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2017 Emerging Voices

Atlanta-based BLDGS brings new creativity to adaptive reuse projects

The Architectural League’s Emerging Voices award and lecture series spotlight individuals and firms with distinct design “voices” that have the potential to influence the discipline of architecture, landscape architecture, and urban design. The jury, composed of Sunil Bald, Mario Gooden, Lisa Gray, Paul Lewis, Jing Liu, Thomas Phifer, Bradley Samuels, Billie Tsien, and Ian Volner, selected architects and designers who have significant bodies of realized work that creatively address larger issues in the built environment.

The Architect's Newspaper featured the Emerging Voices firms in our February issue; stay tuned as we upload those articles to our website over the coming weeks. The firm featured below (Atlanta, GA–based BLDGS) will deliver their lecture on March 2, 2017, at The Architecture League in New York City. Click here to learn more!

When Brian Bell and David Yocum first founded BLDGS 10 years ago, they didn’t plan to specialize in adaptive reuse—certainly not in Atlanta, a city not necessarily known for exploring the past.

But after they continued to land such commissions, they began to relish the role and have elevated this ever-expanding realm of architecture to a more creative, thoughtful, complex level than almost any firm has been able to achieve.

“We take a lot of pleasure in uncovering,” Yocum said. “If we can find the truth in each of the challenges and kind of reflect the presence of that truth it gives us a lot that we would not be able to layer onto a project.”

Bell and Yocum met at Harvard’s Graduate School of Design and then worked together at Mack Scogin Merrill Elam Architects in Atlanta. They founded their firm in 2006, spurred mostly through work from art galleries, whose budgets and interests called for work within existing spaces. One of their first, Whitespace Gallery, is located inside an 1880s carriage house. Impressed by how clearly the original functions were expressed structurally, they set out to not only maintain that core, but also express the building’s new artistic focus with equal intensity. They hid lighting and HVAC along the periphery, and installed thin, floating panels—framed in steel—to display art.

Yocum calls this inserting the “featherlike presence of the new while respecting the gravity of the old.”

“We’re pushing and pulling off things that are seen and unseen rather than inventing from our own imagination,” added Bell. “There’s a lot of fascination with the situation that’s already there.”

Their work has continued along these lines, pushing and pulling on the complex layers of existing materials and techniques and the addition of contemporary ones. The installation Boundary Issues at the Atlanta Contemporary Art Center removed contemporary plaster walls to display a mesmerizing combination of existing paint and bricks.Essentially they practiced addition by subtraction, architecture’s version of etching away a solid in a block print.

For their Caddell classroom and faculty building at Georgia Tech, they took cues for a new canopy from the structural logic of the existing 1950s building, whose steel frame is hidden behind a concrete exterior. The resulting canopy of aluminum louvers looks ultra-light from below, but like the original building, its thick steel frame is hidden above, out of sight. At Congregation Or Hadash Synagogue, they converted a former Chevrolet paint and auto body repair shop by carefully carving away its tilt-up concrete and sheet metal cladding, creating a radically different typology, nonetheless informed by its bones.

Even their only ground-up building, the Burned House in Atlanta, plays with history. Its cladding is painted with dozens of layers of paints, stencils, metallics, and other markings, which are meant to become exposed as the paint decays. Its interior plays with solid and void, with spaces pushed and pulled in unusual configurations to maximize exposure and push the boundaries of expectation.

“We wanted to think of history in reverse,” said Yocum. “Everything has a historical presence. If you’re not exploring that you’re missing opportunities.”

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DUCing Out

Emory University to replace a remarkable John Portman building with a new campus center

Emory University celebrated the opening of its new postmodernist campus center designed by hometown architect John Portman in 1986. Today, the school is preparing to knock it down and replace it with a contemporary structure that, according to Emory, aligns better with the school’s founding aesthetic: Mediterranean-style buildings in pink and gray Georgia marble. What does Emory’s decision tell us about aging modern buildings on more traditional American campuses?

In the early 1980s Emory University picked an architect with an oppositional style—Portman—to design its campus center and largest dining hall. Portman, whose Peachtree Center and Hyatt Regency define the Atlanta skyline, merged new and old at the Dobbs University Center (DUC) with the same drama of his supersized work. The three-story, 150,000-square-foot DUC adheres to the rear facade of one of the older 1920s buildings on campus. The two structures meet in the Coca-Cola Commons, a capacious indoor piazza and tiered dining hall that references Palladio’s Teatro Olimpico in Vicenza, Italy.

As a campus center (and main student dining hall), the DUC must do the heavy lifting of an increasingly commoditized typology. At American colleges and universities today, the campus center is both a social nucleus and a potentially powerful marketing tool. Emory decided the existing DUC was not fit for either task.

Though some schools like Emory have commissioned progressive architecture (or works by high-profile “starchitects”), universities competing for talent are almost obligated to furnish their campuses with ample, top-of-the-line amenities to lure prospective students. Middle-aged modern buildings—perceived as ungainly or unlikable—are the first obstacles to be eliminated in this fierce race.

Late modern architecture, in particular, can feel totalizing—deeply proportional, but scaled to giants—and outright hostile to context. But where does a school draw a line between saving a semi-dysfunctional building or demolishing it, potentially losing a structure of merit?

Emory studied renovation options for the DUC, but ultimately concluded there was no reasonable way to fix all of its issues, university architect Jen Fabrick said. As a dining hall, the DUC’s service layout makes food delivery massively inconvenient: Pallets have to be unpackaged at the loading docks and lifted in small elevators to third-floor kitchens, a daily labor-intensive task. The kitchen is too small to accommodate a growing student population and, in true Portman fashion, the dining commons is almost completely windowless.

The new Campus Life Center (CLC), designed by Durham, North Carolina–based Duda Paine Architects, addresses the DUC’s shortcomings while honoring its neighbors both materially and in orientation. A central stair divides a dining area, meeting rooms, and offices arranged on limestone plinths and connected by a wraparound terrace. University officials said the $98 million project, complete with a solar panel–clad roof, is expected to cost only slightly more than a renovation of the Portman addition.

In keeping with university design guidelines that honor tradition but don’t necessarily call for strictly traditional forms (there are new buildings with glass curtain walls, for example), the CLC “is very non-traditional in many aspects,” Fabrick said. The new design is tied to a 2005 campus master plan, which aims to “bring back a sense of place and then build on that as we go forward with our newer buildings,” she said. “In the 1980s there was an attitude to do something different and modern—I don’t know that they realized what they were doing.”

The original Beaux-Arts plan for the Emory campus was conceived by Pittsburgh architect Henry Hornbostel, who arranged its first buildings around central quads surrounded by lush ravines. Through World War II the campus retained its classical orientation, but after the war, campus design bent to the automobile. Buildings were oriented toward roads, and according to the college, experiments with modern architecture in the 1970s “ignored the original design etiquettes” of Hornbostel’s positioning, volume, and materiality.

Since then, university officials spent almost two decades determining how, and what, to build. The master plan, initiated in 1998 and updated seven years later, puts pedestrians before cars at every opportunity. To the university, as well as planners Ayers Saint Gross, a walkable campus was a beautiful one, and this included replacing some modern buildings with those that channeled the campus’s original architecture. So far, construction under the plan has added 3.8 million square feet of new space to campus.

Despite the crisis calls of preservation discourse, especially online, American colleges and universities aren’t out to sack every modern building—many have a strong history of stewardship for outmoded, expensive-to-maintain structures that could be easily replaced with lower-maintenance, high-performing alternatives. Off-campus, though, there’s growing concern that hard-to-love buildings of the modern movement are disappearing, only to be replaced with neo-traditional, historicist, or plain old contemporary structures that may be easier to live with but lack the radical appeal of their predecessors.

By choice or necessity, universities are essential custodians of modern architecture, but they also play to the market. “If a campus doesn’t look put together, or have a cohesive atmosphere, students may choose to go elsewhere,” said Barbara Christen, an architectural historian and former director of the CIC Historic Campus Architecture Project. “At the heart of this is an audience issue—there can be valid reasons why people don’t like late modern buildings especially, but by the same token, they might not know about what the architecture represents or how it expresses American culture.”

