rather than moving or rebuilding the convention center would be more cost effective while achieving the same goals. Another advantage of not moving the complex is that through careful phasing, both the Convention Center and the Cannon Center will be able to host events throughout construction. Other portions of the city are set to be transformed through major infrastructural improvements in multiple neighborhoods, and TIF districts will be expanded to help pay for the improvements. With work beginning in earnest this year, Memphis will be a changed city by 2019.
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1924 - 2017

John Portman was an iconic Atlanta architect who redefined urban interiors
John Portman told me that when he was a little boy, he was so poor that he didn’t have any toys, so he played in his backyard by making imaginary cities out of mud piles and old glass Coca-Cola bottles. I recall going with him to the incredible artist’s foundry Polich Tallix in upstate New York to check on the progress of a sculpture he was creating for one of our projects in India. This massive sculpture was underway, and after looking it over, Dick Polich took Portman over to some clay forms he’d set up, and Portman started playing with them. He was like that. He just loved to create, and was in his zone when he did. There was a movie made about Portman by Ben Loeterman called A Life of Building, and in it, Portman kind of dramatically says, “It’s about life!” He’s obsessed with creating and sustaining life, in his architecture and in his way of being. Going down to his house Entelechy II, on Sea Island in Georgia, you can see it there, everywhere. The building is essentially a big trellis with a lanai under the front half and a sculpture of indoor and outdoor spaces in the back. But the entire home is teaming with life, plants, vines, blooming, living material everywhere. The building is probably his most formally complex project, but it almost seems foremost like an armature for the plants. It’s pretty well known among Portman’s family and the people in his companies that he was inspired by Ralph Waldo Emerson and Frank Lloyd Wright. The story of how a young John Portman went to see Wright when he came to Atlanta was told when he was eulogized last week. Portman told me that story about ten years ago, but he told it differently. And the difference tells you a lot about his personality. Portman said, “I heard the Great Master was coming to Atlanta. So, I went and stood in this huge line for hours and hours to see the Man. Finally, my turn came. He was sitting there, and I inched up to him and said, ‘I want to be an architect. What should I do?’ and after all this time in line, he looked at me and said, ‘Go seek Emerson.’ Pause…‘Next.’” Portman was funny, and humble, self-deprecating, and had a real admiration for people, like Wright and others. At the memorial, they left out the “Next,” and maybe that was appropriate for the somber nature of the event. But when you hear Portman tell the story, it’s funny and endearing to imagine him, this Great Master in his own right, being shooed away by Wright all those years ago. But he did seek Emerson. He found a way of living that was rooted in self-reliance, and an ecumenical appreciation for life that permeated his architecture and his relationships. He took a group of us to see Wright’s Fallingwater in 2012. I think it was his way of pointing us toward Emerson and Wright and helping us to see, feel, and experience firsthand some of what he knew. It was raining, and the house is pretty deep in the woods, and the one iconic view that you get in all the photos is from down in a ravine. Portman must have been 88 at the time, but he went blazing down there, all over the property. We spent time taking it all in, and then that evening he’d arranged a dinner where we all went around and talked about what we got out of it. He ran things that way, provoking everyone to bring their ideas forward and then guiding, editing, and compiling the best ideas from each person into a cohesive project. Portman was always soaking up ideas. He was curious. He had stacks of magazines on his desk and liked to stay current, but eschewed anything he considered a “trend.” Atlanta was his favorite city and the place he drew his power from, but Venice, Italy, was his second favorite. We went there to be part of the Venice Biennale in 2010 and see what was new. I recall Portman being very interested to see the exhibits and, in particular, what was in the Japanese pavilion. We got there and it was a very cacophonous installation that is almost the polar opposite of what I would consider “Portmanesque.” He looked in, puffed out his cheeks, kind of shrugged his shoulders and smiled as if to say, “What’s this crazy thing?” But then he went in and soaked it up and talked at length with the curator with a film crew in tow. He was open-minded and always respectful. He never criticized anyone and was thorough in giving the reasons for his decisions. It would have been easy for him to say, “Because I said so.” But he never did. I think he remained open to the idea that others would see things that maybe he hadn’t considered. One time when we were walking through the skyway of Sun Trust Plaza Tower after I crashed and burned in a meeting, he put his arm around my shoulder and said, “You know, if you have a great idea and you’re trying to persuade someone to do it, it’s usually better if they think it’s their great idea.” Portman understood people, how they think and feel, and was generous in sharing what he knew. Portman always looked to the future. He kept moving forward, even as we weathered the Great Recession, during which time he did not lay off a single person. He told me once that it’s easy to be positive when you’re up, but it’s more important to be positive when you’re down; advice he got from his mother, whom he revered. John Portman touched the lives of many people over the course of his long and productive career. He had an artist’s heart. He painted outside the lines, and we’ll miss him.
