Slate-clad addition to the American Swedish Institute evokes contemporary Scandinavian design.Minneapolis-based architecture, engineering, and planning firm HGA faced a tall order when the American Swedish Institute asked them to design an addition to the building known locally as "The Castle." The turreted Turnblad Mansion, constructed in Minneapolis' Phillips West neighborhood in 1908 and home of ASI since 1929, lacked the kinds of multi-purpose spaces required by ASI's cultural and educational programming—and was suffering wear and tear from a steady stream of visitors. "The project was about creating a front door that was more welcoming and inviting than the existing building, that can help protect the mansion and allow it to be used as a house museum," said project architect Andy Weyenberg. At the same time, "the mansion remained the focal point," he explained. "It will always be the identity of ASI. Everything we did, we wanted to respect the mansion and keep it as a centerpiece." HGA's intervention honors the primacy of the Turnblad Mansion while updating ASI's image with a contemporary facade inspired by Swedish building methods and materials. "The mansion doesn't relate well to the Swedish identity: it's a French Chateau," said Weyenberg. "ASI wanted to use the addition to reinforce their identity as a Swedish institution, but they were interested in doing that in a modern way, relating it more to modern Swedish design and architecture." Positioned across a courtyard, or gård (a traditional typology found in both rural and urban buildings), from the Turnblad Mansion, the new Nelson Cultural Center is clad primarily in slate shingles. "Slate is a common building material in Scandinavia, especially dark slate like that," explained Weyenberg, who says that it is primarily used as a roofing material, but that he has seen examples of slate cladding since working on ASI's expansion. The slate also matches that on the Turnblad Mansion's roof. "We're using material that's sympathetic to the mansion, but using it in a different way. It's clearly a new piece of architecture," said Weyenberg. He points out that although there's nothing particularly high-tech about how the cladding was installed—it is hung like a roof system—it promises environmental benefits in terms of durability and longevity. "The roof on the mansion has been in place 100 years," observed Weyenberg. The entrance to Nelson Cultural Center is lined with panes of blue textured glass, another nod to Swedish design. Sweden is known for its glassmaking, having produced art glass firms including Orrefors and Kosta Boda. ASI's collection also includes a number of significant glass pieces. "That was another way of tying the design back to Sweden, and creating a reference to the ASI's collection, while also creating a bold element at the entry," said Weyenberg. HGA worked with Louisville, Kentucky, glassmakers Architectural Glass Art (AGA) to combine layers of commercially available textured glass and resin to create the translucent panels. "There's not a strong reference in terms of its construction to Swedish glassmaking," said Weyenberg, "but there was a process in terms of working with AGA as a craftsman to come to a quality we all liked. We wanted something subtle in texture but with an organic quality that relates well to the slate." HGA took advantage of a consulting program sponsored by local energy provider Xcel Energy to locate windows and curtain walls to frame views of the mansion and maximize daylighting while minimizing energy loss. Other features contributing to Nelson Cultural Center's LEED Gold status include a vegetated roof over the gallery and event spaces. "Green roofs are a really common form of building in Sweden," said Weyenberg. "They've been building sod roofs on farm buildings forever." Nelson Cultural Center's contemporary design reflects ASI's commitment to celebrating the Swedish influence on the Twin Cities while connecting with Minneapolis' next generation of newcomers—including, in the Phillips West neighborhood, young Somali immigrants. "As part of this expansion, they were really trying to update their identity and keep themselves current," said Weyenberg. "Their core constituency is aging. They were looking for a way to keep themselves relevant, and to reach out to new audiences."
