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What's in the Box

2019 Best of Design Awards winners for Interior — Retail
2019 Best of Design Award for Interior — Retail: Maharishi Tribeca Designer: Abruzzo Bodziak Architects Location: New York City Structural Engineer: A Degree of Freedom Lighting Design Consultant: Dot Dash General Contractor: K2 Construction Solutions Curtain Fabrication: Curtains of You Abruzzo Bodziak Architects has designed British clothing brand maharishi’s first store outside of the United Kingdom. The flagship is situated in a landmarked loft building on Lispenard Street in Tribeca. The two-level store is a building within a building; the project preserves the space’s historic details by floating the new shop inside the existing interior. A grid of wood cabinetry defines the insertion, marking out the two levels, and halfway through the space, a mezzanine levitates above the shop, creating an intimate room upstairs. The design of the store takes cues from formal Japanese gardens and military supply warehouses as well as historic shops of New York City. Honorable Mentions Project Name: Claus Porto - New York Designer: tacklebox architecture Project Name: (Malin+Goetz) San Francisco Designer: Bernheimer Architecture Editors' Picks Project Name: Notre Shop Designer: Norman Kelley Project Name: R13 Flagship Designer: Leong Leong
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ACADIA

ACADIA 2019 showcased the state of digital design
The presentations and activities at this year’s ACADIA (Association for Computer Aided Design in Architecture) conference gave attendees a glimpse of potentially disruptive technologies and workflows for computational architectural production. The conference was held this year in Austin from October 24 through 26 and was organized by The University of Texas School of Architecture faculty members Kory Bieg, Danelle Briscoe, and Clay Odom. The organizers collected papers, workshops, and projects addressing the theme of “Ubiquity and Autonomy” in computation. Contributors reflected on the state of architectural production, in which digital tools and methodologies developed in the boutique, specialized settings at the fringes of the profession a generation ago have now become commonplace in architectural offices—while at the same time, new forms of specialist computational practices are emerging which may themselves soon become mainstream. While each participant grappled to position themselves in the cyclical and ever-advancing framework of technological inheritance and transference, the most encouraging efforts can be described in three categories: Expansions, subversions, and wholesale disruptions of the computational status quo. The expansionists claimed new technological territories, enlisting emerging and peripheral technologies to their purposes. The subvertors sampled the work and scrambled the workflows of their predecessors, configuring novel material applications in the process. Disruptors actively sought to break the techno-positivist cycle, questioning the assumptions, ethics, and values of previous generations to leverage computational design and digital processes to advance pressing and prescient political, economic, and ecological agendas. Expansionists appropriated bleeding-edge technologies, or those newly introduced to the discipline, to stake new terrain in design and construction. The conference was the first of its kind to host a dedicated session on the use of Generative Adversarial Networks (GANs) in design. This machine-learning system pits two forms of artificial intelligence against each other—one AI acts as the creative “artist,” generating all the possible solutions to a given task, while the other acts as the “critic,” selectively editing and curating the most appropriate responses. After training the networks on archives of architectural imagery, panelists put the GANs to work on evaluative and generative design tasks, alternately generating passably authentic floor plans, building envelopes, and reconstructed streetscapes. The workshop sessions, hosted by a suite of computational research teams from several architectural offices, demonstrated possibilities for adopting emerging technologies with familiar platforms, adopting and adapting tools like Fologram and Hololens to more familiar software platforms and fabrication methods. The subvertors, familiar with the expected uses and applications of given tools, would offer intentionally contradictory alternatives, short-circuiting established workflows and celebrating the unintended consequences of digitally enhanced platforms. A project from MIT researchers Lavender Tessmer, Yijiang Huang, and Caitlin Mueller entitled “Additive Casting of Mass-Customizable Brick” is a good example of the subvertors’ approach to interrogating workflows, enlisting precision-equipment for low-fidelity effect. As the current state-of-the-art in custom concrete formwork employs costly and time-consuming workflows to task CNC routers or robotic arms with milling, the MIT project is a critical alternative. Instead of shaping the mold, the project mobilizes the mold, achieving a wide variety of sculptural concrete “bricks” using standard cylindrical forms wielded by a robotic arm, while leveraging the ability of liquid concrete to self-level. The molds are shifted to preset positions while the concrete sets, allowing the sequential states of self-leveled concrete to intersect in complex geometries. The process is surprisingly delightful to watch, as the robot controls seven molds simultaneously like a drummer with a drumkit. The unexpected combination of high- and low-tech recalibrates possibilities for the robotic craft. Other researchers swapped out expected materials to produce unexpected results. Vasily Sitnikov (KTH) and Peter Eigenraam (TU Delft) teamed with BuroHappold to produce IceFormwork, a project that uses milled blocks of ice as the unlikely forms for casting high-performance fiber-reinforced concrete. Ice, the team argued, is a preferred, environmentally neutral alternative to industry-standard EPS foam molds, which produce a vast amount of waste. Ice molds, the team demonstrated, are easy enough to make (with some help from a reliable water source and a repurposed refrigerated ISO container). Airborne particles suspended by the ice-milling process are harmless water vapor, unlike the dangerous foam dust requiring ventilation equipment and other protective measures. When it comes to de-molding, the ice can simply be left outside to melt. While these investigations showcased new ways to hack the assembly process of cast building elements, their choice of concrete as a material contradicted a growing consensus in the panels; that designers should actively seek alternatives to the glut of concrete in the building industry, given the high ecological cost and high carbon footprint of concrete manufacturing in the context of an accelerating global sand shortage. Daniela Mitterberger and Tiziano Derme (MAEID/University of Innsbruck) offered one of the more radical alternatives with their project “Soil 3D Printing.” The team is using hydrogels—non-toxic, biodegradable adhesives—as binding agents injected into loose soil, to form alien landscapes of networked, earthen structures that portend a near-future where biocompatible, organic additive manufacturing processes restructure geotechnical landscapes and planetary geology. The provocations of the disruptors—who radically repurpose computational tools beyond perceived disciplinary constraints—raised profound questions about the potential for design technologies to enable and enact larger societal transformations by lining up global supply chains, material economies, and non-human constituencies squarely in their sights. Jose Sanchez (Plethora Project/Bloom Games/USC), in the presentation he gave while accepting the Innovative Research Award, presented his work leveraging computation and game design to critically examine and transform economic and ecologic realities. Sanchez has developed a series of game environments which force players to navigate wicked problems in contemporary cities, to confront the complexities, contradictions, and paradoxes of urbanization, logistics, and manufacturing. Sanchez described the continued focus in his work on efforts to "optimize for the many"—as opposed to the few—in a period of increased economic inequality, re-assessing the predominant use of digital technologies over the past few decades to enable complex mass-customized assemblies. Sanchez, in his own work, and in projects like Bloom with Alisa Andrasek (Biothing/Bloom Games/RMIT), has been exploring the potential of digital technologies to disrupt mass-production models through high-volume production of serialized and standardized “discrete” architectural components. In a similar vein, Gilles Retsin (UCL/Bartlett) argued for a reconsideration of the labor practices and digital economies enmeshed in, and implicitly supported by,  a building industry that has not yet come to terms with automation. By focusing on the ability of digital tools to combat material waste, Retsin argued, a generation of digitally savvy architects have ignored the potential of automation to address wasted labor. Through speculative research and small projects, Retsin is hoping to disrupt the building industry, increasing the capacity of architects to design and implement new platforms for project delivery which can combat exploitative practices. As expansionists pointed out where to look for the next big advancement, subvertors demonstrated how existing tools could be used differently. Disruptors were some of the few to ask—and answer—why. Stephen Mueller is a founding partner of AGENCY and a Research Assistant Professor at Texas Tech University College of Architecture in El Paso.
