Search results for "sustainability"
Kiki and Joost design patterned panels to help make solar facades as commonplace as bricks or wood
Carbon Fiber Supplements
Asif Khan completes monumental gateways for Expo 2020
Dubai And By
Expo 2020 Dubai pavilions will showcase global innovations in sustainability and design
Top of the Crop
Here are the 2020 U.S. WoodWorks Wood Design Awards winners
Jury’s ChoiceThis year's jury consisted of:
Danny Adams, Principal, LS3P Associates Marsha Maytum, Principal, Leddy Maytum Stacy Architects Eric McDonnell, Principal, Holmes Structures Matt Shaw, Contributing Editor, The Architect’s NewspaperProject: First Tech Federal Credit Union Location: Hillsboro, Oregon Architect: Hacker Structural Engineer: Kramer Gehlen & Associates Contractor: Swinerton Builders First Tech Federal Credit Union’s motto is People First—and its new Oregon campus is designed to support and promote the health, comfort, and happiness of employees. Open offices are designed with an emphasis on equal access to natural light and views, and work stations are arranged to ensure that all employees can beneﬁt from biophilic opportunities. Much of the building’s design draws on the beauty of the wood structural system, which is visible throughout the building. Glulam columns and beams frame ﬂoor-to-ceiling views to the park and the creek that surrounds the site on three sides. Raised ﬂoors conceal HVAC, electrical, and low-voltage systems, contributing to clear, uncluttered spaces that showcase the simple beauty of the cross-laminated timber ceilings. On the ground floor, a central commons with stadium-style seating ascends into a double-height atrium capable of accommodating large gatherings and presentations. LEED Gold-certified, the building achieved an exemplary score in the regional materials category as all of the columns, beams, and CLT panels were sourced and refined within 500 miles of the site. 156,000 square feet / Type III-A construction
Multi-Family Wood DesignProject: Adohi Hall Location: Fayetteville, Arkansas Architect: Leers Weinzapfel Associates; modus studio (AOR); Mackey Mitchell Architects Structural Engineer: Equilibrium Consulting; Engineering Consultants, Inc. Contractor: Nabholz Construction Adohi Hall at the University of Arkansas is the nation’s first large-scale mass timber student housing facility. A bold demonstration of sustainability, the 708-bed complex includes three main volumes, linked together to create a serpentine form set into a sloped site. Buildings A and B include five stories of mass timber—a cross-laminated timber floor and ceiling system supported by glulam columns and beams—over a concrete podium and partial basement. Building C is a one-story volume linking the two residential buildings. Maintaining acoustical separation was a significant issue. To expose the CLT ceilings, acoustical treatment was concentrated on top of the panels. To minimize the depth of the panel topping, and thus the floor-to-floor height, the team used an ultra-thin sound attenuation mat topped with less than 2 inches of heavyweight gypcrete and luxury vinyl tile planks—which surpassed the required STC rating of 50 between sleeping quarters. The use of wood both structurally and aesthetically makes this project a groundbreaking example of student housing design. 202,000 square feet / Type III-B construction
Commercial Mid-RiseProject: 111 East Grand Location: Des Moines, Iowa Architect: Neumann Monson Architects Structural Engineer: Raker Rhodes Engineering, StructureCraft Contractor: Ryan Companies Anchoring a high-visibility site in Des Moines’ historic East Village, 111 East Grand includes three stories of offices above retail and restaurant spaces on the ground floor. It is the first multi-story office building to include floor and roof decks made from dowel-laminated timber. The DLT panels are supported by glulam post-and-beam framing, and the building is buttressed by a concrete core on the south face for lateral stability. Leveraging a unique benefit of mass timber, much of the structure is left exposed on the interior. This minimizes the need for tenant improvement while providing visual, tactile, and olfactive stimulation to the building’s occupants. Operable windows allow natural ventilation, and balconies on the west provide downtown views. The project is innovative in both design and delivery. From the outset, the core design team of architect and structural engineer collaborated closely with the mass timber engineers and general contractor. This enabled 111 East Grand to push boundaries and convey the accessibility of mass timber building design through its ultimate success. 66,000 square feet / Type III-B construction
Commercial Low-RiseProject: Redfox Commons Location: Portland, Oregon Architect: LEVER Architecture Structural Engineer: KPFF Consulting Engineers Contractor: R&H Construction This adaptive reuse project transforms a pair of World War II-era warehouses into a light-filled campus for creative office tenants. Recognizing the historic and environmental significance of the existing wood structures, the renovation preserves and restores the original lumber. The trusses were sandblasted and remain exposed, highlighting the wood’s natural beauty. New 80-foot-wide clerestory windows were added to each roof to bring light into the large open floor plates, which are distinguished by column-free spans of 100 feet. To uphold the project’s heritage, both buildings were rebuilt using an industrial vernacular of ribbon windows and weathering steel cladding. During demolition, wood from an overbuilt mezzanine was salvaged to create a new timber and glass entrance structure that connects the two buildings. Over 6,500 linear feet of 4-by-12-inch boards were reclaimed, varying in length from 12 to 24 feet. The boards were fastened around new glulam members using large wood screws to create distinctive columns and beams. This innovative use of wood creates a welcoming entry that is expressive of both the project’s heritage and environmentally-conscious design. 60,000 square feet / Type III-B construction