Posts tagged with "LEED":
LEED Platinum renovation reconnects the Health Services Building to the campus core.Early in their renovation of the Arizona State University Health Services Building, Lake|Flato Architects, working with orcutt | winslow, decided to scrap the university’s initial concept in favor of a plan that would reengage the campus’s historic pedestrian corridor, the Palm Walk. Instead of building an addition to the north side of the existing facility, which included a serviceable two-story building constructed in the 1950s and another structure Lake|Flato partner Andrew Herdeg described as "a rambling one-story rabbit warren of spaces," the architects elected to demolish the one-story wing and build a two-story addition in its place. "This initial idea that we need to look at the basic concept before we start the design, and think about it from the campus design perspective, changed everything," said Herdeg. It allowed the design team to reduce the program by about 12 percent and reduce the footprint by 20 percent, as well as to preserve 5,000 square feet of green space for programs and stormwater mitigation. But it also presented a challenge. The renovated building’s primary identity would be on the east facade of the building, where the desert sun had the potential to undo efficiencies gained elsewhere. Lake|Flato and orcutt | winslow responded with a building envelope that provides a strong visual connection to the Palm Walk while reducing solar gain to the absolute minimum. The architects wrapped the south and west sides of the addition, where the clinics are located, in a tight brick over rigid fiberglass insulation. "The brick picks up on some surrounding historic buildings, and is also a traditional material for the campus," said Herdeg. The designers articulated the east side of the building with a series of bays and adjacent pocket gardens. The bays are oriented to the south and southeast, rather than due east, with the glazing on their south facets. "Instead of thinking about engaging the campus in a frontal way, we always thought of approaching this building on the diagonal," explained Herdeg. "Thinking about how the pedestrian perceives it helped us strategize about solar assets and thermal loads." The unglazed portions of the bays are clad in a metal skin, behind which an inch and a half of rigid insulation serves to eliminate thermal bridging. The articulated facade is designed to self-shade as the sun rises. "We worked on a series of pretty rudimentary daylighting studies that allowed us to look at the spacing of the bays," said Herdeg. "We did this balancing act between creating little pocket gardens, and using the adjacent bays to self-shade the glazing on the bays next to them." The design team installed corrugated metal overhangs over the bay windows to provide additional protection from direct sunlight. A series of recycled wood pulp and plastic screens from Trex, installed over the bay windows and over some of the glazing on the south and west sides of the building, constitute a final layer of defense against the Phoenix sun. "The Trex louver system allowed the solar thermal to be picked up on the lattice rather than the building skin; it was another barrier to the thermal load," said Herdeg. "The lattice also supports vines that are going to grow up, so these pocket gardens get surrounded by lush vine-covered walls." Likewise, on the new building’s two other facades, "the thought was that each of the little patient rooms would not be looking out at parking, but at a green screen," he explained. Lake|Flato and orcutt | winslow’s LEED Platinum intervention, which included replacing all the single-pane windows in the 1950s building with low-E insulated glass, will surely save ASU substantial sums on its energy bills. More importantly—thanks to the designers’ decision to demolish the inefficient one-story wing—it weaves the Health Services Building back into the campus fabric. "Now the building really addresses the campus," said Herdeg. "Before it had this very disjointed identity. Now we’ve created a cohesive identity with a single entrance. It’s a much better solution."
Net zero energy, LEED Platinum project raises the bar on eco-friendly office design.For its new headquarters in Los Altos, California, the David and Lucile Packard Foundation put its building budget where its mouth is. The philanthropic organization, whose four program areas include conservation and science, asked San Francisco-based EHDD to design a net zero energy, LEED Platinum building that would serve as a model of cutting-edge green building techniques. “They wanted to achieve net zero in a way that was replicable, and that showed the path forward for others to follow,” said project manager Brad Jacobson. “It was not just a one-off thing, not just a showcase.” The building’s facade was fundamental to its success as an example of sustainable design. “We were surprised at how significant the envelope is, even in the most benign climate,” said Jacobson. “Pushing the envelope to really high performance made significant energy and comfort impacts, and could be justified even on a first-cost basis.” EHDD began by considering the building’s siting. Because the street grid in Los Altos is angled 40 degrees to the south, orienting to the street would result in a long southwest elevation. The architects asked daylighting consultants Loisos + Ubbelohde what penalty this would entail. “They said you have to keep all solar gain out of the southwest facade; if you do that, the energy penalty will be in the realm of less than five percent,” recalled Jacobson. “But you really have to do an excellent job on sunshading. That was our mission.” EHDD designed deep overhangs over much of the facade’s southwest face, and added balconies and shade trees for additional protection. Where the glazing remained exposed, they installed external movable blinds from Nysan that operate on an astronomic time clock. “The blinds worked really well,” said Jacobson. “We were surprised how easy they were to commission and get working, and how relatively robust they are.” Thermal bridging was another area of concern for the architects. EHDD worked with Atelier Ten on thermal modeling of the wall, and discovered that any metal stud wall would sacrifice performance. They opted instead for wood stud construction, and switched to 24 on center framing to reduce thermal bridging through the framing structure. For insulation, the architects added one-inch external mineral wallboard from Roxul. On advice from structural engineers Tipping Mar, they installed FRP plates to separate external elements like balconies from the main structure. Because of the building’s location, EHDD did not initially consider triple glazing for the Packard Foundation offices. “We wrote it off at first,” said Jacobson. “We thought, that can’t be cost effective in this climate.” But Integral Group’s energy analysis convinced the design team otherwise. The improvement in comfort allowed by triple element windows from Serious Materials (now Alpen HPP) was such that the architects were able to eliminate a planned perimeter heating system, resulting in an estimated savings of twice the cost of the glazing upgrade. “It’s a really good envelope,” said Jacobson. “We did heat sensor testing of the building, and you can really see that it’s working as it’s supposed to. You don’t see the studs, and the windows are not leaking a lot of heat, so that’s been a real success.” The architects clad the building in local and sustainable materials, including FSC-certified western red cedar, stone sourced from within a 500-mile radius, and architectural copper. “Architectural copper is a really interesting material,” observed Jacobson. “It’s actually about 80-90 percent recycled because it’s valued. It doesn’t need refinishing and it patinas nicely. For a building being built to last 100 years, it has a good shot at never needing to be refinished or replaced.” Jacobson summarizes his firm’s approach to the design of the Packard Foundation headquarters as “Passive House light.” “At the same time we were doing a Passive House for a climate science researcher we’d worked with in the past,” he said. “We were working on both and learning from each. It’s a different type of building, but a lot of the same principles apply: good air sealing, eliminating thermal bridging, and pushing the envelope further than you think makes sense.”
