2018 Best of Design Award for Small Spaces: Sol Coffee Mobile Espresso Bar Designer: Hyperlocal Workshop Location: Longmont, Colorado Designed by Hyperlocal Workshop, Sol Coffee’s Mobile Espresso Bar is a fully solar-powered espresso bar built on the frame of a 1979 Toyota Dolphin. Providing a full-service cafe experience, the design utilizes a hybrid lever-pull espresso machine. The truck offers a quiet atmosphere for coffee patrons to enjoy a cup in almost any location. Its massing evokes the Rocky Mountains—where the truck is located—and features a significant angled roof area for a 1.4kW solar array. The skin is composed of lightweight polycarbonate panels that reflect incoming sunlight from the interior and exterior. Additionally, the rear opens to host guests while a lowered main floor allows the barista to be in direct contact with his or her patrons. Honorable Mentions Project Name: Cabin on a Rock Designer: I-Kanda Architects Location: White Mountains region, New Hampshire Project Name: Birdhut Designer: Studio North Location: Windermere, British Columbia
Search results for "solar panels"
2018 Best of Design Awards winners for Facades
2018 Best of Design Award for Facades: Amazon Spheres Designer: NBBJ Location: Seattle Designed by NBBJ in cooperation with Vitro Architectural Glass, the Amazon Spheres are the crown jewel of Amazon’s $4 billion urban campus in downtown Seattle. Composed of three interconnected geodesic domes, the project covers 70,000 square feet of meeting, relaxation, and collaborative space. The Amazon Spheres also house 40,000 exotic and endangered plants and trees from around the world, including Australian tree ferns, African aloe trees, mosses, flowers, and succulents. Glazed in Vitro’s Low-E Solarban Solar Control 60 Low-E coating, the tallest of the metal-framed spheres accommodates five stories of workspace. The two other temperature-controlled domes contain rivers, waterfalls, and tropical gardens. In total, the project incorporates 620 tons of steel and 2,643 Vitro Starphire low-iron glass panels. Honorable Mentions Project Name: The Emma and Georgina Bloomberg Center at Cornell Tech Designer: Morphosis Location: New York Project Name: Museum Garage Designers: WORKac, J. Mayer H., Nicolas Buffe, Clavel Arquitectos, and K/R Location: Miami
2018 Best of Design Award for Building of the Year: Transart Foundation Designer: SCHAUM/SHIEH Location: Houston The Transart Foundation by SCHAUM/SHIEH was developed for a Houston-based artist/curator working at the intersection of art and anthropology. The project consists of two buildings: a repurposed 1,200-square-foot private art studio and a new, 3,000-square-foot primary building for visitors that holds exhibitions, performances, and salon-style dinners. The second and third floors of the new construction include an office, a conference room, a cavelike nook, and a roof terrace. The facade is clad in smooth white stucco panels, creating a tectonic language that allows gaps and seams to manifest as swooping window frames. The structure incorporates thick timber beams in a manner akin to a Dutch barn, carved so that the front corners join precisely in front. “I am especially impressed by SCHAUM/SHIEH’s ability to generate complex spatial effects from what are essentially graphic motives—an ambition that would literally fall flat in lesser hands.” Jesse Reiser, Principal, Reiser + Umemoto Structural Engineer: Zia Engineering and Environmental Consultants Contractor: Welch Construction Lighting Designer: Lighting Associates Custom Nook Fabricator: Jeff Jennings and Steve Croatt Custom Steel Windows: Cedar Mill Co. Finalist Project Name: Daniels Building Designer: NADAAA Location: Toronto “This is a great example of how old and new can be seamlessly integrated. The addition improves on the experiential quality of the historic structure and makes it one of the most sustainable buildings on campus.” Pratik Raval, Associate Director, Transsolar Finalist Project Name: Saxum Vineyard Equipment Bard Designer: Clayton + Little Location: Paso Robles, California “The project is an attentive and delicate reinvention of the agricultural shed as a responsive, performative infrastructure for the nearby vineyard.” Tei Carpenter, Founder, Agency—Agency
Poutine on the Ritz
Sidewalk Labs releases a new site plan for its Toronto neighborhood