Wood in Government BuildingsProject: Long Beach Civic Center—Billie Jean King Main Library Location: Long Beach, California Architect: SOM ǀ Skidmore, Owings & Merrill Structural Engineer: SOM ǀ Skidmore, Owings & Merrill Contractor: Clark Construction Installer: WS Klem Located adjacent to historic Lincoln Park, the Billie Jean King Main Library provides a welcoming and flexible environment, with interior space organized into discrete and identifiable areas that maximize the use of square footage while enhancing accessibility. Built over an existing parking structure, the hybrid building includes an exposed glulam roof system over steel framing. It offers a variety of spaces, including group study rooms, independent study areas, a technology-driven makerspace, community center, and large central atrium that provides abundant natural light. Targeting LEED certification, the building also features rooftop photovoltaic cells, daylighting strategies, controlled air ventilation systems, and extensive glazing with architectural overhangs for solar protection. The library is part of the Long Beach Civic Center Master Plan, designed by SOM to revitalize 22 acres of downtown Long Beach by creating a vibrant, mixed-use district. 96,000 square feet / Type IV construction
Wood in SchoolsProject: Arts and Technology Academy Location: Eugene, Oregon Architect: Opsis Architecture; Rowell Brokaw Architects (AOR) Structural Engineer: catena consulting engineers Contractor: Hyland Construction As a teaching tool for middle school students to explore and learn about the interaction between the natural and built world, the Arts and Technology Academy’s honest and tectonic expression of structure, exposed building systems, natural materials, and daylighting create a physical environment conducive to a STE(A)M-centric curriculum. An iconic, umbrella-like folding roof comprised of steel frames, glulam beams, and wood decking—all left exposed—stretches across the length of the building above continuous clerestory windows. Appearing to float, it cantilevers in various locations, offering protection from the elements while creating a warm and inviting interior environment. Various sloped roof profiles pay homage to the surrounding residential vernacular while visually bridging the scale of the project’s two-story massing and surrounding one-story homes. An expansive photovoltaic array adorns the south-facing roof. Ample exterior glazing maximizes daylight and views during the day while serving as a warmly-lit community beacon at night. 95,718 square feet / Type IIIB construction
InstitutionalProject: Oregon Conservation Center Location: Portland, Oregon Architect: LEVER Architecture Structural Engineer: KPFF Consulting Engineers Contractor: Lease Crutcher Lewis A blend of mass timber and light wood-frame construction, this renovation and expansion of The Nature Conservancy’s Oregon headquarters transforms a dated office building into a collaborative hub that reflects the environmental mission of its owner. Central to the upgrade is the addition of a 2,000-square-foot ground-level pavilion that serves as a gathering space for public events and collaborations. The building achieved LEED Gold certification, with features that include domestically-fabricated and FSC-certified cross-laminated timber panels, rooftop photovoltaics that produce 25 percent of the building’s electrical supply, efficient building systems and fixtures that reduce electricity consumption by 54 percent and water consumption by 44 percent, and a landscaping and subsurface filtration system to manage stormwater. Abundant daylighting, operable windows, and the use of local materials enhance comfort and connect occupants to the neighborhood and greater region. 15,000 square feet / Type VB construction
Green Building with WoodProject: Oregon Zoo Education Center Location: Portland, Oregon Architect: Opsis Architecture; Jones and Jones (zoo design; insect zoo architect) Structural Engineer: catena consulting engineers Contractor: Fortis Construction Guided by the Zoo’s central theme, Small Things Matter, the design of this LEED Platinum-certified Education Center brings together a number of architectural and exhibition elements to create teachable, sustainable moments. Built with a combination of heavy timber, light wood framing, and steel, the two single-story buildings are inspired by the circular, woven nature of a bird’s nest; the resulting architecture creates an intertwined relationship between indoor and outdoor spaces that blends into the zoo’s landscape and exhibits. The sweeping cantilevered glulam entry roof and cedar-clad exterior draw visitors into the lobby’s interactive displays, insect exhibit, and event space. Sustainable design strategies include an expansive rooftop photovoltaic array, rain gardens with 90 species of native plants that provide wildlife habitat while cleaning stormwater for reuse, bird-friendly lighting, and fritted glass windows. The Center is expected to achieve net-zero energy certification. 20,000 square feet / Type V-B construction
Beauty of WoodProject: Trailhead Building at Theodore Wirth Park Location: Minneapolis, Minnesota Architect: HGA Structural Engineer: HGA Contractor: Kalcon A gateway to the Nordic ski and mountain bike trails of the Minneapolis Parks System, the trailhead building is used extensively by the public and area high schools for training and competitive meets. The highlight is an innovative mass timber roof that cantilevers in two orthogonal directions, tapers to a point at its tip, and is fully exposed on the interior. Glulam girders cantilever from 10 to 25 feet, following the trapezoidal shape of the roof, and are supported in part by a colonnade of Douglas-fir glulam columns and wood-frame walls. The unique roof and colonnade provide an elegant entry, while exposed wood on the interior creates a natural connection between gathering spaces and the outdoors. While embracing its surroundings with the use of mass timber, this building has also been embraced by its community. It was chosen as a hosting facility for the 2020 Cross Country Ski World Cup. 14,200 square feet / Type V-A construction
Adaptable and Durable Wood StructuresProject: Julia Morgan Hall Location: Berkeley, California Architect: Siegel & Strain Architects Structural Engineer: Bluestone Engineering Contractor: James R. Griffin Built in 1911, this Senior Women’s Hall at UC Berkeley is an elegant redwood bungalow with exposed wall and roof framing and a natural-finish interior. The building served as a gathering place for female students until 1969, when it was converted into a childcare center. First relocated in 1946, it was moved again in 2014—to the UC Berkeley Botanical Garden. To extricate the structure from its site and negotiate a winding road with overhanging trees, the building was divided into four segments, which were reassembled at the Garden, rehabilitated, and upgraded to meet current accessibility standards. All of the work—including cutting, installation, subsequent removal of temporary shoring and protection, and reassembly—had to be carefully executed to avoid damage. The exposed interior wood components required only minimal staining to conceal wear and tear, while the rich wood floors were refinished. The redwood siding was replaced as required and painted, and the team added a new wood porch. 2,255 square feet / Type V-B construction