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All Aboard

Florida's Brightline makes private, high-speed transit a reality
The United States, let alone Florida, is not known for its widely accessible and comprehensive regional mass transit networks. Bucking this trend, on January 15, the state inaugurated Brightline, a private passenger rail between the cities of West Palm Beach and Fort Lauderdale that shaves 30 minutes off the time required by car. While the distance between the two cities is not great, with the train journey taking just 40 minutes, the Brightline has reintroduced private commuter rail to the United States for the first time in decades. Although Brightline currently only operates between West Palm Beach and Fort Lauderdale, it is slated to expand to Miami and Orlando by 2020, utilizing 240 miles of track carving through densely populated Southeastern Florida. While not part of the current proposal, All Aboard Florida has suggested that Tampa and Jacksonville could be linked to the Brightline network. Skidmore, Owings & Merrill and Zyscovich Architects are designing the stations located in Miami, Fort Lauderdale, and West Palm Beach. All of the stations share a material palette and design aesthetic, while conforming to their individual environments. At the cost of $3.1 billion, Brightline promises to transform commuting between Miami and Orlando to a relatively minimal 3 hours, taking an hour off the drive time. According to Next City, the new rail service could take upwards of 3 million cars off of South Florida roads, with the potential to capture up to 20 percent of travel between the two cities, two of the most visited cities in the United States. The introductory fare between West Palm and Fort Lauderdale is $10, a bargain considering the amenities aboard the train, which include leather seats, free WiFi, power outlets and bike racks. As reported by USA Today, the Brightline will prove operationally profitable if it captures just 2 percent of the 100 million annual trips between Miami and Orlando. Fortress Investment Group, the parent company of the Brightline, is hedging that its investment in new transit hubs will increase property values surrounding stations as well as revenue generated by real estate development. Forrest Investment Group is already building more than 800 high-priced rentals at its Miami station and close to 300 in West Palm, in tandem with new skyscrapers dedicated to commercial and retail functions. While Brightline is based in Florida, its model of privately-funded and operated high-speed rail is replicable across the country. According to Modern Cities, Brightline is considering implementing its concept in similar urban corridors to those in Southeastern Florida, with the possibility of new links between Atlanta and Charlotte or Houston and Dallas. With the Trump administration’s recently leaked draft infrastructure plan emphasizing financially independent public transport systems, Brightline could prove to be a successful model for expanding rail service to millions of Americans while spurring high-density development in sprawl-ridden metropolitan areas.
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Prime Locations

Amazon announces the 20 cities that made its HQ2 shortlist
Ending months of speculation and handwringing, Amazon has announced that the company has cut its list of prospective locations for its second headquarters from 238 down to 20. Competition over HQ2, a $5 billion co-headquarters expected to bring 50,000 jobs to the area it touches down in, has been fierce, as cities submitted bids that aggressively gave away land and tax breaks to the tech giant. While Amazon had received offers from all over North America, including Canada and Mexico, their shortlist skews heavily toward the East Coast of the United States. All of the following metropolitan areas met Amazon’s requirements of having at least one million people, and zoning capable of building up to eight million square feet of office space. The full list includes: Atlanta Austin, Texas Boston Chicago Columbus, Ohio Dallas Denver Indianapolis Los Angeles Miami Montgomery County, Maryland. Nashville Newark New York Northern Virginia Philadelphia Pittsburgh Raleigh, North Carolina Toronto, Canada Washington, D.C. The selection is notable not only for the cities it includes but the locales that didn’t make the cut. Los Angeles is the only west coast city on the list despite competing bids from Seattle, which holds Amazon’s current headquarters, and cities throughout California. Detroit is absent, as is Baltimore, even as both cities had promised to give Amazon hundreds of developable acres. Tax considerations seem to have played a major role in the final decision, as the inclusion of two cities in Texas, as well as Nashville and other southern cities and regions might attest to. While none of the Mexico-based bids made it through to the final round, Toronto may have been chosen for the money Amazon could save owing to the weakened Canadian dollar; $1 USD at the time of writing is worth $1.25 CAD. Details on what these 20 metropolitan areas have offered Amazon in exchange for HQ2 have been hard to come by. Muckrock has been tracking down bid packages for all 238 of the areas that submitted initial proposals, and while many of them have refused to release detailed packages, giving away unrestricted development rights or heavy tax breaks have been common. Chicago, for instance, has offered to return 50 to 100 percent of the income tax collected from Amazon employees straight back to the company itself. Newark, New Jersey, has explicitly offered to give Amazon a $7 billion tax break, which is the highest among any of the other finalists. New York, for its part, had offered potential space in four neighborhoods across three boroughs: Midtown West, Lower Manhattan, the Brooklyn "Tech Triangle" between Downtown Brooklyn, the Brooklyn Navy Yard and DUMBO, and Long Island City. The RFP for HQ2 can be read here, and should give some idea of what the headquarters will mean for the winning city when Amazon chooses its final location later this year.