Alphabet subsidiary Sidewalk Labs is continuing to refine its plans for Toronto’s waterfront Quayside neighborhood. The tech company released its first look at the mass timber development in August of this year and has now released a more in-depth breakdown of how its 12-acre site will be developed. The latest vision of Quayside comes in advance of a roundtable on December 8 with community members and elected officials, the second-to-last such meeting before the release of the master innovation and development plan in 2019. The new draft site plan, which Sidewalk Labs described as “more Jetsons, less Black Mirror,” has slashed the development’s height and set specific affordable housing and sustainability targets. Quayside, which will be 90 percent affordable in accordance with the area’s existing zoning, is leaning on mass timber for its mixed-use towers. The Vancouver-based Michael Green Architecture was tasked with creating a kit-of-parts that could work with buildings of every scale. Each building will be anchored by an open-air “stoa,” covered walkways supported by rows of V-shaped heavy timber columns. New York's Beyer Blinder Belle is responsible for the project's master planning. Development will now be clustered around 12 mixed-use mass timber towers, with the tallest topping out at 30 stories. The tallest building in the sensor-integrated smart neighborhood was originally supposed to reach 50 stories tall. Sidewalk Labs now expects approximately 5,000 residents to call Quayside home, and have earmarked 20 percent of the units as affordable, and another 20 percent as below-market rate. Fifty percent of the development’s housing will be rental units. On the transportation side, Quayside is positioning itself to connect with Toronto’s light rail network. The neighborhood is also looking into a “flexible street” system that can transition from supporting traditional cars to autonomous vehicles once the technology comes to fruition. Quayside is shooting to reduce emissions over a typical neighborhood by 75-85 percent through a combination of geothermal wells and solar panels. The timber used, all of it locally sourced in a boost to the Canadian lumber industry, will also produce less carbon dioxide emissions overall when compared to a typical concrete-and-steel building. As Engadget noted, Sidewalk Labs has been less-than-successful in its attempts to create a trust to oversee the massive amounts of data the neighborhood would collect on its residents. Last month, the project’s lead expert and consultant, Ann Cavoukian, quit over concerns that the trust would not be able to anonymize the information it was receiving. Following the final roundtables and the approval of a master plan in 2019, Sidewalk Labs expects construction of the project to last three to five years.
Brought to you with support fromLocated in the heart of staid Washington, D.C., SHoP Architects' 14-story Midtown Center establishes a prominent presence with a contorting copper-and-glass facade and a trio of sky bridges. Opened in September 2018, the one-million-square-foot project stands on the site of the former headquarters of The Washington Post.
copper facilitates a stylistic link between Midtown Center and its historic surroundings, the metallic surface is also performative. The copper accretions are oriented toward the direction of the sun, reducing internal glare and solar heat. Each panel is clipped to the facade system with formed stainless steel angles and pop rivets. The three sky bridges that crisscross above the courtyard echo the use of copper as an exterior detail; approximately 350 vertical fins, two inches wide and five inches deep, line the skyways. Although the fins function as a brise-soleil for the suspended corridors, their primary effect is visual. A rich turquoise rhythm reflects off of the courtyard’s glass modules while ribs create a matrix of shadows below. The fins themselves are bolted to a substructure rail that is held three inches off of the glass by horizontal mullions running across the top and bottom of the sky bridges. To clad the bulk of the enclosure system, SHoP Architects turned to Spanish glass-fabricator Tvitec. For the 4,500 facade panels, the fabricator used Ipawhite low-iron glass subjected to multiple thermal coatings to ensure visibility while meeting thermal control standards. At the ground level, SHoP Architects collaborated with SCAPE to design the publicly accessible 15,000-square-foot courtyard. According to SHoP Founding Principal Gregg Pasquarelli, the design team "took inspiration from Washington's original master plan to create a building that allows the public to angle strategically across the site." Diagonal paths cut through the building, past sunken granite fountains and plots of landscaping.Built according to a U-shaped layout, the street-facing elevations are defined by sawtooth protrusions on the curtain wall. The projections ripple across the elevation, originating from two corners of the facade and softening toward the center. Each of these three-dimensional units that hang off of the structure’s rectangular mass share a standard width of 5 feet and a height of up to 10 feet. While the use of a traditional material such as
No Shingles Here
Colored concrete and perforated fins keep this downtown school cool
Brought to you with support fromCompleted in November 2017, the Perkins Eastman–designed School of Nursing and Science Building occupies a former parking lot in downtown Camden, establishing a new institutional heart for Rutgers University in the slowly reviving city. The design inhabits a formidable full-block mass, reaching a height of four stories with a multidimensional facade of high-performance concrete and glass curtainwall shaded by perforated panels.