Regional Excellence AwardsProject: 901 East Sixth Location: Austin, Texas Architect: TB/DS (Thoughtbarn/Delineate Studio) Structural Engineer: Leap!Structures Contractor: DCA Construction A design goal for this five-story office building was to make it seem at home in the creative, light industrial neighborhood of East Side Austin. The structure is a hybrid of exposed cross-laminated timber floor and ceiling systems, and exposed steel—and is the first of its kind in Texas. It is clad in Corten steel, which forms a stable, rust-like appearance over time. A double-height lobby with a 25-foot bi-fold door allows the space to be opened to the street during special events; it also serves as a showcase for the exposed wood ceiling and full-height feature wall made from CLT off-cuts. 901 East Sixth achieved LEED Gold certification and was fully leased before construction was complete—at rates significantly exceeding the original pro forma. The project has been a celebrated financial success for its developers while receiving an enthusiastic reception from the public. 128,000 square feet / Type III-A construction Project: CoǀLab Location: Falls Church, Virginia Architect: William McDonough + Partners MEP Engineer: Staengl Engineering Contractor: HITT Contracting This unique project is intended to serve as a nucleus for research and testing of emerging technologies, products, and practices that will transform the construction industry. HITT Contracting envisioned Co|Lab as a showcase for building innovation that would utilize as many healthy materials as possible and exhibit smart emerging design and construction technologies. The mass timber structure—which includes cross-laminated timber walls and ceilings supported by glulam columns and beams—was chosen for its aesthetic, multi-sensory characteristics, light carbon footprint, and speed of construction. The design is based on cradle-to-cradle principles; instead of minimizing the building’s negative environmental footprint, the team wanted a beneficial footprint. Co|Lab is LEED Platinum-certified, and HITT is pursuing both Net Zero Energy and Petal certification. It was the first CLT structure in Virginia and the first commercial mass timber building in metropolitan DC. 8,650 square feet / Type V-B construction Project: The Continuum Location: Lake City, South Carolina Architect: McMillan Pazdan Smith Architecture Structural Engineer: Britt Peters & Associates Contractor: Thompson Turner Construction The Continuum is an innovative campus serving college, continuing education, and high school students in northeast South Carolina. After exploring options, the design team chose to renovate an existing big-box retail shell adjacent to downtown Lake City—but they added a unique structural solution. The roof of the central corridor was replaced with a large mass timber structure. Comprised of glulam columns and beams and nail-laminated timber decking, the addition allows daylight to penetrate to the center of the former retail floor. From the site plan and exterior façade to the interior finishes, the design is inspired by the imagery of the region’s deconstructed barns. As visitors approach the plaza, the view down the road reaches a reflection pool that runs under an extended overhang of the soaring NLT deck and into a green space intended for art installations. By strategically dividing and removing some of the existing structure with the glulam clerestory, the design creates circulation spaces flooded with light that invite students to gather. Linked by these open spaces, the building incorporates multiple educational functions into one cohesive floor plan. 46,592 square feet / Type IV construction Project: MFAH Sarah Campbell Blaffer Foundation Center for Conservation Location: Houston, Texas Architect: LakeǀFlato Architects; Kendall/Heaton Architects (AOR) Structural Engineer: Cardno Haynes Whaley Contractor: WS Bellows Wood Structure & Engineering Consultant: StructureCraft Builders Art conservation facilities tend to be thought of as sterile laboratory spaces, but that isn’t true of this one. From the outset, the design team wanted to incorporate natural biophilic materials, specifically wood, to provide an appropriate warmth and texture to the laboratory environment. This hybrid project includes glulam columns and beams and dowel-laminated timber roof panels, as well as steel structural elements. The DLT roof is left exposed, offering a welcome contrast to the wall finishes that are necessarily neutral. The overall result blends the science and art of conservation to create spaces that perform superbly to their technical requirements while offering a warm and welcoming work environment for the art conservators. 30,000 square feet / Type IV construction Project: DPR Office Location: Sacramento, California Architect: SmithGroup Structural Engineer: Buehler Engineering Contractor: DPR Construction When DPR Construction decided to relocate its office to downtown Sacramento, it was seeking to connect with the community it serves on a deeper level. In choosing mass timber, it also saw an opportunity to give employees the benefits of a biophilic design and enhance their workday experience. The project, which involved adding a second story to a 1940s-era concrete and masonry building, includes cross-laminated timber roof and wall panels, and glulam columns and beams. Among its unique features, the building includes CLT shear walls, a first in California. It also exceeds regulatory requirements, targeting net-positive energy—which reduces its carbon footprint from the standpoint of operations and maintenance. The use of mass timber augments this goal by reducing embodied carbon and acting as a carbon sink. This is DPR’s sixth net-zero energy office, and the firm is seeking LEED Platinum, Petal, and WELL Building certifications. 34,508 square feet / Type V-B construction Project: Pike Place Marketfront Location: Seattle, Washington Architect: The Miller Hull Partnership Structural Engineer: Magnusson Klemencic Associates Contractor: Sellen Construction Pike Place MarketFront adds 50 vendor stalls; 40 low-income and senior apartments; commercial, retail and office space; a public roof terrace and walkways; and 300 underground parking spaces to the Pike Place Market Historic District in Seattle. Comprised primarily of heavy timber, light wood framing, and cast-in-place concrete, the project draws contextual inspiration from the simple utilitarian character of the existing market. This historic precedent, combined with timber’s carbon-negative footprint, abundant local sourcing, and speed of erection, made it an easy choice for the project team. While timber is typically used to support gravity loads, the structural engineer designed composite timber and steel framing members to manage portions of the building’s lateral loads. Enclosed by a timber-frame glazing system, the monumental structure includes a vibrant hall housing retail and restaurant spaces while preserving historic views of Puget Sound. Heavy timber columns, beams, and decking serve as both structure and finish, bringing the natural beauty of wood to the space. 