That’s especially true for Portman. Through the 1990s, he was best known for self-contained buildings in city centers that replaced the city center itself. In addition to his Atlanta work, Portman built his reputation on Detroit’s Renaissance Center, New York’s Marriott Marquis, San Francisco’s Embarcadero Center, and—critic Fredric Jameson’s favorite—the Bonaventure Hotel in Los Angeles, each of which offered lavish cities-within-cities that turned their glass backs on a decaying urban core. Lauded at the time for their vertiginous atria and theatricality, today, when walkable downtowns and energetic streetscapes are enormously popular with practitioners and the public, Portman’s holistic work can seem cold, corporate, and downright anti-urban.

The firm Portman founded tracks evolving public attitudes toward his work and its place in history. Walter E. Miller, principal and design director at John Portman & Associates, said he noticed a desire for campus buildings to be more “traditional in appearance” beginning in the 2000s. He added that the trend seemed more prevalent at public schools, with many buildings catering more to the preferences of alums and parents, rather than current students.

The trend plays out broadly: In Los Angeles, the University of Southern California (USC) sold and relocated an International style steel post-and-beam structure to build Fertitta Hall, a historicist new home for its business school, while in New London, Connecticut, Connecticut College redid the facade of its 1961 North Complex (“the Plex”), by Shreve, Lamb, and Harmon (the architects of the Empire State Building) to hide its distinctive modern features. DePaul University in Chicago is replacing its “cheese grater building,” designed by Holabird & Root in the 1960s, with a contemporary music school by Antunovich Associates. While not a replacement, Yale honors a preference for neo-traditional forms with a new $600 million collegiate gothic residential college by former architecture school dean Robert A.M. Stern. In 2011 Ezra Stiles College, designed by Eero Saarinen and completed in 1961, reopened to students after a sensitive $55 million dollar renovation that created more common areas and softened some of the complex’s harsher features. Recollections of veteran preservationists yield countless other buildings that survived, but barely.

To check changing taste, Christen said campuses should think about what the Class of 2100 will see: “The goal for campuses is to not only have a grasp of what their architectural and landscape inventory is, and consider what it represents about their past, but also to have a system in place for good guidance around future decisions.”

Emory cares for a particularly strong portfolio. Its stock of late modern architecture includes contributions from the giants: The Michael C. Carlos Museum by Michael Graves, William R. Cannon Chapel and the Pitts Theology Library interiors by Paul Rudolph, and the George W. Woodruff Physical Education Center by Portman. The school, Fabrick assured, has every intention of keeping these buildings.

Commissioning exciting contemporary buildings is a way for schools to visibly strengthen commitments to new ways of knowing, but modern architecture, especially late modern architecture, has a lot of catching up to do in eyes and minds of the public. What can be done to build appreciation? Christen, Miller, and other preservation experts all emphasize education that brings historical context into the conversation. They praise Docomomo’s education and advocacy work, and Christen noted that her alma mater, Williams College, has a semester-long course on reading the university’s (and American) history through the campus built environment. It’s a start.

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Back in the D

2016 Venice Biennale U.S. Pavilion to go on display in Detroit
The Architectural Imagination, the exhibition from the U.S. Pavilion of the 2016 Venice Biennale, is returning to the United States. Opening on February 11th at the Museum of Contemporary Art Detroit, the exhibition will bring the 12 proposed projects for Detroit back to their home city. Organized by the University of Michigan Taubman College of Architecture and Urban Planning, and curated by Cynthia Davidson and Monica Ponce de Leon, the exhibition was first shown at the 15th Venice Architecture Biennale. The show advocates for the power of architecture to construct culture and catalyze cities, with Detroit as the setting for a larger conversation about world cities. Projects in the show are presented through large models, drawings, and interactive virtual reality. The show includes work by; A(n) Office, Detroit, Michigan Marcelo López-Dinardi; V. Mitch McEwen BairBalliet, Columbus, Ohio; Chicago, Illinois Kelly Bair; Kristy Balliet Greg Lynn FORM, Los Angeles, California Greg Lynn Mack Scogin Merrill Elam Architects, Atlanta, Georgia Mack Scogin; Merrill Elam Marshall Brown Projects, Chicago, Illinois Marshall Brown MOS Architects, New York, New York Hilary Sample; Michael Meredith Pita & Bloom, Los Angeles, California Florencia Pita; Jackilin Hah Bloom Present Future, Houston, Texas Albert Pope; Jesús Vassallo Preston Scott Cohen Inc., Boston, Massachusetts Preston Scott Cohen SAA/Stan Allen Architect, New York, New York Stan Allen T+E+A+M, Ann Arbor, Michigan Thom Moran; Ellie Abrons; Adam Fure; Meredith Miller Zago Architecture, Los Angeles, California Andrew Zago; Laura Bouwman The opening of the exhibition will include an introduction by Dean Robert Fishman of the Taubman College and a presentation by exhibition curators Cynthia Davidson and Monica Ponce de Leon. The exhibition will be on show from February 11th through April 16th, 2017, and will be free to the public at the Museum of Contemporary Art Detroit, 4454 Woodward Ave., Detroit, Michigan.
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Phil Freelon

Take a look at the new Emancipation Park in Houston
[UPDATE 6/13/2017: This article has been updated with images of the finished project.] Emancipation Park in Houston has undergone a major transformation courtesy of Chicago-based Perkins + Will. The revamp to the 10-acre park has been a long time coming. Preliminary work began in 2011, but now the project is finally complete, offering a new "Recreation Center" and spiraling sculpture that reflects the vision of the park's founders. Opened to the public in 1872 by its founders, Reverend John Henry “Jack” Yates, Richard Allen, Richard Brock, and Reverend Elias Dibble, Emancipation Park is firmly rooted in African-American history. At the time of its opening, the park was the first truly public park in Houston. In the years that followed, it became a vibrant space, hosting games of tennis and volleyball as well as numerous other community activities. Boasting a swimming pool from the 1930s, the site was also the only place where African-Americans could swim in the city. Come the 1960s however, times had changed and the cosmopolitan aura had run aground. After construction of U.S. Route 59 and policies of segregation carved up Houston's Third Ward district, the park's state drastically declined as affluent African-Americans left the area. Friends of Emancipation Park, however, started to make changes in 2007, initially by cleaning up the place. By 2011, Philadelphian architect Phil Freelon with his North Carolina–based firm, The Freelon Group, were working on a much bigger plan to give the park a much-needed facelift. Freelon has a well-established pedigree in such typologies. Of late, he has worked on almost all buildings dedicated to black heritage  in the Eastern Seaboard: The International Civil Rights Center and Museum (Greensboro, NC); the Museum of the African Diaspora (San Francisco); the Harvey B. Gantt Center for African-American Arts + Culture (Charlotte); the Reginald F. Lewis Museum of Maryland African American History & Culture (Baltimore); the National Center for Civil and Human Rights (Atlanta), and finally the crown jewel to date: the National Museum of African American History and Culture (NMAAHC). Now acting as project principal and design director at Perkins + Will (since 2014), Freelon has seen Emancipation Park finally completed. Along with the aforementioned Recreation Center and sculpture, the rejuvenated park now has a new pool and a canopied plaza which provides a welcoming front porch and cover for the park's main entrance. On the north side of the new building—which faces the major event lawn—the canopy functions as the band shell. Down the south side, the roof structure provides shading and filters daylight into the gymnasium that is housed inside the Recreation Center along with a fitness center and a multi-purpose room which can accommodate meetings, banquets, and balls. "The design of the new Emancipation Park Recreation Center is a reflection of the community’s goals and aspirations," said Freelon speaking to The Architect's Newspaper. Freelon added that new sculpture was meant to symbolize hope. "It looks forward, to the future. It's a positive symbol," he added. The exterior of the Recreation Center comprises a series of panels that range in earth tones. "From a deep brown to a rich rust color, the varying shades are reminiscent of the historic painted tin roofs that remain prevalent in the Third Ward today," Freelon continued. "This 'patchwork' texture also symbolizes the coming together of the community in support of the revitalized Emancipation Park, its programs and the celebration of Juneteenth."
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Get a Sneak Beak at What's in Store!