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Hotlanta Hub

Through its midtown hub, Georgia Tech is priming Atlanta for an influx of technology jobs
Since the earliest days of the technology industry, home has been Silicon Valley. However, there are some signs the tide is turning and heading towards the east. Attempting to capitalize on an impending Atlanta tech boom is The Georgia Institute of Technology, which is due to move into Coda, a mixed-use development in Midtown Atlanta’s Tech Square, in 2019. Designing a building fit for such a brief is John Portman & Associates. The Atlanta-based firm has integrated a 645,000 square feet of office space, a high-performance data center, retail and collaboration space within the development, all while accommodating a former Crum & Forster insurance house that dates back  1927. Pierluca Maffey, a principal at the architecture firm, said the project was "all about" the Italian Renaissance Revival structure that, upon close inspection, is more than just a rudimentary brick building. Atlanta firm Ivey & Crook worked with New York-based Helmle, Corbett & Harrison to design limestone flourishes, notably three arches topped by owls and a lion, which serve as keystones. "It was immediately considered as a jewel," noted Maffey. Though two-thirds of the historic building was lost in 2012, its iconic features remain. Now the former insurance house is being repurposed as a restaurant. Adjacent will be a slightly taller data center which employs chilled beams along with captured greywater deployed in cooling towers to aid temperature control. Furthermore, the center retains some proportions of its older neighbor and also serves as a stepping stone to the larger massing behind it. This glass-clad part of the project is where most of the program is housed. Across 21 floors will be mostly offices, half of which will be for the university, which owns the whole complex, while the rest of the office space is currently being leased out. Retail and conference areas are located on the first two levels. Connecting all these areas will be what Maffey described as a "collaborative core," intended to drive fast-tracked connections through intentional cross-tenant “neighborhoods,” supplemented by "collaborative lounges" on each floor of the building. For the levels occupied by Georgia Tech, a staircase atrium, intersected at every third level, will indicate the university's presence as the building's hub and connect it visually and physically to other tenants. Externally, a glass curtain wall makes up most of the facade. However, this is divided by a band of glass panes that are each individually calibrated, in lieu of lighting studies, to varying levels of translucency and reflectivity to produce a gradient effect that wraps around the building. Pierluca Maffey will be speaking about Coda in greater detail at the upcoming Facades+AM Conference in Atlanta this January 26. He will be on a panel discussing innovations in mixed-use and residential projects in Midtown Atlanta. To find out more, please visit am.facadesplus.com. Seating is limited.
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Cladded Chattanooga

Rehabilitating Lookout Mountain’s historic "Castle in the Clouds"
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Originally built as a resort hotel, Carter Hall is a Tudor style concrete-framed stucco structure on the Covenant College campus outside of Chattanooga, Tennessee. Following a late-1970s recladding project, the landmark building was covered up in an effort to address ongoing moisture and thermal concerns. This rehabilitation project, led by Atlanta-based Lord Aeck Sargent (LAS), uncovers the original building envelope, implementing a number of robust performance overhauls while rediscovering the historic architectural look of this mountaintop resort. The effort has led to the allocation of between $3.5 million and $4 million dollars in historic tax credits. With matching funds from donors, and a phased construction process that allowed the building to remain operational throughout much of the scope of work, the liberal arts college is fully debt free upon the completion of the renovations. The building opened for the 2017-18 academic year following over ten years in planning and construction.
  • Facade Manufacturer Campbellsville Industries, Inc. (copper lantern); KEIM (mineral silicate finish)
  • Architects Lord Aeck Sargent
  • Facade Installer Southern Wall Systems
  • Facade Consultants Uzun + Case (structural engineering); Williamson & Associates, Inc. (building envelope consultant)
  • Location Lookout Mountain, GA
  • Date of Completion 2017
  • System cast-in-place concrete 
  • Products custom mix stucco created following testing of original stucco mix design
Before Covenant College was able to receive tax credits for renovations, Carter Hall had to claim a spot on the National Register of Historic Places, a list maintained by the National Parks Service. To earn this designation, the building had to be “purged” of its 1979 modifications, and converted back to its original state. Beyond facade improvements, this included restoring the original roof and building porches on the north and south ends of the building. LAS utilized extensive historical research, referencing original drawings and photographs of the building throughout the design of the project. The architects developed measured drawings in Building Information Modeling (BIM) software, which served as a foundation for the scope of work. One of the most illustrative examples of this is the crenellated tower of the building where precast concrete was introduced in parapet wall construction for durability considerations due to limited maintenance access. Four vertically-oriented high bay 2x4 LED fixtures with high lumen output were implemented into the custom top of the tower cap– a “lantern”–which was carefully reconstructed from historical drawings and photographs of the project.