210,000 square feet / Type IV construction Project: Rhode Island School of Design – North Hall Location: Providence, Rhode Island Architect: NADAAA Structural Engineer: Odeh Engineers Contractor: Shawmut Design and Construction For this six-story residence hall at RISD, the design team chose a hybrid system of cross-laminated timber floor and ceiling panels supported by steel framing to achieve goals that included beautiful design, environmental sustainability, and an aggressive construction schedule. Exposed CLT ceilings add beauty while echoing themes of sustainability that students experience as part of the school’s curriculum. In addition to reducing the project’s carbon footprint through the use of CLT, the new hall is expected to use a quarter less energy and less than half the water of a typical residential structure of similar size. The system also provided a schedule advantage. Working closely with the fabricator, the team optimized the layout of panels to minimize erection time. Five-ply panels were manufactured in 8-by-50-foot spans—allowing a single panel to span the building’s width. The erector exceeded expectations by completing the superstructure in less than three weeks. By prioritizing innovation and working to achieve a shared vision, the RISD project team successfully brought the first hybrid CLT-steel residence hall in New England to life. 40,790 square feet / Type III-B construction Project: Sideyard Location: Portland, Oregon Architect: Skylab Structural Engineer: catena consulting engineers Contractor: Andersen Construction Photos: Stephen Miller When the City of Portland built a new one-way couplet connecting to the Burnside Bridge, it created a leftover berm space that is now home to Sideyard. Shaped like a wedge, this five-story project prioritizes access to public transportation, bicycle access, and pedestrian openness. It includes retail and restaurant space at street level, additional retail on the second floor, and office space above. The structure includes a cross-laminated timber floor and roof system supported by a glulam post-and-beam frame, with concrete lateral cores. Sideyard is part of the new Central Eastside community envisioned in the Burnside Bridgehead Framework Plan, designed to strengthen the connectivity of the area with the Westside downtown core. Its use of locally-sourced materials showcases Oregon wood species in a truly unique fashion. 23,202 square feet / Type III-A construction Project: Tre Søstre Location: Grand Marais, MMinnesota Architect: Salmela Architect Structural Engineer: Meyer Borgman Johnson Contractor: Taiga Design + Build Tre Søstre is located in a former fishing village, close to the shore of Lake Superior. Two decades ago, the owners purchased the abandoned property, converted three severely damaged buildings into rental units, and built a heavy timber “boathouse” as their own live/work space. They recently added three units—designed to make a bold statement while remaining sensitive to the scale and materials of the neighborhood. Despite modest footprints, the structures include multiple cantilevered volumes and decks, a strategy inspired by Scandinavian farm buildings. Each unit has a covered entry deck located above grade. Interior stairs lead down to ground-level and up to second-floor bedrooms. The top floors cantilever to the east, creating an open living space with unobstructed views while providing cover for the patios and decks off the bedrooms below. Spatial adjacencies were carefully considered to provide areas of protected privacy and open gathering within a relatively dense cluster of units. 3,440 square feet / Type V-B construction
AN presents the Architectural League’s 2020 Emerging Voices winners
The Architectural League of New York’s annual Emerging Voices program once again delivers eight up-and-coming practices making an impact on building and discourse. This year’s jury was composed of Stella Betts, Mario Gooden, Mimi Hoang, Lisa Iwamoto, Dominic Leong, Paul Lewis, Matt Shaw, and Lisa Switkin. Approximately 50 firms were evaluated throughout the invited competition. As in past years, the winners were varied and represented practices from across North America, although many of the 2020 winners can be found on the East Coast. All of the winners will be honored next month and will participate in a lecture series at 130 Mercer Street in Manhattan:Olalekan Jeyifous and PORT on March 5 at 7:00 p.m. Mork Ulnes Architects and Young Projects on March 12 at 7:00 p.m. Escobedo Soliz and Dake Wells Architecture on March 19 at 7:00 p.m. Blouin Orzes architectes and Peterson Rich Office on March 26 at 7:00 p.m.
Only four years after founding their firm, Pavel Escobedo and Andres Soliz have built a trusted brand in Mexico City’s saturated design market. Escobedo Soliz formed soon after the pair graduated from the National Autonomous University of Mexico and together won the 2016 MoMA PS1 Young Architects Program (YAP) summer installation competition.
Their YAP project, Weaving the Courtyard, brought acclaim in the U.S. but not at home, Soliz said. “That award is amazing for people in New York and holds a lot of prestige among those people, but here in Mexico, sadly, developers don’t care as much. What we took from that experience was a foundation of concepts and rules that we have used to build our practice, like the value of using simple or prefabricated materials and constructing by hand.”
After struggling to get commissions back in Mexico, the duo moved to Bolivia for a year to begin work on an ongoing design-build structure: a 17,200-square-foot funeral chapel made of artisanal brick on a shoestring budget. This project helped define the studio’s emerging focus on social service. When the pair returned to Mexico, their first major project was the José Maria Morelos Primary Rural School in Santa Isabel Cholula, part of the recovery from the deadly 2017 Puebla earthquake, which damaged over 200 public school buildings in the state. The design team conceptualized and built the school in just nine months.