Georgia's famous Big Chicken slated for major revamp
A Georgia KFC franchise has announced that its beloved "Big Chicken" restaurant is slated for a $2 million renovation. Don't worry, though—plans call for keeping the famous bird. The Marietta, Georgia KFC branch, owned by KBP Foods, is known locally as Big Chicken for its majestic architecture parlante, a 56-foot-tall stylized steel chicken whose ruddy plumage and bright animated beak seduce would-be diners from its perch at a busy crossroads. Designed by Georgia Tech architecture student Hubert Puckett and built in 1963, the sign was reconstructed following storm damage in 1993. The video below (best viewed with the sound on) really captures the essence of the bird: Renderings revealed in the Atlanta Business Chronicle depict an on-brand interior renovation for the 4,700-square-foot space, plus a gift shop. Big Chicken's logo will be updated, as well. “Marietta’s Big Chicken is a local landmark that we are proud to preserve,” said KFC franchisee Mike Kulp, president and CEO of KBP Foods, in a statement. “Once completed, our new restaurant will be among the greatest KFCs in the world with design and guest experience features you won’t be able to find anywhere else in the U.S. We can’t wait to bring these designs to life for the community of Marietta and all those who stop along their travels to see this historic landmark.”

The restaurant will be closed for around three months, beginning this week.

KFC's plans align with Taco Bell's 2015 decision to save Taco Bell "numero uno," the chain's very first restaurant. Taco Bell collaborated with a local preservation group to move the 1953 building from Downey, California to the company's headquarters in Irvine.