A tight budget and short timeline inspired an innovative concrete and terra cotta facade.BNIM and Moore Ruble Yudell approached the design of the Henry W. Bloch Executive Hall for Entrepreneurship and Innovation at the University of Missouri-Kansas City with two objectives. The first was to express the creative spirit of the university’s program in entrepreneurship, which at that point lacked dedicated support spaces. The second goal was to tie the contemporary structure to its historic surroundings. Moore Ruble Yudell, who developed many of the project’s interior concepts, tackled the former, creating flexible classroom and laboratory spaces and a multi-story amphitheater that doubles as casual seating and a venue for school-wide gatherings. As for the latter, BNIM designed a multicolored terra cotta envelope that balances singularity with connection. “The idea was to create a building that sat by itself, but somehow bring it into context in terms of materials,” explained BNIM senior project architect Greg Sheldon. Because so much of the existing campus architecture featured masonry construction, the architects “had a desire to use a fired earth material, but to try to do it in a more contemporary way,” said Sheldon. Inspired by a project in London that combined different colors of terra cotta to blend it into its surroundings, BNIM began working with architectural terra cotta manufacturer NBK to design a rain screen for Bloch Hall. But budget and time constraints soon intervened. To cut costs and enclose the building as quickly as possible, BNIM approached Enterprise Precast Concrete about the possibility of casting the terra cotta components directly into insulated concrete panels. “There was a lot of back and forth between Enterprise Precast Concrete and NBK,” said Sheldon. “This was one of the very early projects to use this technique.” To further streamline construction, BNIM and Moore Ruble Yudell decided to integrate the concrete into the interior aesthetic, so that the inside face of the panels required no additional finishing beyond sandblasting. General contractors JE Dunn Construction “loved that if we could pull this off, the insulation’s in place and the inside’s finished,” said Sheldon. “They bring it out, put it on the building, and that’s it.” For glazing, the design-build team ordered a YCW 750 XT high performance curtain wall from YKK, sized to slot into the opening between the building’s masonry components. Together, the insulated concrete-terra cotta panels and high performance glass helped put the building on track to earn LEED Gold certification. The patterns in the terra cotta “weren’t accidental, but were studied and studied,” said Sheldon. The south end of the building is a deep red, like the adjacent Bloch School Building. To the north, the colors fade to a buff yellow, reflecting the lighter tones of the nearby student center. To perfect the patterning, the designers first looked at the range of colors available through NBK and chose the six most compatible with the surrounding buildings. They then unfolded the elevation of the building and plugged the different shades into their digital model. BNIM experimented with different combinations, printing each and pinning it to the wall before making adjustments. “I don’t know how many iterations they did,” said Sheldon. “It just went on and on.” The final scheme achieves the desired effect. In color and materials, it creates a dialogue with the older buildings around it. Yet the bold patterning simultaneously marks the facade as a 21st century creation. Upon receiving the $32 million gift from Henry W. Bloch that made building the new Bloch Hall possible, then-Dean Teng-Kee Tan observed that “the path of innovation is never a straight line.” The architects manifested the analogy in the building's architecture and landscaping, carving the interior into a series of curvilinear spaces, and connecting the building to its neighbors via a meandering path. But the statement applies equally to the design process itself, in which a tight budget and 14-month construction timeline encouraged an innovative combination of concrete, terra cotta, and high performance glass. A successful sublimation of limitations into opportunity, the story of Bloch Hall’s envelope is the story of entrepreneurship in microcosm.