“In Mexico, the country’s laws are very strict and the architect frequently has to be the builder,” said Soliz. “That’s why we go after custom projects in different contexts and with low budgets, whether it's for someone’s home or a special typology like the funerary chapel. We like to focus on the quality of materials and controlling the details. As young architects in Mexico, this keeps us competitive.” - Sydney Franklin
Bryan Young, principal and founder of Brooklyn-based Young Projects, aims for ambiguity. His buildings lend themselves to spatial and material misreadings that disrupt conventional hierarchies, inviting occupants to recalibrate their relationships with their surroundings.
“A tension exists between a normative reading and a misreading, but the misreading is just subtly off,” Young said. “It’s always something that is just a little bit off that draws you into the work.”
Young founded his firm in 2010 after working for Allied Works, Architecture Research Office (ARO), and Peter Pfau, all previous Emerging Voices winners that explore and exploit material properties. Since then, Young has designed polished residential projects that reinterpret familiar materials or layouts. Several walls of the Pulled Plaster Loft in Tribeca ripple with a custom pulled-plaster treatment that adapts techniques used to make traditional crown molding; the plan of the forthcoming 6 Square House in Bridgehampton, New York, is simultaneously a cluster of squares, a crossing of bars, and a fragment of an extendable pattern; and the Glitch House in the Dominican Republic is clad in encaustic cement tiles arranged to confuse light and shadow.
Smaller, in-house experiments (Young refers to them as “young projects”) incubate ideas and processes that could be applied to larger work, or just inspire new ways of creating. Currently sitting in his office is a tensile structure encrusted with salt crystals that might—or might not—point toward what Young Projects has in store. - Jack Balderrama Morley
Dividing his time between Oslo, Norway, and San Francisco, Casper Mork-Ulnes has learned to synthesize design principles from the two regions as the basis for Mork Ulnes, the firm he founded in 2005. “Simply put,” he explained, his eight-person team is “influenced by Scandinavian practicality and California’s spirit of innovation.”
Residential design makes up the majority of the firm’s completed work, including the dramatic renovation of several Victorian-era homes throughout San Francisco. When updating antiquated interiors, Mork Ulnes “strives to make [homes] more efficient, more light-filled, and less compartmentalized,” according to the architect, “to perhaps hark back to a California way of living in which buildings were once more extroverted.”
When given the opportunity to design from the ground up, the firm favors locally sourced woods and distinctly minimal forms. For example, the exterior of Mylla Hytte, a 940-square-foot cabin set within a Norwegian forest, is clad in untreated heart-pine planks that will weather over time, in contrast to the plywood of its interior walls and built-in furniture. - Shane Reiner-Roth
The members of Chicago and Philadelphia–based firm PORT have made it their mission to elevate urban navigation from a chore to a pleasure. The firm believes that a city’s highways, byways, and interstitial spaces reflect a collective attitude toward equity, democracy, and civil rights, and that those values can be bolstered by creative design intervention.
Christopher Marcinkoski and Andrew Moddrell both trained as architects and formally established PORT in 2013 after setting their sights on the spaces in between buildings. They demonstrated their passion for the interstitial with their Lakeview Low-Line project, a collection of bright yellow urban furniture installed beneath the elevated train tracks of Chicago’s Brown Line. “Lakeview takes a site that no one pays attention to,” said Marcinkoski, “and demonstrates the possibility of transforming that space into something that is generous and welcoming.”
PORT has also taken to increasing public engagement at sites that have long been the center of civic attention, as in its OVAL+ series of temporary pavilions for Eakins Oval, the 8-acre park in front of the Philadelphia Museum of Art. - Shane Reiner-RothSculptural gallery interiors, high-end retail, and housing and maintenance strategies for the New York City Housing Authority (NYCHA)—three areas that might seem incongruous, but at the eight-year-old Peterson Rich Office (PRO), designing airy, light-filled spaces is part and parcel of considerate urban planning.
Founders Miriam Peterson and Nathan Rich trace their approach to experiences working at Tod Williams Billie Tsien Architects and Steven Holl Architects—two firms known for their bright institutional projects—as well as SHoP, which Rich says taught him to break down the profession’s “traditional barriers and open [himself] up to different types of work.” Because of often tight budget constraints, PRO’s projects focus on form, gesture, and filling spaces with natural light instead of expensive materials.
The studio is working with New York’s Regional Plan Association to come up with suggestions for how NYCHA can simultaneously make up its $31.8 billion maintenance deficit while capitalizing on the agency’s 68.5 million square feet of undeveloped floor area. This isn’t the firm’s first dance with NYCHA; in 2014, PRO’s 9x18 project provided a blueprint for turning the housing agency’s 20 million square feet of parking into infill housing, and those strategies made their way into Mayor Bill de Blasio’s affordable housing plan.
“We always start with a certain amount of research, and try to draw from that research a series of goals for the project,” Rich said. “We try to introduce what we call ‘five points’; these are values and goals built with the client, guiding principles, and those things emerge from context, institution, and need. It’s narrative, and we try to stay true to those things.” - Jonathan Hilburg
“People are often surprised by how our projects end up looking like they do in these really rural areas,” said Andrew Wells, cofounder of Springfield- and Kansas City-based firm Dake Wells Architecture. “The common question we get is, How did you do that? For us, it boils down to solving peoples’ problems. There is an aesthetic component to that, yes, but it’s just a response.”