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Dear Mr. President,

Over 250 architects sign open letter to Donald Trump
A letter written by the grassroots coalition Architects Advocate has been signed by 276 architecture and design firms and sent to President-elect Donald Trump. The letter focuses on three specific actions addressing climate change, a clean and competitive U.S. economy using renewable energy, and standing up against special interest money in politics. “The President-elect has pledged to create jobs in urban and rural communities. We believe the best way to achieve this is to take decisive action on climate change by investing in a low-carbon US economy because it is a win-win for businesses, people, and the environment alike” said Tom Jacobs with Krueck+Sexton Architects, one of the letter signatories. “The consensus about needed action on climate change among design industry professionals is overwhelming, and the general public supports such actions with significant majorities across party lines as well. We are not being political by speaking out—we are acting in the best interest of every American, present and future, and are inviting the President-elect to join us moving forward.” The letter is copied below: President-elect Trump, As American architects, we are dedicated to creating healthy, productive, and safe communities for all. We are committed to doing so in a way that is economically viable, socially equitable, and environmentally sustainable. In these communities, families and businesses thrive. Throughout our great history we have always depended on the natural environment. It has nurtured us and has enabled vast freedom, growth, innovation, and profit. Today we are already experiencing the potentially irreversible negative impacts of climate change and biodiversity loss. American prosperity is at risk. Our children and grandchildren face the real possibility of our country and world in turmoil. Because buildings alone account for almost 40% of total U.S. energy use and 72% percent of U.S. electricity use, America’s architects are on the front line addressing climate change in a meaningful way. Action on climate change is supported across party lines by significant majorities of Americans, including the military and leaders of industry, faith, science, and education. By taking decisive action now we all can be remembered as historic and courageous actors who helped secure humanity’s future. We can turn our climate challenge into an unrivaled economic opportunity that creates desirable and healthy jobs in rural and urban communities alike. All Americans win if:
  • We invest in a clean and competitive U.S. economy that is powered by renewable energy through cost-effective and innovative solutions. This creates jobs and lowers the costs of living and doing business.
  • We stand up to the influence of special interest money in politics to create a truly level playing field. Subsidies for renewable energy technologies should be equal to the many hidden and costly subsidies that support fossil fuels and nuclear energy. Alternatively, all subsidies across all energy sources should be removed in their entirety.
  • We re-affirm America’s commitment to addressing climate change through the continued participation in the historic Paris Climate Agreement.
We invite you to join our commitment to developing healthy and prosperous communities, and to designing and building the great America that future generations deserve. Together, we can ensure our children and grandchildren will remember us with pride. Signed, 229 Architecture Firms 24 Landscape Architecture Firms 21 Design + Consulting Industry Firms 2 Organizations see following pages for all signatories Architecture Firms: agps architecture, Los Angeles CA AIM Associates, Petaluma CA Alchemy Architects, St. Paul MN Alima Silverman Architect, Santa Rosa CA AltusWorks, Chicago IL Anderson Krygier, Inc., Portland OR Angela Klein Architect, Alameda CA Ankrom Moisan Architects, Portland OR Anthony Belluschi FAIA Consulting Architect, Portland OR Antunovich Associates, Chicago IL Archimage Architects, Ltd., Chicago IL archimania, Memphis TN architect’s office, San Francisco CA Architecture Is Fun, Inc., Chicago IL architecture+, Troy NY ARExA, New York NY Bailey Edward Design, Inc., Chicago IL Bassetti Architects, Seattle WA Bauer Latoza Studio, Chicago IL beta-field, Charlottesville VA Bisbee Architecture + Design, Santa Rosa CA bKL Architecture, Chicago IL Blue Truck, Inc., San Francisco CA BNIM, Des Moines IA Booth Hansen, Chicago IL Bora Architects, Portland OR Boyer Architects LLC, Evanston IL Brewer Studio Architects, Sebastopol CA Brininstool + Lynch, Ltd., Chicago IL Brooks + Scarpa, Los Angeles CA Brubaker Design, Chicago IL Brush Architects, LLC, Chicago IL building Lab, Emeryville CA Burhani Design Architects, Chicago IL CAMESgibson, Chicago IL Caples Jefferson Architects, Long Island City NY Carlo Parente Architect, Chicago IL CaVA Architects, LLP, Philadelphia PA Charles Pipal, AIA, Riverside IL Chen & Associates, A+E, Sebastopol CA Chris Binger Architect, San Diego CA Christoper Strom Architects, St Louis Park MN Circle West Architects, Phoenix AZ Circo Architects, Inc., Riverside IL Constantine D. Vasilios & Associates Ltd, Chicago IL Cook Architectural Design Studio, Chicago IL Cordogan Clark & Associates, Chicago IL Dan Miller Architects Ltd., Chicago IL David Crabbe Architect, San Carlos CA David Fleener Architects, Chicago IL Deam + Dine, Sausalito CA Deanna Berman Design Alternatives, Chicago IL Deborah Berke Partners, New York NY Design Smak, Evanston IL Design Team, LLC, Highland Park IL Design2 LAST, Inc., Edmonds WA Dev Architects, Woodside CA Dilworth Eliot Studio, San Francisco CA Dirk Denison Architects, Chicago IL DOES Architecture, San Francisco CA Dragani Martone Studio, LLP, Philadelphia PA DRIFT-Design, Oakland CA DSGN Associates, Dallas TX Duvivier Architects, Venice CA Dwyer/Oglesbay, Minneapolis MN Eastlake Studio, Chicago IL Eckenhoff Saunders Architects, Chicago IL Ellipsis Architecture, Chicago IL emar Studio for Public Architecture, Culver City CA Environ Architecture, Inc., Long Beach CA Equinox Design, Sebastopol CA EQUINOX Design and Development, Windsor CA Eskew+Dumez+Ripple, New Orleans LA Farr Associates, Chicago IL Feldman Architecture, San Francisco CA Fiona E. O’Neill, Architect, The Sea Ranch CA Fletcher Studio, San Francisco CA Fougeron Architecture, San Francisco CA Frank Zilm & Associates, Inc., Kansas City MO GEMMILL DESIGN Architectural Studio, San Francisco CA General Architecture Collaborative, Syracuse NY Gerhard Zinserling Architects, Chicago IL Gray Organschi Architecture, New Haven CT Greater Good Studio, Chicago IL Green Building Architects, Petaluma CA Hacker Architects, Portland OR Handel Architects LLP, New York NY Harboe Architects, Chicago IL Hartshorne Plunkard Architecture, Chicago IL Heidrun Hoppe Associates, Evanston IL Heitzman Architects, Oak Park IL Herman Coliver Locus Architecture, San Francisco CA Holbert and Associates, Architects, Chicago IL HouseHaus, Chicago IL HPZS, Chicago IL husARchitecture Inc., Chicago IL Huth Architects, Newton MA Ibañez Architecture, Fort Worth TX Imai Keller Moore Architects, Watertown MA INVISION planning | architecture | interiors, Waterloo IA JAHN, LLC, Chicago IL JAMTGÅRDESIGN, San Francisco CA JDD-Architects, Chicago IL JGMA, Chicago IL Jones Design Studio, PLLC, Tulsa OK jones | haydu, San Francisco CA Jones Studio, Tempe AZ Jurassic Studio, Chicago IL Kaplan Architects, San Francisco CA Katherine Austin, AIA, Architect, Bend OR Kathleen Hallahan, Architect, San Diego CA Kathryn Quinn Architects, Ltd., Chicago IL Kipnis Architecture + Planning, Chicago IL Klara Valent Interiors, Tucson AZ Klopf Architecture, San Francisco CA Klopfer Martin Design Group, Boston MA Krueck+Sexton Architects, Chicago IL Kuklinski+Rappe Architects, Chicago IL Kupiec Architects PC, Santa Barbara CA Kuth Ranieri Architects, San Francisco CA lab practices, Syracuse NY Lake|Flato Architects, San Antonio TX Lance Jay Brown Architecture + Urban Design, New York NY Landon Bone Baker Architects Ltd., Chicago IL Latent Design, Chicago IL Lawton Stanley Architects, Chicago IL LEDDY MAYTUM STACY Architects, San Francisco CA Leers Weinzapfel Associates, Boston MA Legat Architects, Chicago IL Liv Companies, Burr Ridge IL Lorcan O’Herlihy Architects, Los Angeles CA Lucy C. Williams, Architect, St. Louis MO Lundberg Design, San Francisco CA Marble Fairbanks Architects, Brooklyn NY Marilyn Standley, Architect, Sebastopol CA Mark English Architects, San Francisco CA Marlon Blackwell Architects, Fayetteville AR MAS Studio, Chicago IL Merryman Barnes Architects, Inc., Portland OR Michael Hennessey Architecture, San Francisco CA Mitchell Garman Architects, Dallas TX Mithun, San Francisco CA Morgante Wilson Architects, Evanston IL Morse and Cleaver Architects, Sebastopol CA moss, Chicago IL MRSA Architects, Chicago IL MSR Design, Minneapolis MN MW Steele Group Inc., San Diego CA MX3 ARCHITECTS, Chicago IL NADAAA, Boston MA NEEDBASED, Santa Fe NM Nicholas Design Collaborative, Chicago IL Norman Kelley, Chicago IL Northlight Architects LLC, Chicago IL Nushu, LLC, Chicago IL OKW Architects, Inc., Chicago IL Opsis Architecture, Portland OR Page, Austin TX Pappageorge Haymes Partners, Chicago IL Patricia K. Emmons Architecture & Fine Art, Seattle WA Paul Preissner Architects, Chicago IL Paulett Taggart Architects, San Francisco CA Payette, Boston MA PLACE, Portland OR Propel Studio, Portland OR Public Design Architects, Oak Park IL RATIO Architects, Indianapolis IN (r)evolution architecture, LaGrange IL Risinger + Associates, Inc., Chicago IL River Architects, Cold Spring NY RL Dooley Architect, PLLC, Bremerton WA RNT Architects, San Diego CA Rockford Architects Inc., Rockford IL Rockwell Associates Architects, Evanston IL Ross Barney Architects, Chicago IL Rubiostudio, Chicago IL Ruland Design Group, San Diego CA Conger Architects, Chicago IL Salus Architecture Inc., Seattle WA Sam Marts Architects & Planners, Ltd., Chicago IL Sanders Pace Architecture, Knoxville TN Sarah Deeds Architect, Berkeley CA Scott / Edwards Architecture, Portland OR scrafano architects, Chicago IL Searl Lamaster Howe Architects, Chicago IL Serena Sturm Architects, Chicago IL Shands Studio, San Anselmo CA SHED Studio, Chicago IL Siegel & Strain Architects, Emeryville CA SKJN Architekten Corp., Chicago IL Smith-Miller+Hawkinson Architects, LLP, New York NY SMNG A Ltd., Chicago IL Snøhetta, New York NY Snow Kreilich Architects, Minneapolis MN SPACE Architects + Planners, Chicago IL SRG Partnership, Portland OR Stefan Helgeson Associates, LLC, Edina MN Stephen J. Wierzbowski, AIA, Chicago IL STL Architects, Chicago IL Strawn + Sierralta, Honolulu HI Strening Architects, Santa Rosa CA Studio Dwell Architects, Chicago IL Studio KDA, Berkeley CA studio M MERGE, Oakland CA Studio Ma, Phoenix AZ Studio Nigro Architecture + Design, Chicago IL Studio VK, New York NY Suski Design, Inc. Architects, Chicago IL TannerHecht Architecture, San Francisco CA TEF Design, San Francisco CA Thomas Roszak Architecture, Chicago IL Tilton, Kelly + Bell, LLC, Chicago IL Troyer Group, Mishawaka IN UrbanWorks, Ltd., Chicago IL Van Meter Williams Pollack LLP, San Francisco CA Vinci | Hamp Architects, Inc., Chicago IL Vladimir Radutny Architects, Chicago IL von Oeyen Architects, Los Angeles CA von Weise Associates, Chicago IL Walter Street ARCHITECTURE, Chicago IL Whitney Inc., Oak Brook IL Will Bruder Architects, Phoenix AZ Worn Jerabek Wiltse Architects P.C., Chicago IL Wrap Architecture, Chicago IL WRNS Studio, San Francisco CA ZGF Architects LLP, Portland OR 2 Point Perspective: Architecture + Interiors, Chicago IL 2rz Architecture, Chicago IL 34-Ten, LLC, Chicago IL Landscape Architecture Firms: Andrea Cochran Landscape Architecture, San Francisco CA Coen + Partners, Minneapolis MN Fieldwork Design Group, Chicago IL GLS Landscape/Architecture, San Francisco CA Ground Inc. Landscape Architecture, Somerville MA Hargreaves Associates, San Francisco CA Hargreaves Jones, New York NY Hinterlands Urbanism and Landscape, LLC, Chicago IL Lenet, Crestani, Tallman Land Design, LLC, Chicago IL LENS Landscape Architecture, LLC, Bend OR Mark Tessier Landscape Architecture, Inc., Santa Monica CA Mathews Nielsen Landscape Architects, New York NY Mauro Crestani & Associates, Landscape Architects, Chicago IL McKay Landscape Architects, Chicago IL Mia Lehrer + Associates, Los Angeles CA Prassas Landscape Studio LLC, Chicago IL Reed Hilderbrand, Cambridge MA Rinda West Landscape Designs, Chicago IL site, Chicago IL Terry Guen Design Associates, Chicago IL The Organic Garden Coach, Downers Grove IL Topiarius, Inc., Chicago IL Ulrich Bachand Landscape Architecture, LLC, Dedham MA Wenk Associates, Denver CO Design + Consulting Industry Firms: Atelier Ten, Environmental Design, New Haven CT Corey Gaffer Photography, Minneapolis MN Development Management Associates, LLC, Chicago IL EHT Traceries, Inc., Washington DC Green Dinosaur, Inc., Culver City CA HJKessler Associates, Chicago IL Interface, Atlanta GA Jaros, Baum & Bolles Consulting Engineers, New York NY jozeph forakis...design, Brooklyn NY Lee Bey Architectural Photography, Chicago IL Lightswitch Architectural, Chicago IL Medical Facility Innovations Ltd., Leavenworth WA New Voodou, Santa Fe NM Paul Hydzik Photography, Chicago IL Spirit of Space, Milwaukee WI Talentstar, Inc., Petaluma CA The Walker Group NW, Seattle WA Thirst, Chicago IL Threshold Acoustics LLC, Chicago IL Tom Harris Architectural Photography, Chicago IL visualizedconcepts inc., Chicago IL Organizations: Archeworks, Chicago IL Architects Advocate for Action on Climate Change, Chicago IL
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Staying Alive