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Fond of me Lobster?

WERK Arkitekter and Snøhetta’s maritime center will bridge land and sea
WERK Arkitekter and Snøhetta recently released visuals of a new maritime community center on the coast of Esbjerg, Denmark. Lanternen (or “The Lantern” in English) is described by WERK as a building that will “reflect the forces of the sea and create a connection between the city and the water.”  As its name suggests, like a lighthouse, Lanternen will sit facing the sea, illuminated from within. “Our vision is to create a building where the rational and the poetic meet in a symbiosis. A symbiosis between the movements of the sea, the migration of light, and the low-key and every day,” wrote Thomas Kock, creative director at WERK on their website, “A symbiosis between spatial experiences and practicality. A symbiosis between the fine and the raw, social and sporting.”  The building will create space for multiple water sports clubs, training facilities, and workshop and social spaces which will be broken down into two central areas: The “Hall” and the “Social heart.” The ground-floor Hall has direct contact with water and will provide space for tools and equipment. The Social Heart is located on the floor above and will encourage social activity through a common terrace space.  Lanternen was the winning bid for the building’s design competition and was selected for “combining the desire for a fascinating and innovative architecture with high functionality and the intention to create a framework that supports community.” The structure's circular form creates a “house with no backsides,” according to the design team, and is intended to feel open and inclusive to all members of the community whether they are an experienced diver, a student, or passerby. This feeling is emphasized by the building’s many windows and central open-air terrace arranged around its round massing. Clad in timber, the facility is designed to evoke the “geometry and craftsmanship of boats” not while also setting it apart from other buildings in the seaside town. Of course, Snøhetta is no stranger to designing 360-degree timber community buildings that interface with a body of water. The center is slated to open in 2021.
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Culture Cap

Andrea Steele's L10 Arts and Cultural Center will bring integrative cultural space to Brooklyn
Set inside Enrique Norten’s towering residential project in Fort Greene, Brooklyn, the upcoming L10 Arts and Cultural Center will bring together multiple mainstay institutions like the Brooklyn Academy of Music (BAM), the Museum of Contemporary African Diasporan Arts (MoCADA), the Brooklyn Public Library, and 651 ARTS. The 32-story triangular 300 Ashland Place already boasts several pieces of booming retail on the property, including a Whole Foods Market 365 and an Apple Store. But the addition of a 50,000-square-foot space owned and operated by the city will ensure the building, designed by TEN Arquitectos and Andrea Steele Architecture in 2017, features more than stop-and-shop amenities. The Department of Cultural Affairs (DCLA) and NYC Economic Development Corporation (NYCEDC) aim to make it a community gathering place and give 651 ARTS—which teaches African Diaspora-inspired contemporary dance, theater, and music—its first dedicated permanent home. “For both visitors and residents alike, Fort Greene is a destination for arts and entertainment, and I’m thrilled to celebrate the addition of this new community space and all it has to offer,” said NYCEDC President and CEO James Patchett in a press release. “The opening of the L10 Arts and Cultural Center officially marks the completion of the entire BAM South Tower project, which has brought invaluable affordable housing, jobs, and community and public space to the neighborhood.” BAM South Tower, as 300 Ashland Place is referred to here, stands on a pivotal corner near downtown Brooklyn and in between the residential neighborhoods of Fort Green and Park Slope. Located near BAM’s other buildings within the Brooklyn Cultural District—a city-led invested area—it’s a central spot with its own public plaza to connect people crossing into either community. The uniquely-shaped site was previously a parking lot but was later transformed via a collaboration between the Downtown Brooklyn Partnership and Two Trees Management.  Andrea Steele Architecture, which recently acquired the New York office of its longtime partner TEN Arquitectos, has designed individual spaces for each institution within the L10 Arts and Cultural Center. For BAM, a new education center will be built, as well as a reading room where the public can access its 150-year-old collection. 651 Arts will get its own affordable dance studios and performance space, while a new branch of the Brooklyn Public Library will open for locals. In time for its 20th anniversary, MoCADA will receive a new gallery and performance space.   According to Andrea Steele, the project embodies Brooklyn’s burgeoning civic landscape: “The design elevates the public walk to connect the community to new resources,” she said. “While the exterior landscaped terrace has already become a vibrant destination and venue for dance performances, concerts, markets, and festivals; the new cultural spaces will bring critical activation and extend the public realm within, resulting in a 360-degree panorama of city life.” The L10 Arts and Cultural Center broke ground today, and with the project's expected completion in winter 2021, the BAM South Tower project will be fully realized. 