On numerous occasions, Wells and Brandon Dake, who together started the studio in 2004, have presented several design options to a client who ended up choosing the most challenging proposal on the table. Take Reeds Spring Middle School in rural southwestern Missouri. Set on 150 acres of undeveloped land beneath the Ozark Mountains, this 2017 project is tucked into a sloping ravine. “Finding the right spot to put the school was hard, so one of our ideas was to allow the building to negotiate the steep topography of the site,” said Wells, “but we didn’t think they'd go for it.” In the end, the semisubterranean design allowed Dake Wells to add a storm shelter to protect students, teachers, and staff during tornado season, one of the client’s biggest goals, and resulted in a striking exterior.
According to the design team, using few materials and a muted color palette also helps them concentrate on forming shapes that will stand out. Both Dake and Wells are from small towns in Missouri and feel most rooted in their work when they return to similar spots throughout the region on commission, often collaborating with low-income school districts with tight budgets. “We don’t subscribe to the notion that good design is for elite clients with money to spend,” Dake said. “We take on low-budget projects and push them as far as we can.” - Sydney Franklin
Few have mastered the nuanced art of designing for the extreme climate of Canada’s Circumpolar North in the face of global warming. But Marc Blouin and Catherine Orzes of Montreal-based Blouin Orzes architectes have made that challenge the heart of their practice. Dedicated to what they describe as a “tireless journey” through the villages of Nunavik, the vast northern third of Quebec, Blouin and Orzes create buildings that empathetically address the pressing needs of Inuit communities.
For Blouin Orzes, the work doesn’t stop at the building itself—the architects also play an active role in public consultation processes, sourcing funding and filing grants on behalf of their clients. “It’s a constant search for a balance between tradition and modernity in the contemporary realities of northern communities,” the architects explained. “We have discovered the importance of patiently learning from a culture distinct from our own and have come to love the landscapes and respect nature’s harsh conditions.”
The Katittavik Cultural Centre in Kuujjuarapik, a village on the coast of Hudson Bay, is representative of the firm’s work providing much-needed social spaces for people in remote locations. Upward of 10,000 people use the center, located in one of Nunavit’s 14 communities north of the 55th parallel. The area’s harsh conditions create construction challenges, like high costs, a limited labor force, protracted schedules, and concerns about sustainability. Yet building here takes not only resources and time, but also considerable trust—which the designers work continually and respectfully to earn. - Leilah Stone
For Olalekan Jeyifous, the physical world doesn’t take precedence over the space of imagination. By embracing the tension between reality and invented narratives, his work produces a panoply of architectural inquiries in various media, including hyperreal photomontages, public sculpture, whimsical installations, and immersive VR experiences. Rather than prescribing function, his projects encourage their audiences to reconsider architecture’s relationship to the communities it affects.
Jeyifous describes his work as a result of the “process of connection as opposed to reaction, evoking a notion of ‘place’ rooted in immanence and possibility.” His built public work embraces multiplicity and interpretation, and engages each community’s historic and contemporary challenges, including histories of mobility and displacement, issues of equity in urban housing markets, and the importance of public spaces as sites of protest.
His unbuilt work is equally rooted in social justice. Born in Nigeria, Jeyifous has developed various projects that envision the future of the country’s sprawling megacity, Lagos, in a way that questions ideas of what progress looks like. In Shanty Mega-structures, he produced a series of renderings depicting the city’s informal settlements at the scale of large commercial developments, asking viewers to reconsider who visionary architecture should be for and what practices should inspire it. - Leilah Stone
Making Federal Buildings Beautiful Again
[Updated] Potential executive order might force neoclassical style on federal buildings
But it appears that Trump wants to say goodbye to designing for democracy and more specifically, to Brutalism and Deconstructivism, according to the draft. While it’s no secret that the President dislikes Brutalism—he’s previously decried that the FBI’s downtown Washington, D.C., headquarters should be remodeled or demolished. The FBI’s J. Edgar Hoover Building, designed by Charles F. Murphy and Associates, sits directly across Pennsylvania Avenue from the Trump International Hotel, a historic, romanesque revival building. Many hotels in the Trump chain feature glass and steel, similar to those found in New York and Chicago. Several high-design federal buildings throughout various U.S. cities, according to the draft order, have “little aesthetic appeal,” Record noted, and don’t embody the country’s “self-governing ideals.” Among those citied were San Francisco’s U.S. Federal Building by Morphosis and Miami’s Wilkie D. Ferguson, Jr. U.S. Courthouse by Arquitectonica. Both were built in 2007 and stand boxy and tall, featuring modern materials such as metal rainscreens on the former and a glass curtain wall on the latter. Trump’s turn to classicism, though semi-surprising, shouldn’t completely catch architects off guard, however. Back in 2018, AN reported that he had appointed a staunch classicist to the U.S. Commission of Fine Arts (and another one as late as last December) in favor of securing approval on future neoclassical projects. The draft order documents that President Trump aims to create a Committee for the Re-Beautification of Federal Architecture as well, which is reminiscent of the late Sir Roger Scruton’s push to build more beautiful homes and communities throughout the United Kingdom in a self-avowed anti-modernist fashion. The news comes just one week after the GSA’s Chief Architect and Director of Design Excellence, David Insinga, reportedly resigned from his post. He had served largely under the Trump administration since December 2016 and made it clear from the start that he sought to improve sustainability and reduce energy usage across federal buildings. So far, Insinga has not commented on his departure.