Camden has undergone a significant period of economic stagnation and demographic decline since the mid-20th century. However, the continued expansion of healthcare institutions, such as the Nursing and Science Building, is fundamentally reshaping the city’s character. The project is located on a triangular site adjacent to Camden City Hall, and the residential neighborhood of Lanning Square. Owing to the irregularity of the site, each elevation of the 101,000-square-foot project is a different length. Rather than attempting to establish conformity across the Nursing and Science Building, Perkins Eastman’s design plays with each facade's unique dimensions. The southwest elevation features a hollowed-out frame filled by a three-story glass facade, while the northeast elevation recalls the more traditional masonry punched window style found around the area. For the rainscreen, Perkins Eastman turned to TAKTL, a design and manufacturing operation located in the Greater Pittsburgh Region, to produce rectangular high-performance concrete panels. To blend in with the prevailing use of stone ashlar and brick for historic buildings in downtown Camden, the concrete panels are colored reddish-brown and finished to resemble non-glazed terra-cotta. The panels, measuring one-by-three feet, are face-fastened with color-matched screws to the light-gauge structural steel stud framing. While the rainscreen serves as an oversized framing device, the bulk of the 110,000-square-foot project resides behind glass curtain wall. Sections of the curtain wall bulge from the assembly, providing room for a variety of functions within. “The facade is composed of two distinctive wall types,” said James Butterfield, RA, design Principal at Perkins Eastman. “One which employs a full-height, vertical perforated metal shading system, and a second which introduces opacified shadowbox panels to minimize the quantity of unshaded vision glass.” Each curtainwall module reaches a height of 30 feet and is anchored at the end of each concrete slab. Aluminum brackets project from the Kawneer-produced wall system and are fastened to the 1/4-inch-thick vertical perforated panels at four points. The overall goal of these devices is the mitigation of solar incidence and internal glare associated with typical large-scale curtain wall design.Similar to other urban centers across the Rust Belt,
Yves Béhar, the storied tech entrepreneur and founder of San Francisco–based design firm Fuseproject, is set to release a new model for a fully-customizable prefabricated housing unit aimed at alleviating California’s housing crisis. According to designboom, his latest design venture, a collaboration with Los Angeles–based LivingHomes and their Plant Prefab studio, will revolutionize small living for low-density cities. Launching tomorrow, the LivingHomes YB1 model was designed as a response to the state’s recent decision to loosen restrictions on building accessory dwelling units (ADUs). Over the past year, homeowner applications for backyard homes have rapidly increased due to the new law. Béhar and his team have developed a ready-made house that can be bought at a reduced price and built on-site in under two months. Per the firm’s website, YB1 homes will range in size from 250 to 1,250 square feet and are easily customizable according to the client’s goals. Each home is built on a 4-foot grid allowing homeowners to reconfigure structural elements such as the roofline, the size and location of its windows, as well as the layout of the interior and the cladding material. The appliances, HVAC system, and all utilities will come pre-installed. Individual models can also be specified to fit the location and climate where they’re built; clients can select sustainable products and integrate smart home capabilities into their units to save energy. Right now, YB1 costs $280,000 total and takes 6-8 weeks to order, plan, and fully install. Béhar plans to launch a future line of “sub-$100,000 homes” through LivingHomes. Fuseproject describes the project as Behár’s attempt to “think systematically about buildings, rather than as a one-size fits all solution.” LivingHome YB1 is Béhar’s first project involving housing and arguably the largest-in-scale that he’s ever backed. While he's served as a staple of Silicon Valley, has garnered major commissions, and helped pave the way for tech giants today, Béhar’s projects haven’t always been universally well-received recently and his latest products have been faulted for their lack of usefulness. The designer's recent ventures include highly-criticized and controversial products like Edyn, a digital garden sensor, Juicero, a $700 juicing machine, as well as Samsung’s Frame TV, which displays digital art for a hefty price tag. With YB1, Behar stands to make a difference in the housing market.