The good, the bad, and the ugly: AN's best preservation stories
In the trenches, preservation can feel cyclical—historic buildings are defended and saved, others destroyed, and public appreciation grows for once-loathed styles (looking at you, brutalism). This year's brilliant adaptive reuse projects are worthy of their own list, but we chose to highlight the epic sagas—new landmarks, victories against out-of-scale development, priceless buildings pulverized, and the controversies and cliffhangers that will shape preservation debates through next year and beyond. (See the rest of our Year in Review 2016 articles here.) Marcel Breuer takes the East Coast by storm Brutalism has a healthy second life online, but in real life concrete buildings often seem a hair away from the wrecking ball. This year, though, fate was pretty kind to one of the masters of the genre. Although Marcel Breuer has been dead for more than three decades, the opening of the Met Breuer, and two other controversies surrounding his buildings, spurred a revival of interest in his imposing yet playful work. In Reston, Virginia, a Breuer building was threatened with demolition, then saved, then demolished—a heartbreaking tale. Further south, an Atlanta library designed by the architect was saved after a public outcry. While the Reston building is gone for good, see what Graves, Koolhaas, and Piano would've done to the former Whitney—it is possible to adapt brutalist buildings without compromising their essential character. Miami Marine The City of Miami declared in November it will borrow up to $45 million to preserve this stadium, an open-air venue for boat races on Biscayne Bay designed by architect Hilario Candela and completed in 1963. The cantilevered concrete structure was severely damaged by Hurricane Andrew in 1992 and left to decay. Restoration of the original structure, as well as the construction of a new 35,000-square-foot maritime center adjacent to the stadium, will begin when funding is secured. Lautner’s Sheats Goldstein Residence has been gifted to LACMA James Goldstein has donated his landmark house, located on Angelo View Drive, Los Angeles, and designed by prolific West Coast architect John Lautner to the Los Angeles County Museum of Art (LACMA). In addition, the dwelling'ss contents and surrounding estate have also been included in the donation. Johnson Fain takes on Philip Johnson’s Crystal Cathedral Johnson Fain is renovating Philip Johnson and John Burgee’s iconic Crystal Cathedral in Anaheim, California. Work on the building, which was completed in 1980 as part of a larger religious campus that contains notable structures by Richard Meier and Partners as well as Richard Neutra, began this year. Preservation across five boroughs While new city laws will make the preservation of controversial or hard-to-love buildings that much harder, this year the Landmarks Preservation Commission (LPC) cleared its roster of almost 100 items that have been on its calendar for years, sometimes decades. As a result, the city has 27 new landmarks—including the Pepsi-Cola sign—to love. Modern architecture hearts were broken, though, when the LPC declined to landmark Alvar Aalto's conference rooms and lecture hall at 809 UN Plaza. Through rezoning, the city is trying to spur the development of more Class A office space in Midtown East, a push that encourages taller buildings but threatens many older ones. In that neighborhood, the commission decided that the Pershing Square Building and the Graybar Building, as well as the Shelton Hotel Building, the Yale Club of New York City, and seven smaller structures, all between East 39th to East 57th streets, from Fifth to Second avenues, were worthy of landmark status. Doing the Wright Thing This year the Frank Lloyd Wright Foundation revealed its master plan to preserve Taliesin West, the architect's home and school in the Arizona desert. Harboe Architects drafted the 740-page plan, which outlines preservation strategies for a structure that Wright and his disciples modified many times over the years. The plan presents an approach to conserving deteriorating materials, preserving existing spaces, restoring viewscapes lost to new additions and landscaping, and supporting Taliesin West as a tourist site, education center, and foundation headquarters. The Ambassador Grill and Lounge After a huge push from preservation advocacy groups HDC, docomomo, and fans of postmodern architecture, the LPC is considering Kevin Roche and John Dinkeloo Associate's glittery—but threatened—UN Hotel lobby and Ambassador Grill & Lounge for landmark status. At a November hearing, local luminaries like Robert A.M. Stern, Belmont Freeman, and Alexandra Lange, as well as a bi-coastal docomomo contingent spoke in favor of landmarking. The item would be the first postmodern interior to be designated a New York City landmark, and the “youngest” after Roche and Dinkeloo’s Ford Foundation (1963-68) which has interior and exterior landmark status. Meanwhile, the Waldorf-Astoria's mega-glamorous art deco interiors are one step closer to landmark protection. The McKeldin Fountain is no more In Baltimore, contractors have begun demolishing a symbol of the city’s renaissance and the mayor who sparked it, the McKeldin Fountain at Pratt and Light streets. The Downtown Partnership of Baltimore has led the effort to tear down the fountain, named after former Mayor Theodore McKeldin, and replace it with a landscaped plaza that members argue would be a more welcoming gateway to the city. The fountain and adjacent plaza were designed by Philadelphia architect Thomas Todd, a founding partner of WRT, as part of the redevelopment of the Inner Harbor renewal area in the early 1980s. An example of Brutalist architecture made with a series of concrete prisms and walkways, the fountain is owned by the city and listed in the city’s official inventory of public art. It is dedicated to the former mayor who first proposed in 1963 the idea of rejuvenating Baltimore’s Inner Harbor waterfront. Time is running out for the modernist legacy of William Pereira Pereira is most famous for his iconic 1972 Transamerica Building, an 853-foot tall square-based pyramid tower in downtown San Francisco, and for the Googie-styled Theme Building at Los Angeles International Airport, a flying saucer-shaped observation floor supported by four-footed, sinuous frame. These projects are among Pereira’s diverse commissions that number more than 400 and include the masterplans for the Orange County suburb of Irvine, and the University of California at Irvine (UCI) campus. The city of Irvine’s urban plan landed the architect on the cover of Time magazine where Pereira was depicted in front of the suburb’s plan.
Those aspects of his legacy are more or less doing fine—there are serious and ongoing questions about incongruous changes being made to both the Irvine master plan and to the UCI campus —but several of Pereira’s other Los Angeles works are currently more deeply imperiled.
The challenge of preserving architectural heritage in Philadelphia This year Philadelphia—home of the Liberty Bell, Independence Hall, and Rittenhouse Square—can boast of another historic attribute: It is the first and only city in the United States to be named a World Heritage City, one of 266 around the globe.

Despite its recent designation, Philadelphia has had a decidedly uneven record and reputation for historic preservation. Architects who come to the AIA convention will find Center City relatively intact. But other areas of the city are losing historically and architecturally significant buildings at a steady rate, largely due to development pressures and lack of landmark protection.