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Top of the Heap

Announcing the winners of the 2019 AN Best of Design Awards
  After expanding our categories to a whopping 47 and receiving over 800 submissions, the 2019 AN Best of Design Awards were our most successful yet. Of course, this made the judging more difficult than ever. Projects came from firms big and small across every corner of the North American continent. While we are always surprised by the breadth and quantity of submissions, we were not surprised by the quality of the design work put forth by these talented architects and designers. There were some telling trends, however. First, our interior categories received more and better projects than ever before. This resurgence in architects doing interiors, both residential and commercial, seems to mirror what we see in the field: Simpler, less colorful interiors that put more emphasis on materiality than on playful shapes, as in the past. It was also a good year for exhibition design. For the Building of the Year, our esteemed jury was fiercely divided between two exemplary but very different projects. The final debate came down to The TWA Hotel by Beyer Blinder Belle Planners LLP, and LUBRANO CIAVARRA Architects and the Anita May Rosenstein Campus, Los Angeles LGBT Center in Los Angeles by Leong Leong and KFA. In the end, the jury decided that the sensitive restoration and reactivation of Saarinen’s masterpiece merited the Building of the Year award. This selection well illustrates the attitude that this year’s jury had about the projects that were deliberated. Sensitivity and subtlety were at a premium. Winners were chosen for their contextual, tactical approaches rather than big, bombastic ideas. For example, MQ Architecture’s small wooden pavilion in Garrison, New York, and Signal Architecture + Research’s Cottonwood Canyon Experience Center are both examples of structures with simple profiles that were carefully cut to make residential-scale architecture that blends into its surroundings.
Perhaps this signals something larger about architecture in 2019, or even the end of the 2010s. Is U.S. architecture becoming more formally muted? Or is 2019 just a quiet year? Is this phenomenon an ongoing reaction to something in the media that has promoted design that is flashier and more figurally exuberant? Or is this just a one-year trend? Our jury this year was a very savvy group that included old AN friends and some new faces as well. By provoking discussions and offering up new ideas, the jury is essential to the mission of AN. We hope you enjoy this selection of winners, honorable mentions, and editor’s picks, and we look forward to hearing from you again next year with new projects! We will be updating this list over the next few days with winner and honorable mention profiles. To see the complete feature, don't miss our 2019 Best of Design Awards Annual issue, out now! 2019 AN Best of Design Awards Building of the Year Winner TWA Hotel Beyer Blinder Belle Planners LLP LUBRANO CIAVARRA Architects New York City Finalists Cottonwood Canyon Experience Center Signal Architecture + Research Wasco, Oregon Anita May Rosenstein Campus, Los Angeles LGBT Center Leong Leong Killefer Flammang Architects Los Angeles Public Winner Anita May Rosenstein Campus, Los Angeles LGBT Center Leong Leong Killefer Flammang Architects Los Angeles Honorable Mentions Discovery Center, Îles-de-Boucherville National Park Smith Vigeant Architectes Hunters Point Community Library Steven Holl Architects Editors' Picks Tsleil-Waututh Administration and Health Centre Lubor Trubka Associates Architects Louis Armstrong Stadium ROSSETTI Urban Design Winner Brooklyn Army Terminal Public Realm WXY Brooklyn, NY Honorable Mention City Thread SPORTS Cultural Winner Menil Drawing Institute Johnston Marklee Houston Honorable Mentions Ruby City Adjaye Associates New York State Equal Rights Heritage Center nARCHITECTS Editors' Pick The Evans Tree House at Garvan Woodland Gardens modus studio Saint Mary Mercy Chapel PLY+ Exhibition Design Winner Calder: Nonspace STEPHANIEGOTO Los Angeles Honorable Mentions Nature—Cooper Hewitt Design Triennial Studio Joseph VENTS TEMPO | Catty Dan Zhang Editors' Picks Model Projections Agency—Agency Common Threads ikd Green Building Winner Galenas Medical Cannabis Cultivation Facility Urban Green Design Akron, Ohio Honorable Mentions Tree Pittsburgh Headquarters GBBN 370 Jay Street, New York University Mitchell Giurgola Editor's Picks Marvin Gaye Recreation Center ISTUDIO Architects Greenport Passive House The Turett Collaborative

Facades

Winner 130 William Adjaye Associates New York City Honorable Mentions CME Center Krueck + Sexton 277 Mott Street Toshiko Mori Architect Editors' Picks University of Cincinnati Gardner Neuroscience Institute Perkins and Will 280 St Marks DXA studio Young Architects Winner bld.us Infrastructure Winner North Chiller Plant, University of Massachusetts Amherst Leers Weinzapfel Associates Amherst, Massachusetts Honorable Mentions Richmond Water Transit Ferry Terminal Marcy Wong Donn Logan Architects BART Market Street Canopies VIA Architecture Editors' Picks Frances Appleton Pedestrian Bridge Rosales + Partners Northeastern University Pedestrian Crossing Payette Commercial — Hospitality Winner Furioso Vineyards Waechter Architecture Dundee, Oregon Honorable Mentions McDonald’s Chicago Flagship Ross Barney Architects The Carpenter Hotel Specht Architects Editors' Picks Heritage Savvy Studio Lumen at Beacon Park Touloukian Touloukian Commercial — Retail Winner Apple Scottsdale Fashion Square Ennead Architects Scottsdale, Arizona Honorable Mentions Sunshine and National Retail Center Dake Wells Architecture Christian Dior Myefski Architects Editors' Pick Grant Gallery Ted Porter Architecture The Culver Steps Ehrlich Yanai Rhee Chaney Architects Commercial — Office Winner 1000 Maine Avenue KPF FOX