Senator Daniel Patrick Moynihan, the most architecturally sophisticated Federal official since Thomas Jefferson, warned against an official Federal style. It’s what dictatorships do, not democracies. So what is the Trump administration considering? Yep. https://t.co/J3wnU8KfJA— Paul Goldberger (@paulgoldberger) February 4, 2020
Some Assembly Required
T+E+A+M builds practice through assembly
Working on Water
Rotterdam's harbor will host a floating timber office building
West by Northwest: Oregon Ways
The mythologies of Oregon’s utopian seekers still informs its design and architecture today
A few months back, while casually scrolling through some feed or another, I was struck by a series of images for a Portland-based boot company, Danner. Kicking up a faint cloud of dust with measured, deliberate steps, a lone photovoltaic maintenance worker moves across the image between parallel sets of solar trackers in a 64-acre facility in the high desert landscape just outside of Bend, Oregon. Emblazoned in bold over the image, the word “STRONGHOLD” conjured the work-boot family and the attitude of the region from which it springs. In what could pass for a Green New Deal campaign lifted from only the most heroic of WPA posters, other images from the commercial shoot evoke the photovoltaic maintenance process—a delicate operation involving technical expertise, careful stewardship, the right boots “built for comfort and stability,” and a Dodge Ram with plates reading “1932,” Danner’s date of establishment prior to relocating to Portland, where it would supply loggers with caulked boots during the Depression. From those origins spring the current slate of boot categories: work, hike, lifestyle, hunt, military, and law enforcement, producing an uneasy space where aesthetic cohesion and mythologizing coagulate in an open wound of mixed messaging between bright green and militarized versions of the future. The Danner website declares: “The Future Is Strong.”
Scenes like the above are a renewable resource in the Pacific Northwest, underwritten by a low-key utopian sense that’s as much about a “way” of doing things as it is about place. Oregon is of the American West, but not exactly the center of its mythos. In the estimation of the 1940 Federal Writers’ Project guide to the state, Oregon’s position at the “end of the trail” leveraged terminus into an exceptional charge that “inspire[d] not provincial patriotism, but affection”: “The newcomer at first may smile at the attitude of Oregonians towards their scenery and their climate. But soon he will begin to refer to Mt. Hood as ‘our mountain.’” Here, the “dismal skies” and rains of winter were merely the “annual tax” one paid for the privilege of inhabiting a state of “eternal verdure”—a cozy picture that excludes the desert land east of the Cascades mountain range and a whole host of volcanic and seismic activity lying in wait and prone to violent outbursts.
For its part, the city of Bend has recently been deemed a commuter town for Silicon Valley and is an increasingly expensive playground where brewpubs, rec centers, inner tube flotillas on the Deschutes River, and extensive parkland make their own kind of lively stronghold at the base of the Three Sisters Mountains. As in Portland just on the other side of the Cascades, there’s a rolling collision between earlier imported and newly imported visions of an affluent good life in nature that are just complementary enough to exist in tenuous détente while other narratives vie for recognition.
Upon arriving in Portland by way of a westward drive through the Columbia River Gorge, it was hard for me to escape the impression that this working landscape had been staged as an advertisement for the achievement of a kind of augmented reality just removed from the usual roiling of time. The B Reactor at Hanford, Washington, and the still-toxic ghosts of the Manhattan Project were out there somewhere, as was a Lamb Weston facility that processes 600 million pounds of frozen potato products annually, but here in this gash through the Cascades was a vision of forward movement in balance. Flanked by wind turbines running along the hill crests and with Hood’s emblematic peak directly ahead, rail and moss-lined roadways delivered a parade of works and features, from dams, locks, and spillways to waterfalls and elevated viewpoints. Some of these projects, like the Bonneville Dam, have been held up as pivotal but imperfect New Deal–era models of public hydropower administration, while The Dalles Dam is known more for its erasure of Celilo Falls, once a critical center of indigenous cultural and economic life. Such erasure and fragmentation, however, are far from the exception, as white nationalists have also long found refuge in Cascadia’s crevices and realty boards since the state’s founding in black exclusion. Here, too, the American Redoubt and various Cascadian secession movements pick up where Ernest Callenbach’s more countercultural 1975 novel Ecotopia left off with utopian search/seeking, be it for an ecotopia or a white nationalist stronghold.
As a perverse addendum to the theme of exclusion, however, Oregon’s urban growth boundaries have made for a compelling regional planning model, containing sprawl to preserve the "natural" playground and its biodiversity. In all things a kind of balance. Runaway utopian-as-utilitarian dreaming was, after all, the villain of California-born author Ursula K. Le Guin’s 1971 novel, The Lathe of Heaven, a fable of Portland’s exceptionalist attitude and the relative wealth of its natural inheritance. In this corner of the country, there was the possibility, for some, of a more comfortable—or less uncomfortable—future. Still, the novel’s status as a critique of progress or a privileged and resigned version of the same remains difficult to discern.
Storied weirdness aside, Portland is one of several metropolitan centers with the self-designation, “the city that works.” And it does, though critiques of the “sustainable city” are rolling in from those willing to cast a more critical eye toward the externalities and displacements produced through progress of this sort. Persistent NIMBY-ism and the ongoing battle over a proposed I-5 expansion amid new reports that Portland’s carbon emissions reduction progress has flatlined since 2012 suggest that the city’s climate policies are still far from where they need to be. On a more positive note, Oregon HB 2001’s move to effectively dissolve single-family zoning was the kind of course correction one would come to expect in the wake of new evidence of housing need. As with other improvements over its history—UGBs, public ownership of the coast, mass timber innovation by firms like LEVER and Hacker, ecodistricts, hydropower, cycling culture, and transit-oriented development—in paving the way for a proliferation of duplexes, triplexes, and fourplexes, Oregon again models a quietly progressive version of a future.