An aluminum rain screen and locally-sourced brick articulate a two-part program.The Brook, developed by Common Ground and designed by Alexander Gorlin Architects, is part of a new wave of affordable housing communities popping up all over the United States. Unlike the public housing projects of the mid-twentieth century, which focused exclusively on housing and tended to suffer from a lack of routine maintenance, The Brook, located in the Bronx, combines apartments and support services under one roof. This duality is manifested in the envelope’s contrasting material palette—dark grey brick for the residential spaces, raw aluminum over the community facilities. “The idea of the exterior was to symbolize, as well as reflect, the internal program of Common Ground as supportive housing,” said Alexander Gorlin. “It’s inspired in part by Le Corbusier and his idea of expressing the program on the facade, and expressing the public functions as a means of interrupting a repetitive facade." The Brook’s communal areas, which are clustered at the corner of the 92,000-square-foot, six-story building, are marked on the exterior by ES Tolga Dry Seal System aluminum panels from Allied Metal. In addition to articulating the change in program, the metal facade “represents coming together, creating a landmark for the neighborhood as well,” said Gorlin, who noted that Common Ground “liked from the beginning marking the corner as a special symbolic place.” The metal-clad corner also functions “urbanistically, to break the building into three parts, break down its scale,” he explained. A series of inset terraces interrupt the grey aluminum walls with splashes of red. “At one level it’s a bright color to be cheerful and optimistic,” said Gorlin. “In China, red is a symbol of good luck. It also symbolizes the heart of the program and the community.” The Brook’s 190 studio apartments are distributed to either side of the community facilities, along wings punctuated with square and rectangular windows. “We decided to vary the window placement so it would create a more lively asymmetrical pattern. It’s not just a simple grid,” said Gorlin. The designers clad the housing areas in locally sourced dark grey brick. “Brick is a very noble, ancient material,” observed Gorlin. As a good insulator, it also contributes to the building’s LEED Silver status. Other sustainability strategies include a green roof, a special boiler system, building management technology that turns off the lights when a room is not in use, and the use of recycled and non-offgassing materials. The Brook was erected on a vacant lot in a neighborhood once known for pervasive blight. Early in the design process, said Gorlin, the architects and developers discussed installing bars over the lower windows. “It was determined very consciously not to do it, even though there’s glass on the corner,” he explained. “We decided not to put bars up or make it look in any way prison-like. In fact, by not doing so it’s been maintained in perfect shape. People in the neighborhood think it’s a high-end condo.” Gorlin calls Common Ground “a miraculous kind of client in terms of what they do and the manner in which they deal with the community.” The Brook, he said, represents a new approach not just to affordable housing, but to homelessness. “To actually build permanent housing for homeless people” is a unique opportunity, he said. “It’s not just a shelter, but a place to start over in life.”
Sustainability and high design meet in Leddy Maytum Stacy Architects' affordable housing complex.Designing a sustainable building on a budget is tricky enough. But for the Merritt Crossing senior housing complex in Oakland, California, non-profit developer Satellite Affordable Housing Associates upped the ante, asking Leddy Maytum Stacy Architects to follow not one but two green-building ratings systems. "They wanted to push the envelope of what they typically do and decided to pursue not only the LEED rating, but also the GreenPoint system," said principal Richard Stacy. "So we actually did both, which is kind of crazy." Wrapped in a colorful cement-composite rain screen system punctuated by high performance windows, Merritt Crossing achieved LEED for Homes Mid-Rise Pilot Program Platinum and earned 206 points on the Build-It-Green GreenPoint scale. The building was also the first Energy Star Rated multi-family residence in California, and was awarded 104 points by Bay-Friendly Landscaping. Merritt Crossing’s 70 apartments serve low-income seniors with incomes between 30 and 50 percent of the area median. More than half of the units are reserved for residents at risk of homelessness or living with HIV/AIDS. Stacy explains that in the context of affordable housing, sustainability means two things. The first is quality of life for the residents, "the sorts of things that have a direct benefit to the people living there," such as natural daylighting and indoor air quality. The second is energy efficiency. "Both non-profits and [their] residents have limited financial capabilities," said Stacy. "The one time they have funding for that kind of thing is when they’re building a building. So we focused a lot on the building envelope in terms of energy efficiency. At the same time, we wanted to have ample daylight and controlled ventilation.” Finding themselves with unused contingency funds during construction Leddy Maytum Stacy Architects