One of the most significant challenges of the project, according to David Steele, associate at LAS, was addressing moisture infiltration concerns with the original building envelope. After uncovering the original facade, the architects developed a multi-year, full-scale, two-story mockup process that compared the original assembly of the building against a new proprietary steel stud and stucco wall assembly. The mockups were pressurized to simulate driving rain conditions in an attempt to drive moisture into the assembly. After testing in back-to-back years and inspection throughout seasonal change, the architects were able to prove the original wall assembly met ASTM testing requirements. Previous concerns about leaks in the building were attributed to detailing at original window openings. Window units in the retrofit project paired energy efficiency with a historic look. A thermally-broken aluminum window system with insulated glazing units was specified to match original mulled configurations and divided lite styles. In this regard, the full-scale mockup process ultimately offered the project team invaluable moisture and insulation ASTM testing and feedback for window and wall detailing. The resulting wall system pairs the original clay tile infill wall with an interior furring wall which offers structural backup by means of six-inch steel studs, and an additional insulative layer to the building envelope. The exterior stucco is finished with a mineral-silicate coating that offers at 25 to 30 year lifespan. Durability and low maintenance considerations extend to the roof where a new Ludowici tile roof replaces the original tiles from the same manufacturer, which had endured 90 years of high wind and rain exposure.   The project adds to a portfolio of educational and sustainable projects for the Atlanta-based architecture firm, which touts their design process as offering an “analytical approach to optimizing building performance.” Joshua Gassman, senior associate at Lord Aeck Sargent, will be speaking at the upcoming Facades+ conference in Atlanta. For more details, along with registration info, visit am.facadesplus.com. Gassman will be speaking about Lord Aeck Sargent and Miller Hull Partnership’s plans to deliver the first “Living Building” in the Southeastern United States. The 37,000-square-foot project on Georgia Tech’s campus aims to meet the International Living Future Institute’s rigorous certification. This effort supports LAS’ sustainability commitments as one of the first architecture firms in the country to adopt The 2030 Challenge, an initiative that called on the global building sector to immediately reduce energy usage by 50 percent in new buildings and major renovations in order to avoid hazardous climate change. More information about LAS Living Building efforts can be found here.
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Park Earmark

Atlanta's Piedmont Park slated for $100 million expansion
Atlanta's premier park is slated for a major upgrade. Late last month, Mayor Kasim Reed announced that the city will kick in $20 million to expand Piedmont Park and the Atlanta Botanical Gardens, which sit just east of the city's Ansely Park neighborhood. The new entrance, envisioned by HGOR, will replace now privately-owned parcels at the park's northern tip near Piedmont Drive NE and Monroe Drive NE. Preliminary renderings and concept sketches depict new outbuildings surrounded by rolling green hills and broad, winding paths, a homage to the park's original Olmsted design. The Atlanta Botanical Gardens and the Piedmont Park Conservancy, a nonprofit that stewards the park, commissioned the Atlanta-based landscape architecture and urban design firm to do the initial renderings. HGOR works for public and private clients, mostly in the South. The expansion will include connections to the Atlanta BeltLine, the city's massive pedestrian and bike path project, plus additional access points to Piedmont Park. Building on the city's $20 million commitment, which includes a $2 million donation from an anonymous donor, Atlanta Committee for Progress board member and Home Depot CFO Carol Tomé is spearheading a funding effort to raise $80 million from private donors to acquire property and pay for the project's design and construction. Despite Atlanta's notorious car-centricity, the city maintains that 64 percent of residents live within a half-mile walk of a park, and the new entrance should up that number even further. To start the process, the City of Atlanta signed Letters of Intent on December 29, 2017 with two property owners at the chosen site, and the city will be conducting community engagement around the design. A city spokesperson said officials are waiting to close the real estate transaction, then fundraise and plan for the expansion. No date for the groundbreaking has been set. Piedmont Park was established in 1834, and primarily served as fairgrounds until the next century. The city commissioned Olmsted Brothers, the firm that John Charles and Frederick Law Jr. inherited from their father, to redesign the park in 1909, and most designs since then, including the 1995 master plan, have honored the Olmsted Brothers' original design intent. For the Bicentennial, Isamu Noguchi designed Playscape, a delightful one-acre spread of swings, slides, and climbing blocks, the same year the city leased land for the Atlanta Botanical Gardens.