Architects Washington, D.C. Honorable Mentions 901 East Sixth Thoughtbarn Delineate Studio Solar Carve Studio Gang Editors' Pick American Express Sunrise Corporate Center Perkins and Will Interior — Workplace Winner HUSH Office Interior Inaba Williams and Kyle May New York City Honorable Mentions ShareCuse Architecture Office Vrbo Headquarters Rios Clementi Hale Studios Editors' Picks McDonald’s HQ Studio O+A Conga Headquarters DLR Group Interior — Institutional Winner Southeast Raleigh Magnet High School Great Hall Renovation tonic design Raleigh, North Carolina Honorable Mentions The Center for Fiction BKSK Architects The Children’s Library at Concourse House Michael K Chen Architecture Editors' Picks Countryside Community Church Alley Poyner Macchietto Architecture Gordon Chapel Renovation, St. Hilda’s and St. Hugh’s School MBB Interior — Retail Winner maharishi Tribeca Abruzzo Bodziak Architects New York City Honorable Mentions Malin+Goetz San Francisco Bernheimer Architecture Claus Porto New York tacklebox architecture Editors' Picks Notre Norman Kelley R13 Flagship Leong Leong Interior — Hospitality Winner Tamarindo Stayner Architects San Clemente, California Honorable Mentions All Square Architecture Office ROOST East Market Morris Adjmi Architects Editors' Picks Woodlark Hotel OFFICEUNTITLED The Fleur Room Rockwell Group Interior — Healthcare Winner Chelsea District Health Center Stephen Yablon Architecture New York City Honorable Mention Mount Sinai Pediatric Cardiac Intensive Care Unit Perkins Eastman YPMD Pediatric Neurology Clinic Synthesis Design + Architecture Editors' Pick NEXUS Club New York Morris Adjmi Architects Restoration & Preservation Winner Owe'neh Bupingeh Preservation Project Atkin Olshin Schade Architects Ohkay Owingeh, New Mexico Honorable Mentions Brant Foundation Art Building Gluckman Tang Avenue C Multi-Family Thoughtbarn Delineate Studio Editors' Picks Chicago Union Station Great Hall Restoration Goettsch Partners Boston City Hall Public Spaces Renovation Utile Healthcare Winner University of Cincinnati Gardner Neuroscience Institute Perkins and Will Cincinnati Honorable Mention Duke University Student Wellness Center Duda|Paine Architects MSK Nassau EwingCole Editor's Pick Sheila and Eric Samson Pavilion at Case Western Reserve University and Cleveland Clinic Foster + Partners Tia Clinic Rockwell Group Interior — Residential Winner Michigan Loft Vladimir Radutny Architects Chicago Honorable Mention Inaba Williamsburg Penthouse Inaba Williams Gallatin House Workstead Editors' Picks Watermark House Barker Associates Architecture Office Lakeview Penthouse Wheeler Kearns Architects Residential — Single Unit Winner Glass Cabin atelierRISTING Iowa Honorable Mentions Bigwin Island Club Cabins MacKay-Lyons Sweetapple Architects Triple Barn House Mork Ulnes Architects Editors' Picks Ephemeral Edge Dean/Wolf Architects Manifold House David Jameson Architect Residential — Multiunit Winner 139 Schultz CPDA arquitectos Mexico City Honorable Mentions XS House ISA Origami Waechter Architecture Editors' Picks Solstice on the Park Studio Gang Bastion OJT Landscape — Residential Winner Malibu Overlook Stephen Billings Landscape Architecture & Michael Goorevich Malibu, California Honorable Mention Musician’s Garden Stephen Billings Landscape Architecture Landscape — Public Winner Josey Lake Park Clark Condon Cypress, Texas Honorable Mentions First Avenue Water Plaza SCAPE Landscape Architecture Pier 35 SHoP Architects Editors' Picks Scottsdale’s Museum of the West Colwell Shelor Landscape Architecture Drexel Square West 8 & SHoP Architects Education Winner Cottonwood Experience Center Signal Architecture + Research Wasco, Oregon Honorable Mentions Club de Niños y Niñas Centro de Colaboración Arquitectónica RISD Student Center WORKac Editors' Picks Santa Monica College Center for Media and Design + KCRW Media Center Clive Wilkinson Architects Cal Poly Pomona Student Services Building CO Architects Lighting — Outdoor Winner Lightweave FUTUREFORMS Washington D.C. Lighting - Indoor Winner TWA Hotel Beyer Blinder Belle Cooley Monato Studio New York City Building Renovation — Commercial Winner Ford Foundation Center for Social Justice Gensler New York City Honorable Mentions Apple Fifth Avenue Foster + Partners Avling Kitchen & Brewery LAMAS Editor's Picks Intelligentsia Bestor Architecture Olympic Tower, 645 Fifth Avenue MdeAS Architects Building Renovation — Civic Winner Keller Center Farr Associates Chicago Honorable Mention Centennial Planetarium Lemay + Toker Nora Eccles Harrison Museum of Art Sparano + Mooney Architecture Editors' Picks Oregon Conservation Center LEVER Architecture National Arts Centre Rejuvenation Diamond Schmitt Architects Building Renovation — Residential Winner Phillipsport Church House Architecture in Formation Wurtsboro, New York Honorable Mention 1/2 House NOW HERE Editors' Pick Case Room Geoffrey von Oeyen Design Adaptive Reuse Winner TWA Hotel Beyer Blinder Belle New York City Honorable Mentions Senate of Canada Building D Diamond Schmitt Architects Redfox Commons LEVER Architecture Editors' Picks Fifth Avenue Adaptive Re-use Inaba Williams 10 Jay Street ODA New York Temporary Installation Winner Soft Civic Bryony Roberts Studio Columbus, Indiana Honorable Mention Salvage Swings Somewhere Studio Editors' Picks Lawn for the National Building Museum Summer Block Party Rockwell Group Coshocton Ray Trace Behin Ha Design Studio New Materials Winner Grass House bld.us Washington, D.C. Honorable Mention Walking Assembly Matter Design & CEMEX Global R&D Digital Fabrication Winner Knitcandela Block Research Group, ETH Zürich & ZHCode, Zaha Hadid Architects Mexico City Architectural Representation Winner Support KEVIN HIRTH Co. New York City Honorable Mentions Other Medians Studio Ames Manual of Instructions NEMESTUDIO Editors' Picks Shaped Places of Carroll County New Hampshire EXTENTS Interim Urbanism: Youth, Dwelling, City N H D M Small Spaces Winner Small Wooden Pavilion MQ Architecture Garrison, New York Honorable Mentions Aesop Shaw DC David Jameson Architect Schaefer Residence Duo Dickinson Architect Student Work — Group Winner A Home for MJ Drury University Design-Build Program, Jordan Valley Community Health Center Springfield, Missouri Student Work — Individual Winner Museum/Park Design Alberto Arostegui, Savannah College of Art and Design Unbuilt — Urban Design Winner St. John's Park Ballman Khapalova New York City Honorable Mentions Pensacola Waterfront Framework SCAPE Landscape Architecture Pier 70 SITELAB urban studio Editors' Picks Chicago Transit Authority Damen Green Line Station Perkins and Will Boston Coastal Flood Resilience Design Guidelines & Zoning Overlay District Utile Research Winner Delirious Facade LAMAS Honorable Mentions The Water Alert and Testing Resource (WALTER) Ennead Architects USModernist Masters and Library Databases USModernist Editors' Picks Sound Pavilion UNC Charlotte Buoyant Ecologies Float Lab Architectural Ecologies Lab Unbuilt — Residential Winner Ambrosia Gensler Los Angeles Honorable Mentions Little Berkeley Kevin Daly Architects Stump House PARA Project Editors' Picks Aqualuna 3XN Micro Unit Studio Ames Unbuilt — Interior Winner Life on Mars: From Feces to Food Lydia Kallipoliti Mars Honorable Mention The Renovation and Reuse of a Historic Granite Bank musumanoco Unbuilt - Commercial Winner Aurora Belzberg Architects Mexico City Honorable Mention Surf Entertainment Facility BLUR Workshop Editors' Picks Folded Wings Form4 Architecture Nanotronics Smart Factory Rogers Partners Unbuilt — Cultural Winner Arkansas Arts Center Studio Gang Little Rock, Arkansas Honorable Mentions Richard Gilder Center for Science, Education, and Innovation at the American Museum of Natural History Studio Gang Terminal B Performance Venue Touloukian Touloukian Editors' Pick SynaCondo Studio ST Architects Unbuilt — Education Winner Otto Speech School Charles Rose Architects Chestnut Ridge, New York Honorable Mentions University of Arkansas Center for Farm and Food System Entrepreneurship University of Arkansas Community Design Center Church Hill North O’Neill McVoy Architects Editors' Picks Del Mar College Southside Campus Gensler Tecnano FGP Atelier Unbuilt — Green Building Winner Sendero Verde Handel Architects New York City Honorable Mention Coleridge Street Residences Touloukian Touloukian Unbuilt — Public Winner Adams Street Branch Library NADAAA Boston Honorable Mentions Northeast Bronx YMCA Marvel Architects 7Hills Homeless Day Center University of Arkansas Community Design Center Editors' Picks Memorial Garden for Victims of Gun Violence Svigals + Partners Bus Shelter Design for the City of Miami Beach Pininfarina Unbuilt — Landscape Winner Boston Children's Hospital Green Master Plan Mikyoung Kim Design Boston Honorable Mentions Tom Lee Park SCAPE Landscape Architecture and Studio Gang The Clearing: Sandy Hook Permanent Memorial SWA Group Editors' Picks Beaubien Woods Action Plan Adrian Smith + Gordon Gill Architecture Chicago South Lakefront Framework Plan SmithGroup A special thanks to our 2019 AN Best of Design Awards Jury! Jaffer Kolb, Cofounder, New Affiliates Sara Lopergolo, Partner, Selldorf Architects Carlos Madrid III, Associate Director, Skidmore, Owings & Merrill Anne Rieselbach, Program Director, The Architectural League of New York Oana Stănescu, Founder, Oana Stănescu Studio
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Well, Well, Well

SHoP Architects reveals an urban farm and wellness space for D.C.’s Ward 8
SHoP Architects has revealed plans for a new urban farm in Washington, D.C.’s Ward 8. Spearheaded by local organization DC Greens, The Well at Oxon Run will cover 50,000 square feet of land next to the Oxon Run tributary in an underserved part of the nation's capital city known as Anacostia.  According to D.C. blog Urban Turf, residents in the area have a drastically lower life-expectancy rate due to diet-related chronic illnesses than people living in Northeast D.C. Poor access to quality, healthy food is a major source of strain for locals south of the Anacostia River. In an effort to combat this, The Well will grow over 150 varieties of fresh produce, herbs, and edible flowers while also housing space for events, programming, and a farmers market. DC Greens noted in a tweet that a youth classroom will also be built, and local art will be incorporated on-site.  Due to its location in a highly urbanized part of D.C.’s southeastern quadrant, the project will help beautify and activate a blighted piece of landscape next to the long-polluted, seven-mile-long stream. Friends of Oxon Run, which supports activities surrounding Oxon Run and the nearby Oxon Run Park, is working with DC Greens, as well as The Green Scheme, a local nonprofit that advocates for a healthier environment on behalf of communities of color, to bolster the area’s reputation.  Abby Bluestone, development director at DC Greens, told AN that The Well will be more than a community hub or food haven, it will also be an inclusive wellness space. "In this space, we will be growing crops, but mostly we'll be growing community," she wrote in an email.  "We are imagining an intergenerational space for community health and healing, centered around food... A farm space that honors the full power that food has to bring people together, and make people whole." The D.C. Department of Parks and Recreation is collaborating on the project too, which slated to start construction sometime in 2020. Before breaking ground, DC Greens hopes to raise up to $1 million in an online campaign to cover construction costs. Additional renderings are expected to follow in the coming months.
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Get On Your Bikes And Ride

CoMotion 2019 brought the future of urban mobility to the fore in L.A.