upgraded the exterior skin to a rain screen system of SWISSPEARL cement composite. "We worked pretty closely with the SWISSPEARL company," said Stacy, who noted that Merritt Crossing may be the first building in the United States to use the system. Though the panels are installed like lap siding they offer "the benefits of a rain screen in terms of cooling and waterproofing issues," he explained. To accommodate the thicker skin, window manufacturer Torrance Aluminum designed custom trim pieces, which "had the added benefit of giving us the appearance of deeply recessed windows," said Stacy. Insulation was a special concern for the architects, both because Merritt Crossing was built using metal frame construction, and to minimize air infiltration in keeping with the green ratings systems. The building’s exterior walls are wrapped in 1-inch-thick high performance polyiso insulation from Dow Corning with a Grace Perm-A-Barrier VPS vapor permeable membrane. "As a result we ended up with a very, very tight building from an air insulation standpoint, which means you have to pay more attention to air ventilation," said Stacy. To compensate, Leddy Maytum Stacy Architects’ mechanical engineers designed a special air filtration system for the building’s roof, complete with built-in HEPA filters. The building’s southwest facade faces a freeway, presenting potential noise and privacy issues in addition to exposure to the western sun. "We did a highly layered facade on that [side] where the actual exterior wall is back three to four feet from another screen wall," said Stacy. The outer wall "is a combination of typical wall assembly as well as GreenScreen panels that form a webbing of open areas and solid areas that help with sunshading as well as acoustical [dampening] and privacy." Greenery in balcony planters will eventually grow up and over the screens. On the ground floor, the garage is also enclosed in GreenScreen trellising, to enhance pedestrians’ view without sacrificing ventilation. Leddy Maytum Stacy Architects’ Merritt Crossing proves that affordable housing does not have to look institutional. The facade’s vibrant colors—green on the northeast elevation, red on the southwest—and playful punched texture pay homage to the neighborhood’s patchwork of architectural styles and building uses. The first major building in the planned redevelopment of the area around the Lake Merritt BART regional transit station, Merritt Crossing sets the bar high for future developments.
StructureCraft fabricates an orchid-shaped roof that supports vegetation and Living Building Challenge principles.After serving patrons at one of Vancouver’s oldest botanical gardens for nearly 100 years, the VanDusen Gardens Visitors Centre had fallen dangerously into disrepair. Perkins+Will Canada conceived of a new, orchid-shaped center that meets CaGBC’s LEED Platinum ratings, and is the country’s first structure to target the International Living Building Challenge with features like geothermal boreholes, a 75-square meter photovoltaic array, and a timber roof that supports vegetation. To help fabricate the wooden structure to Perkins + Will Canada’s vision, the team contracted StructureCraft, a Vancouver-based design-build studio specializing in timber craftsmanship and structural solutions. Initial designs for the 19,000-square-foot building were delivered to StructureCraft as Rhino files. The uniquely shaped rooftop, which mimics an outline of the indigenous British Columbia orchid, had to be economically fabricated in a way that took net carbon effects into account. Within Rhino plugins—mainly Grasshopper—and with the help of strucutral engineers Fast + Epp, the StructureCraft team sliced the shape of the building into 71 long, curved panels of repeatable geometries. “Each curve is unique, so there’s a different radii for each beam,” said Lucas Epp, a structural engineer who worked on the project. “We optimized the global geometry of the roof so the radii of all the beams were in our fabrication tolerances but still achieved the architect’s desired aesthetic.” Also within Rhino, the team integrated all of the building’s services into each of the panels. Since much of the piping and wiring for other trades like insulation, sprinklers, and electric utilize flexible formats and conduits, modularizing the panels significantly reduced site time from months, to weeks. And to protect the wooden structures, moisture barriers and closed-cell thermal insulation were applied throughout. The parametric model was then imported to Solids modeling software to develop a bespoke fastening system. StructureCraft used jig and table sawing methods to mill panels of Glulam, chosen for its flexibility and strength. Timber battens were affixed as cladding in sizes that were thin enough to naturally accommodate the curves of each panel. Solid timber support columns, carved on StructureCraft’s in-house lathe, taper at both ends to Perkins + Will Canada’s design specifications. Business development engineer Brian Woudstra, who worked on the project, attributed the accuracy of fabrication and the speed of installation to the expansive capabilities of parametric modeling. “We could model every joist, Glulam panel, and ceiling batten to help with conflict detection and feasibility,” he said. “We always prefabricate our projects in our shop, so it’s like a kit of assemblies that all clicks into place.”