Saving the Columbus Occupational Health Association Columbus, Indiana is a small Midwestern city filled with buildings designed by a who’s who of American architecture including Eliel Saarinen, Eero Saarinen, I.M. Pei, Kevin Roche, Richard Meier, Harry Weese, César Pelli, Gunnar Birkerts, Robert Venturi, Robert Stern, and many others. Now, its 1973 health center, designed by Hardy Holzman Pfeiffer Associates, (HHPA) is for sale. Despite its wealth of modern architecture and a forthcoming biennale, the town has no formal preservation laws, so a sale could mean the destruction or thoughtless modification of this important building. Yale's Beinecke Library is now open The Beinecke Rare Book & Manuscript Library reopened its iconic building in September following a 16-month renovation led by Hammond Beeby Rupert Ainge Architects with Newman Architects of New Haven. Completed in 1963, Beinecke is considered Gordon Bunshaft’s masterpiece. One of the largest libraries in the world dedicated to rare books, its exterior grid of granite and Vermont marble panels are one of the most recognizable designs of that era and remains both inspiring and inimitable. The renovations restored the architectural landmark to its illuminated glory by refurbishing the six-story glass stack tower, preserving the sculpture garden by Isamu Noguchi, upgrading the library’s climate-control system, and expanding classroom space. Developer wants to put glass cubes on landmarked SOM plaza Fosun International, the Shanghai-based owner of Manhattan’s 28 Liberty Street (formerly One Chase Manhattan Plaza), has commissioned SOM to revamp their own classic International Style building and 2.5-acre plaza design. Among its planned changes to the site, Fosun received LPC approval to build three glass pavilions on the plaza that will serve as entrances to below-ground retail. To do this, Fosun needs to make changes to the site's deed, a move that many preservationists say will disrupt the integrity of Gordon Bunshaft's original vision. Both the International Style building and plaza were designated a New York City landmark in 2009. SOM is updating the tower’s office space and plaza and reintroducing original details lost in prior renovations while transforming approximately 290,000 square feet (four floors) of basement space into retail. (AN first covered the design proposal, and ensuing controversy, in July.) With new rules regarding deed changes now in effect, it remains to be seen how—or if—these glass pavilions will be built. Stop the Pop "After the rollout of #StopThePop campaign last June, what actually popped to the surface was less a discussion about preserving architectural landmarks, and more a social media–facilitated debate regarding what constitutes good taste."
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Leaving the Big City

Goodbye New York: AN picks the best projects outside the Big Three
The Architect's Newspaper (AN) has editors in New York, Chicago, and L.A., but we're not city snobs. With a network of regional writers from Baltimore to Dallas, Seattle to Phoenix, our mission is to cover projects everywhere in North America—and in 2016, we printed far-flung stories that usually fly under the radar. Check out our 15 favorite projects below. (See the rest of our Year in Review 2016 articles here.) WORKac Arizona House revives the Earthship typology “The desert house typology reached an ending point where it became all about overhangs and metal—a common vocabulary of what a desert house should be,” said Dan Wood, principal of WORKac. “We felt like that needed to be renewed.” The Memphis Movement A slew of new developments suggest Memphis, long plagued by high rates of poverty and unemployment, is on the up-and-up, but is the city really rebounding? Gensler designs a new vision for the unloved Milwaukee Post Office The long, low-slung Milwaukee Post Office is not a popular building, but Gensler's forthcoming revamp will inject much-needed vitality into the more-or-less dead space. Basket builders vacate Ohio’s famous basket building After nearly twenty years, the Longaberger Company, maker of wooden baskets, will be moving out of its trademark Longaberger Medium Market Basket–shaped building in Newark, Ohio. What will happen to the building? $1.9 billion Las Vegas Raiders stadium clears penultimate hurdle The odds for the Oakland Raiders football team’s relocation to Las Vegas are looking very good right about now. Not OKC See what's happening to John Johansen’s Mummers Theater in Oklahoma City. Ford begins work on new $1.2 billion campus in Michigan When Ford Motor Company took stock of its current 60-year-old Dearborn, Michigan, facilities, it became clear that the only way forward would be to take a big leap into two new high-tech campuses. Spearheading the master plans is the Detroit office of SmithGroupJJR. When completed, the estimated $1.2 billon, ten-year project will involve moving 30,000 employees from 70 buildings into a Product Campus and a Headquarters Campus. Throughout the project, the entire campus will also have to stay 100 percent operational. New renderings revealed for ambitious, highway-capping park in Atlanta Buckhead Park Over GA400 is a new park typology for the city. Like most great public places, it’s about creating a series of scaled experiences” for visitors, explained Rob Rogers, principal at Rogers Partners and one of the park's lead designers. The Mexico City designers forging a new path beyond modernism By combining high-design references with homespun folk art, the city's designers are able to create works that are contemporary, but also contextual and artisanal, and that speak to the contested and refined realities of their home city. With a grab bag of contemporary stylistic influences coupled with the methodical pedagogy of their elders, the current generation of designers is quickly moving past the orthodoxy of the city’s Modernismo traditions toward new enterprises that blend design, architecture, and furniture. This year the city hosted Design Week Mexico, and it will be the WorldDesign Capital in 2018—the sixth in the program and the first North American city to be named as such. Shelburne Farms Old Dairy Barn, a Vermont landmark, destroyed by fire Sadly, Vermont lost one of its agrarian and architectural landmarks in September when the historic Old Dairy Barn at Shelburne Farms was destroyed by fire. Saving the Columbus Occupational Health Association Columbus, Indiana is small Midwestern city filled with buildings designed by Eliel Saarinen, Eero Saarinen, I.M. Pei, Kevin Roche, Richard Meier, Harry Weese, César Pelli, Gunnar Birkerts, Robert Venturi, Robert Stern, and many others. Now, its 1973 health center, designed by Hardy Holzman Pfeiffer Associates (HHPA) is for sale. Despite its wealth of modern architecture and a forthcoming biennale, the town has no formal preservation laws, so a sale could mean the destruction or thoughtless modification of this important building. Jean Nouvel eyeing North Adams The home of MassMoCA and the future home of Gluckman Tang's Extreme Model Railroad Museum may be getting a master plan by none other than Jean Nouvel. Residents say Celebration, FL is ruined by mold and shoddy construction Although the Walt Disney Company hired a cadre of leading architects to design Celebration, Florida, the sloppy construction of homes in the theme town is driving residents to grief and financial trouble.
Dallas–Fort Worth Branch Waters Network dovetails with rapid development Architect Kevin Sloan thinks American conceptions of planning and notions of “nature” need to be challenged. His Branch Waters Network project in Dallas aims to do just that. 
A torrent of new projects are reshaping Staten Island Okay, okay—Staten Island is part of New York City, but even in a city of islands, the borough gets no love. Islanders voted to secede in 1993, and city officials say it's too far for nice things like bikeshares. Nevertheless, AN visited this spring to check out some new developments shaping the Forgotten Borough.
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The Kids are Alright

Chicago Architecture Foundation announces DiscoverDesign student competition winners
The Chicago Architecture Foundation (CAF) has announced the winners of the 2016 National DiscoverDesign Competition. The annual youth competition invites high school students from across the country to address a pressing social issue through architectural design. This year’s prompt asked participants to “identify a specific audience in need of affordable housing.” “Since its inception the National DiscoverDesign Competition has served as a catalyst for surfacing innovative ideas from students all across the country,” said Gabrielle Lyon, vice president of education and experience of CAF, in a press release. “The competition challenges youth to apply math and science skills, research and empathy to solve problems using the design process. The problems they solve are real ones—and the diversity of participants and solutions are a great reflection of the talent of young people from across America.” Five jurors chose 10 finalists from 150 entries representing 30 schools in 12 states. Two first place winners were awarded all-expense paid trips to Chicago and second and third place winners were awarded gift certificates to the CAF’s architectural gift shop. This year’s jurors included Maya Bird-Murphy of Valerio Dewalt Train Associates, Nancy Firfer, senior advisor at the Metropolitan Planning Council, Kerl Lejeune senior design manager for the Public Building Commission of Chicago, Adam Rosa, principal at Camiros, and Douglas A. Smith, managing principal at Perkins+Will. Students participating in the competition were asked to assemble entries that included renderings sketches, drawings, and models, along with short essays responding to the prompt. First place was awarded to Denilson Saavedra of Lindblom Math and Science Academy, Chicago, Illinois and Antonio Trejo of the Advanced Technologies Academy, Las Vegas, Nevada. The second place winner was Meejan Patal of the Atlanta International School, Atlanta, Georgia, and third place went to Andrew Shepherd of the Advanced Technologies Academy, Las Vegas, Nevada. Virtual tour of second place entry by Meejan Patal (Meesan Patal) DiscoverDesign is an online learning site that is focused on connecting teens interested in architecture to design professionals and educators. The site was recently redesigned to provide more resources to students and mentors, as well as host the annual high school competition.
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Phil Freelon Fellowship Fund