For anyone who has attempted to drive across Los Angeles during rush hour, the future of urban mobility might not seem bright. Yet the organizers of CoMotion L.A. 2019, a two-day conference held this past November 14 and 15, provided both a progressive and realizable vision for what may come to an audience of over 2,000 people. Held at ROW DTLA, a recently-opened 30-acre complex in the Arts District of Downtown Los Angeles, the third annual CoMotion L.A. brought together global leaders, including Los Angeles City Mayor Eric Garcetti, Moovit CEO and co-founder Nir Erez, Deputy Mayor for Mobility for the City of Lisbon, Miguel Gaspar, and President of the Los Angeles Cleantech Incubator, Matt Petersen, to discuss the newest forms of mobility and share their thoughts on a future that's less reliant on cars. The keynote conversation held on the first day, Reinventing Mobility, Transforming Place, elaborated on how the expansion of public mobility options might have a positive impact on real estate and civic space, and how we navigate through cities. Moderated by Frances Anderton, the host of KCRW’s Design and Architecture (DnA) show, the panel brought Grimshaw Architects' partner Andrew Byrne, chief marketing officer of REEF Technology Alan Cohen, and Chief Design Officer of the City of Los Angeles Christopher Hawthorne together to imagine how the static elements of Los Angeles’ infrastructure might be transformed into dynamic hubs of activity. Anderton and Hawthorne exchanged examples of successful pedestrian zones in the city’s history, while Byrne and Cohen shared how recent projects from their respective firms brought pedestrian infrastructure into the 21st century. On the second day, several 90-minute workshops were held for participants to imagine the future of urban mobility more intimately. Designing for Sustainability and Life Cycle Management, for example, shared visual aids and in-depth solutions to reducing the large carbon footprint associated with short-distance urban transit. Meanwhile, The Age of Automation panel, moderated by L.A. Times writer Russ Mitchell, brainstormed how vehicular autonomy might increase the speed, efficiency, and safety of urban travel while also debating the associated financial risks of investing in new technology. While the conference was taking place, a live demonstration of some of the same innovations being discussed was displayed on dedicated “new mobility” lanes that connected ROW DTLA and the L.A. Cleantech Incubator. These lanes provided a full half-mile of space for visitors to try out the latest in new mobility for themselves, including smart shuttles, electric scooters, e-bikes, hydrogen-powered vehicles, and other methods of clean-energy transportation. Though some of these vehicles had the air of concept designs, we all might be seeing them in common use throughout American cities in the very near future.
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Watertight

Boston architects come together to make a 3D-printable map of the city
The Boston Planning & Development Agency (BPDA) has long kept 3D models of its city. However, cobbled together over the years, the files are at times cumbersome and as firms increasingly turn to 3D printing for model making and testing, not so useful. Printers don’t know how to process them or they are not designed in a way that print with stability. MakeTANK, an initiative of the Boston Society of Architects (BSA) saw this as an opportunity. MakeTANK was initially started to “integrate maker culture into the design process,” according to Sasaki director of technical resources Bradford J. Prestbo, who has been intimately involved with the project along with the rest of the firm. The hope was to leverage the many makers and maker spaces in the greater Boston area, and help architects increase client engagement and decrease contractor risk—and cost—by testing their designs out first. “Imagine going into a restaurant where the chef only wrote recipes and has never actually cooked them,” said Prestbo, half-joking. “That's kind of like the architectural profession today, where we just do a lot of paper architecture and paper designs without going through the process to actually taste what we've coupled together to make sure it's actually an effective solution that also will perform long term.”  City Print is MakeTANK's latest project, just announced at ABX19, though it’s been under development for over a year. The collaborative team of architects that came together for City Print developed a series of scripts that helped turn the existing models of Boston into “watertight solids,” meaning that when processed in Grasshopper they can be effectively fed into 3D printers. They also added additional topographic details. The process, however, could not be fully automated. The files have to be individually opened, the scripts ran, and all of it double and triple checked for quality control. To help convert the over 200 model tiles of the city to be 3D ready, MakeTANK has enlisted the “who’s who” of Boston-area architects. “We are engaging in the greater AEC community to help us process the tiles,” explained Jay Nothoff, Sasaki fabrication studio manager, “and then turning around and handing this resource back to that same community as a finished project for everyone to enjoy and use as they will further project work.” The revamped models will be added to the BPDA's free repository and the BSA is using them themselves. They’ll be replacing their lobby's current scale model of the city—the basis of which was originally designed in the 1980s and is mostly focused on the financial district—with a new, modular replica made from these printed files. “We're zooming out from the financial district,” said Nothoff. “We're including the City of Boston in its entirety and we're making a model that is easily updated because it is built off a grid system. As portions of the city change and grow, these titles are semi-precious at best; they're just going to be held in place with magnets so we can pull the tile and put a new one in its place to most accurately represents the City of Boston in its current state.” Felipe Francisco, an architectural designer at Sasaki, went on to explain that many community groups didn’t feel represented by the previous BSA model. “We're open to try and create a new dialogue with those groups,” explained Francisco. “We want to use this as a resource for community groups to be able to come in and use this model to diagram stories over it through projection mapping about their communities.” By collaborating with visualization experts, the BSA is developing tools to use the re-built model as a storytelling and visualization device. “The intention is to build a base projection for the model itself that delineates roads, waterways and what have you,” said Nothoff. On top of that could be layered information on sea-level rise, income data, other metrics, or more abstract visuals. “We're reaching out to various organizations throughout the greater Boston area, such as the Boston Foundation, to help us gather all the voices that are currently feeling underrepresented and give them equity with his model and teach them how to use the projection map on to the model and tell their story.” The process is ongoing. Interested area firms can “check out” tiles from a grid of the city, and for a dose of healthy competition, check out a leader board. “You grab a tile, fill out a form, and submit it and shortly thereafter you get all the support files and the working files and scripting as well as instructions on how to process them,” explained Prestbo.