Exemplary care-oriented building projects also come to mind, like the Seven Corners Collaborative in Southeast Portland, where Waterleaf designed a new, fully accessible colocation center for local nonprofits that provide support services for people with disabilities, along with an assistive technology lab for training, consultation, and public interface. Elsewhere, in the Lents neighborhood, a shelter in the repurposed shell of an old church forms the heart of a new “family village” campus by Jessica Helgerson Interior Design, Carleton Hart Architecture, and Corlett Landscape Architecture that’s furthering the use of trauma-informed design and concentrated service delivery for families experiencing homelessness. Also in Lents, the new Asian Health & Service Center by Holst provides a venue not only for much-needed affordable healthcare services for the area, but also a well-appointed infrastructure for community social events, all granted a generous view of Mt. Hood from the top floor. SCOTT | EDWARDS ARCHITECTURE’s Portland Mercado fulfills a similar social function for Portland’s Latinx community through a modest adaptive reuse and landscape strategy that ties an existing structure together with a series of food carts, covered outdoor space, and copious seating. Led in part by the efforts of the latter two firms along with Ankrom Moisan and organizations such as Home Forward and Central City Concern, recent supportive housing projects in the city, such as Bud Clark Commons, the Beech Street Apartments, Garlington Place, and the Blackburn Center, are also demonstrating how architecture can operate and innovate through a lens of care and playfulness rather than singular virtuosity or brute force.
This ethos also comes out in Portland’s new and renovated green spaces, such as the collaboration by 2.ink Studio and Skylab on Luuwit View Park in East Portland. The park stands as a microcosm of the city’s celebrated urban landscape innovations, complete with community gardens, dog park, skate park, event shelter, public art, stormwater treatment area, and bilingual signage to acknowledge and accommodate the diversity of new residents in the neighborhood, as well as trails aligned with distant landmarks like Mt. St. Helens, or “Luuwit,” as named in the Cowlitz language. Likewise, with Cully Park in Northeast Portland, 2.ink explored similar design elements on the site of a former landfill in an underserved neighborhood, including significant habitat restoration, a fitness course, and the city’s first Native gathering garden. Developed by the community nonprofit Verde in partnership with the city, the project engaged neighborhood residents throughout the process with outreach, employment, and education programs.
More broadly, a host of design and planning-based initiatives work to translate reparative sociopolitical agendas into spatial terms, such as the Portland African American Leadership Forum’s 2017 People’s Plan and the more recent Portland Bureau of Planning and Sustainability publication on the Historical Context of Racist Planning in the city. Blocking pipeline projects and filling streets in the name of climate action, Sunrise, XR, and 350PDX also stake active claims on the city and its future, while newly constructed works like FLOAT’s Portals in Southern Oregon stage direct action pipeline resistance, countering fossil fuel extraction logics with an expansive meditation on architecture’s capacity to support multispecies reciprocity. Further, initiatives and organizations throughout the region like Columbia Riverkeeper, Sightline, Wisdom of the Elders, the High Desert Partnership, and the Ashland Forest Resiliency Stewardship Project engage in environmental care and land management through advocacy and cross-scalar collaborations, while efforts by the Friends of Trees and the city’s Green Street Steward Program involve volunteers in urban greening and bioswale maintenance. On the academic front, Portland State University’s Center for Public Interest Design was founded in 2013 to respond to the needs of underserved communities in the city and abroad and has since paired design-build work with robust community engagement processes, while the University of Oregon has launched a multidisciplinary fellowship initiative in Design for Spatial Justice, which mobilizes theory and practice in foregrounding narratives, experiences, and modes of design, political action, and biodiversity conservation long marginalized or excluded by fields responsible for the built environment.
How this expanding constellation of projects and practices might fare in an escalating climate struggle is a crucial question. With even cursory estimates of climate-induced in-migration to the region due to sea level rise alone projecting numbers in the hundreds of thousands over the next few decades, the challenge for utopia would initially seem to be one of scale. The war footing rhetoric of the GND, like that of the New Deal before it, anticipates such scales of action in the work of justice and infrastructural investment. A war footing for scaling care, however, is perhaps a more fraught and paradoxical charge, particularly as the goal would be to move beyond a narrow definition of relief as an improvised response toward the construction of more durable and equitable systems merging care with justice.
In a dysfunctional climate regime, what does it mean to position oneself as a stronghold or a refuge, or a model city? When PG&E issued its now-infamous directive to its California customers to “use your own resources to relocate” when the utility company unilaterally shut off power to nearly a million people back in October, it signaled that climate change survival would become a matter of self-reliance if left in the hands of those with no obligation for care. Against this backdrop, even a modicum of external accountability would come to appear as care and competency. As Holly Jean Buck writes, “There are plenty of scenarios where we deal with climate change in a middling way that preserves the existing unequal arrangements…[where] even muddling through looks like an amazing social feat, an orchestration so elaborate and requiring so much luck that people may find it a fantastic utopian dream.” In a global theater of sociopolitical and ecological degradation, it becomes difficult to assess the utopian potential of projects that work well within familiar registers, leading in some cases to a privileging of expediency and the reenactment of functioning models.
But, even with the relative risk aversion, what bridges the perceived cultural gulf between the measured and occasionally errant strands of progressivism in the Pacific Northwest and the most fanciful Silicon Valley fever dreams is the recurring belief in some level of remove as a precondition for positive transformation and mastery. The right person in the right boots in the right geography, and a comfortable future is assured. The inclusion of photovoltaics in that picture is a welcome addition, but what is the future of an image like this in a present where what’s demanded is both a dissolution of the concept of human mastery over the environment and a dramatic mobilization, reorientation, and upscaling of progressive instruments closely aligned with the tools, attitudes, and systems that delivered the environment to the brink of collapse in the first place? Its violence veiled as much as romanticized, the story of a pioneer harnessing the productive power of a landscape was one promise of “the West.” As many of Oregon’s latest projects begin to suggest, there are and should be others, and the next steps are critical in defining the kind of refuge the region will become.