Brought to you with support fromThe newest major addition to Northwestern University in Chicagoland, the 415,000 square-foot Kellogg School of Management’s Global Hub, establishes a formidable cornerstone for the campus’s border with Lake Michigan. KPMB Architects, a Toronto-based firm with a significant background in sustainable institutional design, addressed the region’s weather extremes with a well-executed layout and an undulating triple-glazed glass curtain wall.
Lake Michigan. The nearby shoreline stabilization system, composed of boulders and precast concrete, has been consistently smoothed over by wave patterns. For KPMB, “the use of glass helps break down the mass of the large structure while maximizing visual connections to the adjacent lake and Chicago skyline." The 160,000 square-foot curtain wall is designed with horizontal and vertical anodized aluminum mullions, and a reflective glass coating. While sections of the facade are curved, the design team worked closely with the manufacturer to incorporate narrow curtain wall modules and vertical glass fins at every frame to blur hard edges. Each triple-glazed glass panel is tied to the structural frame with modified steel angles painted to match the curtain wall and aluminum anchor hooks. The result is a sweeping surface that simultaneously reflects other wings of the building and the ever-changing environmental conditions. Although glass panels of various sizes are the primary material element, KPMB Architects added certain details to diversify the dominating blue-green color palette. The elevations are unified by reddish-brown Brazilian walnut soffits that crest and wrap around the building. Brazilian walnut, a hardwood, was chosen for its durability and minimal maintenance. The Global Hub’s layout consists of four wings, perceived by the design team as independent buildings, rotating around a centrally placed atrium. Swooping white balconies, interconnected by pale-yellow wood bridges and an expansive two-story stairwell, are the main conduits of interior circulation. The glass curtain wall and a band of rooftop clerestories, clad with high-performance translucent glazing, flood the interior with natural light without significantly producing thermal heat. The project, part of KPMB Architects' long-running collaboration with Transsolar KlimaEngineering, was designed with a number of features to boost environmental performance. These measures include a geothermal energy system embedded beneath an adjacent football field, a ventilation system that circulates fresh air, and an automated shading system. In 2018, the Global Hub received LEED platinum certification.According to Senior Associate Kevin Thomas, the first inspiration for the building’s six-story curvilinear form is the rolling movement stemming from the adjacent
Brought to you with support fromMorris Adjmi Architects has just completed its wedge-shaped 363 Lafayette mixed-use development in New York City. The project is located in the heart of the NoHo Historic District, a context known for its mid-rise store-and-loft buildings clad in detailed cast iron and stone.
zoning and site constraints, the massing of the west facade is set back, with eight floors of office space rising midway through the elevation. The development’s facade is defined by horizontal and vertical bands of white brick, produced by Belden/Tristate Brick, which frame a charcoal-colored terra-cotta curtain wall. For the color scheme and materiality of 363 Lafayette, Morris Adjmi reinterpreted the area’s historically narrow terracotta mullions, window surrounds, and brick piers, into a much wider layout. Designed by the firm and crafted by Buffalo’s Boston Valley Terra Cotta (BVTC), the geometric pattern of the terra-cotta reliefs was conceived by the design team as an abstraction of neighboring Classical and Richardsonian Romanesque detailing. The custom-made terra-cotta rainscreen was installed on BVTC’s TerraClad clip system that attaches to a perimeter concrete beam and a medium-gauge framing wall. A series of gaskets and isolators allow the system to adjust to thermal expansion while reducing wind-induced vibration. Elongated rectangular windows, fabricated by TriStar with Win-Vent frames and Vitro Glass, are placed between chamfered terra-cotta mullions. Why does the building twist? Lafayette Street used to proceed north from Great Jones Street until the end of the 19th century when the street was excavated from the IRT subway. The excavation of the street led to the creation of odd-shaped sites, such as 363 Lafayette. According to the design team, “the building’s twist serves to reflect the cut of the street and to architecturally engage the setback with the lower portion of the building.”363 Lafayette’s site is prominent, with three visible elevations to the north, south, and west. The ground floor of the building is dedicated to commercial space and extends from Great Jones to Bond Street. Due to
Power to the People
How an architect is using solar power to prevent Puerto Rico’s next disaster
Like millions of other Americans, Jonathan Marvel, founding principal at Marvel Architects, remembers watching media coverage stream in from Puerto Rico in September 2017 after Hurricane Maria struck the island. The devastation was extraordinary. As later studies would reveal, an estimated 2,975 people died as a result of the storm and 3.4 million people lost power. It was one of the worst natural disasters to ever strike the U.S. Now, one year after Maria, Marvel and his partners at Resilient Power Puerto Rico (RPPR) are building a series of solar installations that are bringing emergency power to community centers in informal settlements across the island. Using state-of-the-art Tesla Powerwall batteries, RPPR has enabled these centers to generate solar power during good weather and store it for the blackouts that follow hurricanes and other disasters. Local people can use the centers as shelters where they can charge their