New Harvard GSD fellowship aims to promote student diversity
The Harvard Graduate School of Design (GSD) recently announced the creation of the Phil Freelon Fellowship Fund, part of a wider $110-million-plus push (dubbed "Grounded Visionaries") to improve and expand the GSD. The fund will provide financial aid to African Americans and other underrepresented groups. Phil Freelon, the architect for whom the fellowship is named, called the fellowship’s establishment “an important step in broadening the GSD’s reach” at the announcement ceremony last week. “As the design profession continues to attract a more diverse talent base, this gift will provide students of color with financial assistance that could make pursuing an advanced degree at the GSD possible,” he said. Freelon earned his Master of Architecture from Massachusetts Institute of Technology and served as a Loeb Fellow at the GSD from 1989-1990. He is still closely involved with the GSD as a lecturer and researcher. His firm, The Freelon Group, has won dozens of awards for designing museums, higher education spaces, and science and technology facilities, and was acquired by Perkins + Will in 2014, where Freelon now serves on the board and as managing and design director of the North Carolina office. His work includes the National Center for Civil and Human Rights in Atlanta, Historic Emancipation Park in Houston, and the recently opened National Museum of African American History and Culture in Washington D.C. James G. Stockhard, Jr., former curator of the Loeb Fellowship, praised him as a role model for students at last week’s event. “He is the kind of leader—strong, clear, selfless, and principled—who helps the rest of us find the courage to join him in striving for the best we and our society can be. He asks us to be the best designers, the best colleagues, and the best citizens we can imagine,” he said.
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Light Bright

A first for multi-colored ceramic fritted channel glass
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  The Children’s Hospital of San Antonio is wrapping up an ambitious four-year $135-million renovation project to transform an existing downtown hospital campus into a fully dedicated, freestanding children’s hospital. The facility remained open throughout an intensive construction process involving interior demolition, relocating care units, exterior shell upgrades, and energy efficiency upgrades. A recladding concept, which extends the interior rebranding to the facade, is the most visible component of the project. The color palette is derived from a local artist’s mural on the existing structure became the basis for a rebranding strategy that seeks to improve visitor’s experience of the campus by benefitting the healing process and improving wayfinding. Colors are distributed onto the facade through a series of custom unitized channel glass assemblies that were the result of a close collaboration between Overland Partners, Bendheim Wall Systems, and Sharp Glass. The existing structure consists of five-foot concrete wings that extend out from the building envelope. With restrictive load limits and limited space for installation and maintenance, the design needed to be lightweight and convenient to assemble. Also, the team required a solution that could be manufactured in a range of custom colors, visible at long distances day and night.
  • Facade Manufacturer Bendheim Wall Systems Inc (glazing extrusions); Lamberts (channel glass)
  • Architects WHR Architects Inc. (Houston); Stanley Beaman & Sears (Atlanta); and Overland Partners Architects (San Antonio)
  • Facade Installer Sharp Glass, Bartlett Cocke General Contractors (construction manager)
  • Facade Consultants Smith Seckman Reid Inc. (engineering)
  • Location San Antonio, TX
  • Date of Completion 2016
  • System ceramic-fritted channel glass units, insulated glass replacement units, interlocking metal panels
  • Products Lamberts® channel glass by Bendheim Wall Systems Inc; Centria metal panels; Lumenpulse (LED); Kawneer (insulated glazing units)
The project team developed a unitized modular strategy to consolidate three channel glass shapes into an extruded framework. Bendheim modified one of its existing systems to allow the glazer to preassemble the units in its shop so that the glass was bonded to both a head and sill extrusion. To ensure individual glass pieces did not make contact, the channels were set with a quarter-inch gap filled with a silicone backer rod and sealed with a translucent silicone. These units were harnessed together with a removable frame system developed by Bendheim in close collaboration with the architect and the glass installer. This allowed the units to be brought from the shop to the hospital, then strapped and hoisted into place by a three-person crew on each floor who would swing the unit into place. Units were lifted up into a pre-mounted head receptor and loaded onto an “elevator platform” that could be adjusted vertically to accommodate tolerance and deflection in the existing construction. This detail allows for movement over time without putting the glass units at risk. The adjustable, unitized system allowed the glazer to install, on average, an entire floor per day. Kris Feldmann, lead architect at Overland Partners, said that the value engineering presented a design management challenge to the project: “We saw the channel glass feature as something that was just as critical to the rebranding of the hospital and the work they were doing on the interior. One of the challenges of any project like this is that it is a very easy thing to remove as project budgets evolve. Having the owner’s confidence—because we had worked closely with the contractor, sub-contractor, and Bendheim—was really critical to keeping it on the project." The quarter-inch channel glass includes a ceramic frit that produces a unique translucent finish, allowing for sunlight penetration and providing a soft glow to patient rooms. At night, integrated programmable LED lights provide accent lighting for the facade. Several full-size panels were produced in a mock up to allow the team to confirm desired lighting details prior to construction. The units appear to be the same height from the exterior, but field-verified dimensions confirmed each floor height varied by several inches. This required every unit to be individually measured and coded by Bendheim to confirm a custom fit, and accurate color as specified by the architect. Beyond this colorful additive layer, most of the existing facade remained in place. The exterior shell includes replacement insulated glazing units and an interlocking metal panel exterior wall finish. Replacement windows consist of interior glazed window units to avoid having to re-scaffold the entire building as floors became open for construction. While the exterior is substantially complete, some components of the project remain under construction, including exterior gardens that feature culinary, play, and prayer programming.
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Diversity At Work

