The Biomedical Sciences Partnership Building at the University of Arizona was designed by CO Architects to draw on an urban desert vernacular style. Inspired by the deep recesses of desert cliff dwellings, the building’s south-facing facade slopes and shifts as it rises ten stories above the vegetated canyon wash. Sectional carvings in the building’s mass create self-shaded conditions and mitigate solar exposure. Incisions are employed along an east–west orientation to provide indirect daylight while planometric undulations along the north and south facing elevations create overhangs. The building is dedicated to collaborative clinical and translational research, and the ground floor houses public spaces and provides access to an inner courtyard.Honorable Mention Project Name: Zuckerberg San Francisco General Hospital and Trauma Center Designers: Fong & Chan Architects Location: San Francisco
2016 Best of Design Award for Unbuilt > In the Drawers: University of Miami Student Housing Master Plan, Phase 1
Using the home as the building block, CO Architects’ scheme for the University of Miami transforms the notion of dormitory life: Presenting multiple scales of social environments, each three-story home juxtaposes private with semi-private elements. Larger units lift from the ground to allow for passageways and program spaces beneath.
Honorable Mention, Unbuilt > In the Drawers: LaGuardia Airport Master Plan
Selected as a finalist for the 2014 Master Plan Design Competition launched by Governor Andrew Cuomo and Vice President Joe Biden, the proposal responds to LaGuardia’s history of delays due to tarmac crowding by creating a two-island concourse that improves operations, offers a unified environment, and creates an appropriate gateway to New York City.
Honorable Mention, Unbuilt > In the Drawers: WWI Memorial: Path of the Americans
Architect: DXA studio Location: Washington, D.C.
Shining like stars, 116,516 points of light beaming from concrete walls, at once shed light on the memory of Americans lost in World War I and—alongside a central reflecting pool—serve as a metaphor for healing, resilience, and recovery.
“We don’t need walls anymore. We need living, breathing systems that provide so much more to the urban realm than keeping in conditioned air and keeping out noise and pollutants.” - Will Wright, AIA|LALos Angeles’ 2016 Facades+ Conference, presented by The Architect’s Newspaper, is the 18th event in an ongoing series of conferences and forums that have unfolded in cities across the nation, including New York City, Miami, San Francisco, Dallas, Houston, Seattle, D.C., and Chicago. Held at the L.A. Hotel Downtown, the conference incorporated architects, engineers, fabricators, and innovative material manufacturers into a multidisciplinary two-day event covering the state of building envelope design thinking today. The daylong symposium kicked off with spirited remarks by Will Wright, Director of Government & Public Affairs at AIA L.A., where he set forth a plea for stronger emphasis on localism and craftsmanship. Co-chaired by Kevin Kavanagh and Alex Korter of CO Architects, the event included AIA LA, four local architecture schools – UCLA, USC, Woodbury, and Cal Poly Pomona – and a robust collection of Los Angeles-based architecture firms. Four panel discussions throughout the day covered the influence of building envelopes on business, education, structural design, and data analysis. The conversations engaged audience participation through an interactive, web-based tool called Sli.do. In a morning panel discussion titled “Money Well Spent? An Owner’s Perspective on the Value of Facades,” moderator Kevin Kavanagh spoke with representatives from Kaiser Permanente, Kitchell, and The Ratkovich Company on finding the right balance between aesthetics, energy performance, fiscal responsibility, and efficient project scheduling. During breaks, conference attendees attended a “Methods+Materials” gallery that highlighted innovative building envelope materials such as electrochromic glass, metal mesh fabric with integrated media display, and ultra-compact surfacing products. The symposium was highlighted by keynote addresses from Enrique Norten and Eric Owen Moss. Norten’s opening keynote set forth an argument for a socially responsible architecture integrated into the city via infrastructural, landscape, and public space projects. He cited works of his firm, TEN Arquitectos, which incorporate topographical manipulations of the landscape to establish social spaces of public engagement. His work intentionally camouflages the building envelope into a contextual landscape—be it an adjacent park or cityscape—to dissolve the separation between public and private. Eric Owen Moss spoke in the afternoon, questioning at what point the conceptual content of a project becomes lost amidst constructional realities. Through recent work of his firm, Eric Owen Moss Architects, he focused on building envelope details that strayed from original design intent, transforming in concept and tectonics as engineers, fabricators, and contractors participated in the process. In a panel discussion titled “Bytes, Dollars, EUI: Data Streams and Envelopes,” Moderator William Menking, Founder and Editor-in-Chief of The Architect’s Newspaper, spoke with Atelier 10, Gehry Technologies, and CPG regarding tools and processes facilitating facade analysis and optimization. Sameer Kashyap (Gehry Technologies) shared perhaps the most bewildering stat of the day—that GT was able to script processes which allowed two people to produce over 1200 shop drawings per day for 33 weeks in the coordination of a highly complex facade system. Paul Zajfen of CO Architects rounded out the day with a presentation titled “Facades: A Manifestation of Client, Culture, Climate,” where he argued for contextually specific design producing a facade that “would not be possible at any other time—and in no other place.” The symposium was followed on day two with a series of “dialog” and “lab” workshops covering net-zero facade systems, digital fabrication processes, curtain wall design, and advanced facade analysis. A full roster of organizers and sponsors can be found on the conference website. The Los Angeles event was the first in 2016 of a seven-city lineup, and will be followed by a Facades+AM morning forum in Washington, D.C., on March 10th. The next two-day conference will take place in New York City April 21st and 22nd.