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Out of the Woods

America's largest mass timber building opens at the University of Arkansas
America’s largest mass timber building has opened at the University of Arkansas. Spread across a series of interconnected structures, Adohi Hall is a 202,027-square-foot residential project constructed from cross-laminated timber. Boston-based Leers Weinzapfel Associates led a national design team of heavy hitters for the $79 million project: local practice modus studio, the St. Louis-based Mackey Mitchell Architects, and Philadelphia's OLIN helped bring the sustainable, 708-bed student complex to life. Located on a sloping, four-acre site on the Fayetteville campus’s hilly southern end, Adohi Hall features a nature-centric design with room for classrooms, a community kitchen, lounges, a rooftop terrace, and more.  Linked by a ground-level passage called the “cabin,” the large-scale, dual-volume complex snakes around the linear lot and is configured around three courtyards. As the nation’s first CLT "living learning" setting, Adohi Hall was built for undergraduates but is also targeted for architecture, design, and art students, and features ample programming to reflect that. Throughout the four-story facility, communal areas encourage collaboration while “workshops,” or maker spaces, provide students with the opportunity to rehearse or host performances, record music, or participate in other live/learn events. The design team integrated exposed structural wood throughout the project to remind residents and visitors of the building’s groundbreaking construction. Exposed timber columns, ceilings, and trusses bring a sense of warmth to the interior spaces, while generous light also shines in through the floor-to-ceiling glass windows in the cabin area and provides views of the surrounding landscape designed by OLIN. The majority of Adohi Hall’s facade, which lightly cantilevers over the first-floor, is less obviously about wood and features zinc-toned paneling with copper and white accents. In a statement, Andrea P. Leers, principal of Leers Weinzapfel, noted the stark contrast between Adohi Hall and the other Collegiate Gothic-style architecture on the university’s campus. She noted that the contemporary residential building is fitting for the site despite its differences, especially given the administration’s commitment to sustainable design. “We drew inspiration from the regional context of the Ozarks, creating a living/learning environment powerful enough to be a destination remote from the center of campus,” said Leers, “and the wood-based construction system we developed forges a bond between setting, human comfort, and sustainability.”  Adohi Hall (adohi meaning woods in Cherokee) was named as a tribute to the tribe members who passed by the site on the Trail of Tears. The area’s long history as a heavily forested region motivated the architects and the university to pursue this ambitious mass timber project. Leers Weinapfel Associates told Architectural Record that they responsibly-sourced European spruce, pine, and fir for the structural components of Adohi Hall, while cypress was selected to outfit the interior.  It makes sense that the University of Arkansas—with its Fay Jones School of Architecture committed to researching and teaching wood-based construction—would be the first school in the country to build a large, CLT-based residential complex. As mass timber manufacturing grows in Arkansas and the surrounding states, it’s a possibility that other Southern institutions will follow Adohi Hall’s lead.
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Forever Young

Exclusive: MoMA and PS1's Young Architects Program is going on hiatus
MoMA and PS1 have disclosed to AN that the Young Architects Program (YAP) will be going on hiatus next year, following its 20-year anniversary this past summer. AN had heard from sources close to MoMA PS1 that the program might be shutting down, and upon following up with the Queens institution, Martino Stierli, the Philip Johnson Chief Curator of Architecture and Design at the MoMA, provided the following statement:
"Following the 20th anniversary of the Young Architects Program (YAP), MoMA and MoMA PS1 have decided to place the program on a one-year hiatus. We remain deeply committed to supporting and recognizing emerging architectural talent. "We’ve already started to use the hiatus to bring together a diverse group of influential scholars and professionals, experimental architects and designers, and previous YAP winners to assess the program’s impact for the past two decades, explore its potential, and strategically chart its future. We look forward to sharing more news as we move along in this process."
MoMA could be moving toward a more durable, longer-term commission in its courtyard to serve its outdoor summer Warm Up music series, performance events, and art book fair, but that's only speculation. The Young Architects Program's origins go back to 1998, a year after the Frederick Fisher-designed renovation enclosed the PS1 entrance courtyard in concrete walls. That year, Vienna-based artist group Gelatin installed a scrappy "environment" in conjunction with PS1's first series of Warm Up summer concerts. Percutaneous Delights was composed of rough compositions of stacked refrigerators, discarded furniture, Po-mo inflatables, a graffitied shipping container, and an array of sprinklers to activate the space with what the P.R. at the time described as a welcoming hang-out for hot summer days. The following year, PS1 inaugurated its gradual absorption into the MoMA collective with a project by Philip Johnson, ever a follower of fashions (even if it led him, at times, in the direction of Nazism), who designed a Dance Pavilion DJ booth for the 1999 summer concerts as the first collaboration between the two institutions. It wasn't until 2000 that MoMA architecture curator Terence Riley formally established the Young Architects Program as an annual invited competition to promote innovative practices. The program was simple: provide shade, seating, and water for Warm Up. The first winner—if anyone can still remember the now 190-plus person office as a young startup—was SHoP Architects, which demonstrated the kind of digitally designed, people-friendly, carefully crafted form-making that would make them the go-to firm for urban development projects that need a warmer public face. The program frequently created opportunities for younger architects to demonstrate conceptual ideas percolating in academia on a small but meaningful scale. Early winners of the competition included Lindy Roy (2001), William Massie (2002), Tom Wiscombe (2003), nARCHITECTS (2004), Hernan Diaz Alonso (2005), and OBRA Architects (2006). Sometimes the projects leaned in the direction of conceptual follies that had less of a service component, and early projects at times demonstrated the limits of digital design as often as its potential. The initial budget was $25,000, later increased to $75,000, though it became common knowledge that most firms would spend more out of their own pockets and lean heavily on interns to build out the ideas. It was not an open competition: MoMA curators and advisors pre-selected a handful of designers and frequently favored well-connected circles from Ivy League schools and well-connected academics. The arc of the program traces a mini-curatorial history of MoMA, from Riley to Tina di Carlo and Peter Christensen, Barry Bergdoll, Andres Lepik, Pedro Gadanho, Sean Anderson, and Stierli, whose influences are reflected in the selections, along with changes in the profession. Little by little, P.S.1 Contemporary Art Center became PS1 MoMA, then MoMA PS1. Some of the better-regarded highlights over the years included WORKac's 2008 P.F.1 (Public Farm One), which installed a demonstration urban farm that could survive the barren courtyard environment and created an ascending staircase of planter boxes on top of the gravel-covered space. SO-IL's Pole Dance (2010) engaged the playful possibilities of the program with colorful beach balls, overhead netting, hammocks, misters, and flexible PVC pipes, programmed with dance performances. On the most service-oriented end, Interboro Partners (2011) used their project as a demonstration of how PS1 could engage the surrounding neighborhood, building out the courtyard with a kit-of-parts based on the expressed needs of nonprofit organizations, businesses, and others in the community who they interviewed and donated components to at the end of the summer. Later projects by MOS (afterparty, 2009), Hollwich Kushner (Wendy, 2012), The Living (Hy-Fi, 2014), Andrés Jacque/ Office for Political Innovation (COSMO, 2015), and Jenny Sabin Studio (Lumen, 2017) increasingly verged in the direction of critical grotesques, parametric design, and environmental remediation experiments to varying degrees of success. Through it all, the surrounding neighborhood blew up in an astonishing, if predictable manner, in ascending towers of luxury apartments, demolishing the beloved 5 Pointz graffiti space in the process. If SHoP's origins as a young firm are hard to remember, it's even more difficult to retrieve the imperative that once made PS1 so improbable and ingenious a proposition in the first place—and the Young Architects Program an innocent delight—when its enterprising founder Alanna Heiss somehow convinced the Queens borough president to hand over a closed-down public school to a group of misfits from the SoHo/ Tribeca alternative space scene who proceeded to saw through floors as sculptures. Notably, one of the names that appears as a funder in the first decade of YAP, along with Bloomberg, Agnes Gund, and Isaac Liberman, is none other than real-estate-reality-show-specter-turned-president Donald J. Trump. How a contemporary art center can meaningfully respond to the current situation, if at all, could be a starting point for the continuation of the program or its eventual cancellation, but the Young Architects Program unquestionably pioneered a model of temporary urban pavilion imitated worldwide, activating public spaces that without major capital improvements or altering their historic character remained inhospitable and inflexible for contemporary needs.