AN talks to Gabrielle Bullock, director of global diversity at Perkins+Will
The National Organization of Minority Architects (NOMA), started in 1971 by a group of African American architects at that year’s American Institute of Architects conference in Detroit, Michigan, is holding its 44th Annual Conference in Los Angeles this week. The conference aims to bring together a diverse group of professionals with the aim of advancing the standing of minority architects throughout the field. It will run from Wednesday, October 12 to Saturday, October 15, 2016. In preparing for the conference, The Architect’s Newspaper (AN) interviewed Gabrielle Bullock, FAIA, LEED AP BD+C, NOMA member, and director of global diversity for Perkins+Will, to discuss diversity issues within the architectural profession. The Architect’s Newspaper: What does the term “diversity” mean to a large, globally-based firm like Perkins+Will? Gabrielle Bullock: I’ll go straight to our Mission Statement, which I think succinctly captures the value we place on diversity: “We believe that inclusion spurs creativity and that innovation is born from an engaged culture of diverse people and ideas. In this global environment, we are committed to building an organization that reflects the diversity of the communities and clients we serve. Diversity: Different thoughts, ideas, and approaches that result from an individual’s cultural background, experience, physical capabilities, skills, ethnicity, education, race, religion, age, gender, lifestyle, and all other characteristics that make each person unique.” You are the Director of Global Diversity at Perkins+Will, can you please describe your position and how it came to be? In 2013, I proposed and designed an approach to creating a more diverse, inclusive, and engaged organization. As one of .2 percent female African-American licensed architects in the US (and usually the “only one in the room”) I was personally committed to championing the advancement of diversity and inclusion in Perkins+Will and the profession. As an architect working with a global firm working all over the world, it became clear that we should mirror the societies and clients we serve. We believe that a more diverse team (in all senses of the word) would provide more innovative, relevant and rich solutions to our work and culture, and ultimately make us more successful. I developed an outline of what my role and the program would focus on along with preliminary expected outcomes and goals. After my appointment as Director of Global Diversity, I took a deep dive into the firm, visiting each office and having honest and at times uncomfortable discussions we call “listening tours.” I asked the staff what they thought about diversity and inclusion, and got unique perspectives. In some offices, the consensus was that we needed to improve racial diversity, in others, concerns surrounded issues of gender and the inter-generational workforce. The yearlong process gave me an idea of the challenges Perkins + Will faces and how to address them uniquely. It was clear that we needed training. I engaged a Diversity and Inclusion (D+I) specialist, Global Diversity Collaborative, to deliver a half-day workshop to the leadership in each office. Through that process, each office determined what their specific challenges were and created their own strategic plan. We made this an accountable program and now continually assess progress according to our stated goals. The initiative is part of our culture and part of our evaluation process: We try to look at everything through a diversity lens. The board, CEO, and office leaders get a progress report from me every year. We now have something called a Diversity+Inclusion+Engagement Strategic Plan with qualitative and quantitative metrics focused on all aspects of our organization like office culture, cultural advocacy, talent retention and recruitment, leadership and commitment, and educational outreach. Fascinating. What are some of your specific responsibilities as Director of Global Diversity? As Director of Global Diversity, I am the strategic and organizational champion tasked with conceptualizing and driving the Diversity+Inclusion+Engagement Strategic Plan throughout the firm. My primary responsibilities include: leading the Diversity Council; communicating Perkins + Will’s strategy, mission and vision internally and externally; leading the development of diversity education and awareness strategies impacting workplace culture, recruitment, and retention, as well as marketing, pipeline outreach, and leadership; and developing metrics to monitor progress toward the fulfillment of the Diversity+Inclusion+Engagement Strategic Plan. For Perkins + Will, engagement is the key action point—the step that makes diversity and inclusion matter, because it points to an individual’s level of influence on a team or a project, not just their presence in the room. My work is not “just an initiative” or lip service from a large firm. For us, this is a call to action, not an exercise. We are loud, driven, and clear: We promote our mission, call for commitment and accountability, and see this work as being about advancing the culture at Perkins + Will, not about simply numbers—we are integrating the plan in all business practices across the firm. Diversity is purposeful and deliberate. What would you say are some of the bigger diversity-related challenges the architectural profession is facing in the long term? The most significant challenge is the lack of racial and ethnic diversity of the profession, specifically with African-American and Hispanic representation. The profession should mirror the communities and society it serves. With an increasingly diverse population in the US and globally, racial demographics are woefully underrepresented in the architecture profession, overall. Another challenge is gender equity and representation in the profession. Issues around work-life integration, pay equity, and career advancement are common issues in the profession at large. Increasing generational differences in the workforce are also a challenge. As architects, we will have to examine, adapt, and advance the way we work intergenerationally if we want to retain emerging professionals and attract future generations to the profession. How can a large, global firm like Perkins+Will become a diversity leader in architecture and beyond? Be bold and be brave! Be loud, clear, and driven! Also, commit to diversity as a core value and not just the right thing to do. With any corporate value or goal, there are strategies and accountability. As an example: The architecture industry embraced sustainability as an imperative to survival. Now sustainability is in the DNA of our profession, and if you aren’t doing it, you are irrelevant. Making diversity a core value should be the same. At Perkins+Will, because our advocacy goes beyond our own firm to the profession as a whole, we are involved with leading and participating in national initiatives that aim to address equity and diversity in the profession. As an appointed member of the the AIA Equity in Architecture Commission and Implementation Team, I am helping to develop a framework for a well-conceived and thoughtful action plan, and making recommendations for advancing equity, diversity, and inclusion in the profession. The intent is to create greater urgency within the profession and the Architecture Engineering and Construction community about the tremendous need to have a better representation of in the architecture field. Leadership starts at the top of the organization: Our CEO, Board of Directors, office leaders are all committed to advancing the firm’s Diversity+Inclusion+Engagement goals. By getting involved, taking a leadership role and actively advocating for change, any large firm can become a leader in diversity, equity, and inclusion in the architecture profession and beyond. I am frequently asked to speak on the issue of the value of diversity for groups and organizations like Greenbuild, IIDA, ASID, National Organization of Minority Architects, and AE Advisors as well as for publications like Metropolis, Architectural Record, and Boutique Design. I also get invited to share insight with local architectural and engineering firms: All of this is part of being a leader. The Directory of African American Architects recently surpassed the 2,000 member mark. African Americans make up about 12 percent of the population in the U.S. but only about two percent of registered architects are African-American, with African American women consisting of .02 percent of the overall total, as well. What do you see as some of the ways to change that underrepresentation? Here are a Few Strategies:
  • Strengthen the talent pipeline by increasing outreach, awareness, and exposure to young African-American children. Often, architecture is not presented as a viable career path to the underrepresented youth. We can do this by mentoring and K-12 outreach.
  • Reshape recruitment teams to represent a cross-section of genders, ages, and races in order to attract the more diverse candidates we want.
  • Partner with Historically Black Colleges and Universities (HBCUs) to proactively recruit and mentor students. We are in the planning stages of creating such a program.
  • Examine community college and university transfer requirements to attract community college students to accredited programs.
  • Engage in the purposeful and deliberate recruitment by firms and colleges for diverse students. If schools and firms don’t demonstrate their interest and value in a diverse community on their website and recruitment collateral, many candidates will not apply because they “don’t see themselves represented.”
  • Publically highlight the merits and importance of a more diverse profession to create more relevant architecture to improve the “image” problem the profession has of being a “rich person's profession."
Can you provide some general diversity statistics for Perkins+Will? How does the firm stack up against other firms and the profession overall? I do not have demographic statistics on other firms. However, below are statistics compared to the AIA. Perkins+Will Demographic Statistics:
  • Gender Diversity 2015: 45 percent Female, 55 percent Male (Female: up 1 percent from 2014)
  • Racial Diversity 2015: 26 percent Non-White, 74 percent White (Non-White: up 3 percent from 2014)
Perkins+Will Leadership Demographics:
  • Principals 2015: 25 percent female
  • Associate Principals 2015: 32 percent female
  • Associates/Senior Associates: 38 percent and 44 percent female respectively
Since implementing our Diversity+Inclusion+Engagement Strategic Plan, we have increased gender and racial diversity, though modestly so. We recognize this is a journey and not a sprint, so it’s the long view that’s important for us. The diversity of our leadership ranks has steadily improved over the last three years as we deliberately focus on gender, racial, and generational makeup of our Leadership Institute and emerging professionals programs. At the individual office level, have changes increases in diversity among the staff broadened the firm's client pool correspondingly? Is there a relationship between the what the office looks like and what sorts of projects get taken on? As we’ve increased [the] diversity of our staff there has not necessarily been a direct correlation to the types of clients we have. However, with a more diverse and engaged talent pool that embodies varied cultural and community connections, there is a cultural awareness and insight brought to the design and team, and in some cases, a stronger cultural connection to the client. This connection between our work, our people, and the communities we serve absolutely makes for a strong and culturally relevant design solution. In addition, I would say the more broad our talent pool, the more broad our client and project opportunities. There have been cases where a more diverse team that reflects the diversity of the client has been a competitive advantage. Conversely, there have been situations in the past where our team was not diverse enough, did not reflect the diversity of the client, and was at a disadvantage. Can you please speak to some of the work you have done with HBCUs in an effort to increase African-American interest in architecture at the grade school and college levels? In its final planning stage, the Perkins+Will/HBCU Partnership Program’s goal is to strengthen the academic pipeline of underrepresented groups. With that in mind, Perkins+Will and the deans of the HBCU architecture schools collaborated to create a program that would provide mentoring, counseling and support to HBCU students in a comprehensive manner. Exposure and Awareness is the first step in broadening access and opportunities for the students by providing hands-on information and insight into what Perkins+Will and other large design firms are looking for in candidates: The three components of the program include:
  • Career Fairs: A local team of Perkins+Will staff participates in an annual regional career fair of the HBCU’s by geographic location, pairing the HBCU and P+W office closest to the school.
  • Annual Office Visit: Perkins+Will will host HBCU students for a half day office visit including office tour, project presentations, and resume/portfolio review.
  • Lecture Series: Working with HBCU leadership, Perkins+Will will develop a lecture series to be curated around relevant architectural practice and design. The lectures will be delivered on each HBCU campus on a rotating basis and virtually across the others. Through a lecture series we can harness the vast wealth of knowledge and expertise within Perkins+Will and other firms.
Our Atlanta office piloted the Career Fair and Office Visit with Tuskegee University this past spring with tremendous success. We have seen the positive impact we have on students’ career development simply by investing our time and knowledge. We were fortunate enough to have hired a Tuskegee graduate as a result of these activities.