Red-rock mountains and the saguaro cactus inspired the Health Sciences Education Building's rippling copper facade.Downtown Phoenix, observed CO Architects’ Arnold Swanborn, looks a lot like downtown Minneapolis. That feels wrong, given the two cities’ contrasting environments. So when it came to designing the Health Sciences Education Building (HSEB) at Phoenix Biomedical Campus (which won honorable mention for facades in AN’s Best of Design Awards), CO Architects went back to nature—to the Sonoran Desert in particular. “We’re building in a desert. We really, in the outset, wanted to understand what it’s like to build in a desert environment, to really go back and investigate the people who first moved there, or even some of the [American] Indians who lived [there],” said Swanborn. “The skin is really a response to some of the lessons we learned from going out to the desert, being out there and seeing how plants and animals adapted to that environment.” HSEB’s undulating envelope, comprising 5,972 copper panels and more than 10,000 copper parts, echoes two of the defining features of the Arizona desert. First is the omnipresent saguaro cactus, which evolved a folded skin as a self-shading structure. Second is the layered soil of the nearby mountains. “[T]he [building’s] skin folds in a way that’s similar to the saguaro cactus,” explained Swanborn. “How we emulate the mountains beyond is by creating a shadow pattern by folding and articulating the metal panels.” Copper was a natural choice for the exterior cladding. HSEB went up during the recession, said Swanborn, “when everyone was very sensitive to making sure everything was local.” Copper is one of Arizona’s “five C’s”: copper, cattle, cotton, citrus, and climate. In addition, copper is highly conductive, meaning it responds quickly to the region’s aggressive swings in temperature. “Because it’s a rain screen technology we innovated into a sunscreen, there’s a space between the copper skin and building envelope,” said Swanborn. “There’s a 2 ½- or 3-inch air cavity that essentially acts as a chimney. The air gets superheated, and it essentially creates a vertical convection effect, which wicks heat away from the building.” On a 100-degree day, the copper skin keeps the interior a (relatively) cool 70. Finally, copper ages well. “Over time it patinas beautifully,” said Swanborn. “It’s easy to take care of; it kind of takes care of itself.” Phoenix’s climate informed every aspect of the exterior design, starting with the massing. CO Architects worked with Transsolar to determine a shape that would maximize shading. The building is arranged around a narrow courtyard running from east to west, which the architects modeled on the Sonoran desert’s slot canyons. The courtyard is topped with a polytetrafluroethylene (PTFE) shading structure, which “allows daylight to filter through—sort of like a big lightbulb,” said Swanborn. “It filters, diffuses, and bounces off the interior’s light-colored walls.” The courtyard walls are faced in Trendstone ground face masonry units by Trenwyth, a light block rain screen used as a veneer. The courtyard helps bring light to HSEB’s east and west faces, which CO Architects left windowless in order to reduce thermal gain. On the south side of the building, they installed cantilevered copper sunshades over the windows. Vertical copper fins on the north elevation shade occupants from the rising and setting sun. Like the building’s copper cladding, the sunshades and fins were fabricated by Kovach. To open the ground floor on the west end of the building to the adjacent campus green, CO Architects took a cue from early desert dwellers. “When the [American Indians] first settled, they built underneath these carved rock formations, which again becomes self-shading,” Swanborn. The ground floor is glazed, but set back under the building to reduce direct exposure to the sun. Swanborn relished the challenge the joint University of Arizona/Northern Arizona University project provided. “To me the story’s really about the idea of creating a new urban vernacular for the desert,” he said. “The more restricted things become, [the more] architects have to become inventive. The skin of the building is really a pointer to that: it’s inventive, it’s innovative. I think it’s very fitting for that area.”