phones to find their loved ones, store perishable food, or power life-saving home healthcare devices. The goal of the group was not to rebuild the island's existing infrastructure after Maria, but to provide a new resilient system that would support informal communities when the next storm would inevitably arrive. “When Maria hit," Marvel said, "it hit home.” Marvel had just returned from Puerto Rico when Maria arrived. He had been helping his mother, who lives on the island, recover from Hurricane Irma, which had blown through only two weeks before. Rather than just sending money to aid organizations, Marvel worked with friends and colleagues Cristina Roig-Morris, ESQ, and José J. Terrasa-Soler, ASLA, to do what architects do best: design a solution to a problem. “Architects jump in,” Marvel said. “We’re the first responders from the professional world. We’re trained to think comprehensively; we’re trained to put the social impact first and foremost.” Rather than tackling the entire enormity of the disaster, Marvel's team focused on power. Electricity, as Marvel put it, "is the basis of all things in the 21st century,” and according to CNN, the hurricane caused the worst blackout in U.S. history. The goal of the group was not to restore electricity to the whole island; that would be an enormous task and one that a slew of government agencies were already working on. Instead, they looked at how they could create supports in the electrical web to catch the most vulnerable when they fell. RPPR’s solution is straightforward but steps neatly aside of the established way of doing things. “We’ve been very deliberate to stay outside of local politics and federal politics,” Marvel said. Instead, the group looked for creative solutions permissible under existing laws. The sun being an abundant resource on the tropical island, solar power provided an obvious place to start exploring possibilities, but they found there were restrictions on what they could do with private generation. “Before Maria, there was a lot of solar power, but it was illegal to store with batteries,” Marvel said. “After Maria, batteries were allowed without permits, which allowed us to start our system legally. But we still can’t distribute past the property line.” Across the country, small-scale solar generation is tightly regulated by power authorities that have been accused of trying to squash home power generation so that utilities can maintain a monopoly on the electricity market. Puerto Rico allowed domestic power storage in Maria's wake, but still would not allow RPPR to create an alternative power network. RPPR would have to make the most of small-scale installations. Doing a lot with a little is a common practice in Puerto Rico, where resources don't always flow as easily as they do on the mainland. Marvel’s mother, the architect and planner Lucilla Fuller Marvel, had worked extensively with community centers in informal settlements across the island (her book Listen to What They Say presented a bottom-up approach to planning in Puerto Rico), and the group realized that they could focus on powering existing hubs. By installing solar panels and batteries, each community center was able to serve a broad population with relatively little effort. “Each site serves a population about 3,000–5,000 people because of the density,” Marvel said. Thousands of people are able to take advantage of the basic amount of electricity available at each installation during post-disaster blackouts when the central power grid collapses. The focus on informal communities also helped RPPR avoid federal bureaucracy, which, Marvel said, “was completely caught off guard.” While President Trump has recently insisted that his administration got “A Pluses” for their response to the storm, Marvel saw the situation differently: “The federal government does not have a great track record on the lower 48 when it comes to hurricane recovery…but states really help each other out." Puerto Rico, being an island and a relatively isolated territory in the Carribbean, is often forced to go it alone. "Puerto Rico doesn’t have anybody waiting to help. The governor of Puerto Rico was counting on the feds…but the feds didn’t step it up.” When it came to designing the installations, RPPR focused on efficacy rather than looking for a flashy, aesthetically-driven design. Panels are installed in prosaic rooftop setups, but Marvel said that he looked for lessons from what survived the storm when it came time for detailing, and the results have proved resilient. The project’s successes have won new backers and collaborators, and enabled it to broaden its ambitions. Tesla joined the project by providing their home storage batteries, and a variety of foundations have provided hundreds of thousands of dollars in support. Now the project has 28 installations across the island, with 30 more in the pipeline. RPPR and Marvel’s work in Puerto Rico tells the story of a resilient network of communities, badly battered but bouncing back from catastrophe. It’s far from the narrative perpetuated by the current presidential administration, which maintains that the federal government saved a helpless island from impending doom. The project also presents a model for how architects can engage with their communities aside from multimillion-dollar cultural projects or philanthropic endeavors in remote countries. “I think it is very easy for architects to jump into these disasters and think of these solutions. Architects are really well equipped and we do it all the time.” The design’s success comes not out of formal gymnastics or phenomenological effects, but from the social and political structures the project engages and builds on. Ultimately, Marvel credited the served communities for the project’s success. “It’s a generous population,” he said. “They open up their hearts and their houses to each other.” The project shows that when people are willing to lend a helping hand, powerful resilience is possible.