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King Crimson

Olson Kundig's Jordan Schnitzer Museum reflects its surroundings with red mirrored glass
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With a permanent art collection of approximately 3,500 pieces hailing from the 20th and 21st centuries, the Jordan Schnitzer Museum of Art at Washington State University is arguably the most prestigious curatorial institution in Pullman, Washington, and joins a string of art museums founded by the Schnitzer family across the Pacific Northwest. The project opened in 2018 and was designed by Seattle's Olson Kundig, who stamped their presence within the campus with a bold crimson facade of mirrored glass panels. The museum consists of two volumes encompassing a total of 16,000-square-feet. Visitors arrive through an entry built of glass-and-metal casement windows that can be opened in a similar fashion to a garage door. The primary glass volume houses the museum's gallery spaces and is lifted off the ground by an arcade of pilotis and, in some respects, resembles a hovering cube. "A key design challenge was balancing the museum's dual needs for transparency and security," said Olson Kundig design principal Jim Olson. "The answer is a design that consists of two distinct parts: The first serves as an informal entry to the museum and the second space, the "crimson cube," is a climate-controlled space that houses the formal galleries and is enveloped by the crimson facade."
  • Facade Manufacturer Hunter Douglas Steinfort Glas Vanceva
  • Architect Olson Kundig
  • Facade Installer Hoffman Construction
  • Facade Consultant Front
  • Location Pullman, WA
  • Date of Completion 2018
  • System Hunter Douglas rainscreen
  • Products Steinfort mirrored glass Vanceva OECE Interlayer
Steinfort Glas, a manufacturer based in the Netherlands, produced the mirrored glass facade panels in three different dimensions which function as a relatively conventional rainscreen. The facade's composition achieves a patterned effect through alternating courses of square panels, measuring 3'-4" by 3'-6", and rectangular panels, measuring 3'-4" by 1'-8". The horizontality of each elevation is broken up by steps of larger square panels that are roughly double in size at 6'-6" by 7'-0". "I wanted the museum to have a highly reflective facade as a means of weaving it into its context," continued Olson. "While appearing rather solid and uniform from afar, the reflective crimson cube rewards viewers upon closer inspection, much like the artworks housed within." The effect is achieved through the placement of colored interlayer glass between the mirrored glass panels. The installation of the rainscreen was fairly straightforward and was handled by Hoffman Construction Company, a contracting firm based in the Pacific Northwest. A mounting clip adheres to the back of each individual glass panel, which is subsequently attached to an aluminum rainscreen system produced by Hunter Douglas. The rainscreen system allowed for minor adjustments on site via screws set through the panel joints. Olson Kundig principal Blair Payson will be co-instructing the workshop "Glass Design and Avoiding Catastrophic Failures: Design Choices, Practical Solutions, and Complex Engineering," at Facades+ Seattle on December 6.
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Rural and Ready

Québec's Centre Est-Nord-Est smartens up with a new barn-like headquarters
A hub for woodcarving, the quite Québecois village of Saint-Jean-Port-Joli has long been a top destination for specialized artisans and connoisseurs for the past three decades. They've come from around the world to immersive themselves in an ever-growing hive of activity and exchange. Anchoring this fledging scene is the Centre Est-Nord-Est residency program, for which makeshift premises were called home until recently. Designed by Québec City-based Bourgeois / Lechasseur architectes, a brand-new 3000-square-foot facility furnishes the burgeoning platform with well-appointed live-in studios, shared common spaces, and administrative offices. Located on the outskirts of town, the angular, monolithic structure strikes an impressive profile. The barn-like building is reminiscent of the region's vernacular farm architecture, often constructed to withstand extreme weather conditions. Its sharply-pitched, metal sheet-clad roof encapsulates a series of bedroom mezzanines, directly adjacent to five individual ensuite workshops—as well as double-height multifunctional rooms—while a large seemingly disguised courtyard cuts through its core. Centre Est-Nord-Est's recessed, wood-lined entrance hints at the material palette prevalent inside; where white-glazed, gypsum-board walls, and polished concrete floors are juxtaposed by vast expanses of plywood paneling and delicately implemented metal accents. This multifunctional space, the true heart of the project, serves as a meeting point, lounge, exhibition area, community kitchen, and dining room. One accesses a quieter library zone via a voluptuously curved spiral staircase. Carefully framed skylights are carved out of the sloping ceiling, flooding the upper level with natural light while the main floor is mostly lit through large exposures, leading to the adjacent cut-out courtyard. Read the full article on our interiors and design website, aninteriormag.com.