Brought to you with support from
The project will replace Long Beach’s old city hall while adding new civic and infrastructure amenities such as parking, landscaping, a library, and marketplace. The two new buildings are identical in massing and proportion, utilizing long and narrow floor plates with split cores to offer better connections between interior and exterior environments. Syska Hennessy Group, the MEP and sustainable design consultant on the project, said the building's operating costs and carbon footprint were designed to be 50 percent lower than those of a standard office building. This was achieved through a collaborative design process involving preliminary energy modeling, solar shading studies, and building system schematic sketches to help resolve architectural and programmatic decisions. The primary feature of the project is an underfloor air conditioning system integrated into the floor plate structure. The design approach allows for taller ceiling heights and yields improved daylighting and aesthetics by exposing the ceiling finishes. Syska said the project is targeting LEED Gold certification, with all buildings exceeding ASHRAE 90.1-2007 by at least 22 percent before renewables are taken into account, and 34 percent after. Exterior curtain walls are composed of insulated glass manufactured by Viracon. The glazing is integrated into extruded aluminum framing fabricated and painted in Korea. The components were sent to Benson Industries' assembly shop located in Tijuana, Mexico, where they were assembled into unitized systems. This approach minimized costly labor on the job site. Subtle detailing differences emerged on the building envelope, which is composed of unitized facades fabricated and installed by Benson. At City Hall, the facade features solid white panels made from formed aluminum, while units with shadow boxes at the Port building are made from extruded aluminum slats with insulating glass at the face. These “shadow box” assemblies were carefully designed to be contextual and were inspired by colors and textures taken from shipping containers at the nearby Long Beach Port. The project, currently under construction, is scheduled for a late-2019 opening.
Brought to you with support from
The aptly named American Copper Buildings, two copper-clad towers designed by SHoP Architects on Manhattan’s First Avenue between East 35th and 36th Streets, rise to 48 and 41 stories respectively. The two towers, “bent” in the middle, are linked by the first new sky bridge in New York City in more than 80 years.
The panels that give the buildings their name are made with a copper composite that includes a fire-retardant core layer and a stainless-steel backing. The facade system is a unitized aluminum frame mounted to the buildings’ slab edges. When asked about the material choice, Ayumi Sugiyama, director of cultural projects at SHoP, told AN, “We love our ‘live’ materials at SHoP, using metals that continue to oxidize and have an evolving appearance and where the oxidation of the material protects or preserves itself.” The project team considered many metal alloys for the towers but chose copper because of its transition over time from a bright, shiny material into a darker brown finish and finally to a green patina. “It’s a material New Yorkers are familiar with—we see it on our Statue of Liberty and the roofs of iconic buildings such as the Woolworth Building,” said Sugiyama. Along with the richness and patina of the copper, SHoP aimed to create a facade that used texture and variation to accentuate the form of the buildings. The firm did this by staggering the patterns of the panels emanating from the sky bridge. The overall pattern seems complex at first glance, however, the system was standardized for ease of fabrication and installation. Each unit used one of four typical window sizes. The sky bridge itself, a 100-foot-long, three-story structure, is clad in glass with an aluminum mesh interlayer. The mesh fabric is a contrast from the copper of the two towers and seems opaque from the exterior. The aluminum finish faces the exterior, while the interior is painted black and visually recedes, allowing for views of the city. The fabric interlayer also improves thermal performance by reducing solar gain.