Posts tagged with "Arizona":

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Aranda\Lasch and Native American artist Terrol Dew Johnson combine traditional and modern craft in this new exhibition

As contemporary architects continue to integrate craft into their designs, they’d be well served to take a close look at the new exhibition Meeting the Clouds Halfway at the Museum of Contemporary Art Tucson (MOCA).

Stemming from a more than 10-year collaboration between New York architects Aranda/Lasch and Native American artist Terrol Dew Johnson of the Arizona-based Tohono O’odham Nation, the show examines the merger of contemporary and traditional materials, techniques, and ideas.

“I’ve always been fascinated by things that were really different and took me out of the traditional realm,” said Johnson. “I saw this as an exciting adventure.”

The show, staged inside MOCA’s generous, light-filled Brutalist main gallery, includes works ranging from jewelry and small baskets to furniture, sculpture, and large-scale structures that grew out of the designers’ experiments with the traditional native technique of coiling, in which a bendable material is woven around itself to create a solid surface.

The teams incorporated a large palette of traditional materials like bear grass, yucca, sinew, wood, gourd, horsehair, and feathers, and more modern ones like aluminum, steel, copper, and fiberglass. They merged coiling and weaving with computer modeling and fabrication techniques like CNC milling and water jet- and laser-cutting. Often a design would bounce between the teams across the country, digital and analog creations emerging in new and unexpected ways.

In one case, a wood basket was formed from laser-cut panels, assembled via weaving and connected with yucca and sinew. In another, a laser-cut metal loop would start in New York, and then come back from Arizona looking utterly transformed.

The artists first teamed up in 2006 for a show at New York’s Artists Space. The current show, curated by Alexandra Cunningham Cameron, displays diverse pieces on platforms and walls, and even hangs them from the ceiling.

The project was as much about process as it was output, said Chris Lasch, principal at Aranda/Lasch. “What it boils down to was looking for a way to exchange information. The design was always collaborative. The pieces were always done through discussions and design sessions.”

Both sides of this creative team are not only happy with what they’ve learned from the other, but are looking to collaborate again. Lasch notes that perceptiveness to local craft and materials is helping them with a new furniture system they’re developing for a school built by the 14 + Foundation in Zambia.

“The sky is the limit,” added Johnson. “I’m definitely looking for what the future holds with more collaborations or ideas to expand on what I need to express myself.”

Meeting the Clouds Halfway runs through January 29, 2017, see MOCA's website for more details.

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WORKac’s Arizona House revives the super sustainable Earthship typology

This article is part of  The Architect's Newspaper's "Passive Aggressive" feature on passive design strategies. Not to be confused with “Passivhaus” or “Passive House” certification, passive design strategies such as solar chimneys, trombe walls, solar orientation, and overhangs, rely on scheme rather than technology to respond to their environmental contexts. Today, architects are more concerned with sustainability than ever, and new takes on old passive techniques are not only responsible, but can produce architecture that expresses sustainable features through formal exuberance. We call it “passive-aggressive.” In this feature, we examine three components—diagram, envelope, and material—where designers are marrying form and performance. We also look back at the unexpected history of passive-aggressive architecture, talk with passive-aggressive architects, and check out a passive-aggressive house. More “Passive Aggressive” articles are listed at the bottom of the page!

“The desert house typology reached an ending point where it became all about overhangs and metal—a common vocabulary of what a desert house should be,” said Dan Wood, principal of WORKac. “We felt like that needed to be renewed.” For their typological update, Wood and his wife and partner Amale Andraos conceived an off-the-grid guesthouse in Tubac, Arizona, about 45 minutes out of Tucson. The approximately 1,500-square-foot structure will balance on a single column (a pilotos, joked Wood) with an extreme cantilever to create a shaded yard and a triangular frame.

The resulting form cites Arcosanti, Taliesin West, Earthships, and Spanish missions.

“There is a culture of embedding the architecture in the landscape that has this very environmental sort of aspect—the desert has this immediate effect of asking you to respect it because it’s so striking and beautiful,” said Andraos.

Starting with the concept of a classic Earthship (a passive house made of natural and recycled materials), Wood and Andraos experimented with thermal and structural mass. Rather than embed the building in the ground like an Earthship, they elevated it, using a weighty mass of adobe bricks to insulate the home. Orienting this thermal mass to the north, a slanted glass wall with photovoltaic panels faces south, its 35-degree angle running parallel to the stairs inside. An outdoor fire pit and garden atop the fireplace conveniently occupies the incongruous space created by the building’s two masses coming together.

Inside, the layout is organized with the private rooms—two bedrooms and a bathroom—embedded into the adobe brick mass, and the public spaces—including a kitchen, living-and-dining area, and greenhouse—in the glass-enclosed portion. The triangular shape and a series of screens and shades will help to circulate air and provideheating and cooling. “We’ve always been interested in systems and architecture that we can play and engage with,” Andraos said. “This ties all of it together in a microcosm: heat and cooling, air movement, water collection, and growing food and plants.” The division of space also allows the architects to play with compression, expanding from eight-foot-high ceilings in the bedrooms and bathroom to 18-foot-ceilings at the apex of the home.

Under the main house, parking spaces will be dug into the ground to further facilitate cool air circulation, and a workshop-toolshed will inhabit the column. The rest of the area is meant to be used as a deck. “It’s a very different kind of space under the house, but it still resonates with the traditional typology,” Wood said. “We’re trying to see how much we can float, so all of the furniture is suspended.”

Although the house will feature composting toilets and other sustainable systems, it is meant to be largely manual and will require the residents to interact with it. “We want to engage with that history of Earthship systems with an aesthetic that’s very ad-hoc, anti-architectural, and DIY, but bring a contemporary take to it.”

For more “Passive Aggressive” articles, explore: our feature article that features projects from across the world, Bjarke Ingels Group’s own tech-driven think tankour brief, unofficial history of recent passive-aggressive design, and MOS Architects' Michael Meredith on sustainability.

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Frank Lloyd Wright School works towards independence from Frank Lloyd Wright Foundation

The Scottsdale, Arizona–based Frank Lloyd Wright School of Architecture is currently working toward achieving independence from the Frank Lloyd Wright Foundation to maintain its accreditation as an institution of higher learning.

Architecture schools are required to be accredited by both the Higher Learning Commission (HLC), usually as part of a larger university, and the National Architectural Accrediting Board (NAAB). The HLC is responsible for overseeing overall standards of degree-issuing institutions in 19 states, while NAAB is only concerned with architecture schools. In 2010, the HLC updated its bylaws forcing all institutions of higher learning to be separate from any other larger institution, which does not have education as its primary mission. The Frank Lloyd Wright School is a division of the Frank Lloyd Wright Foundation, meaning the school is not in line with the HLC’s current policies.

In a recent decision by the HLC, the school’s application for “Change of Control, Structure, or Organization,” a requirement for its continued accreditation, was denied. Working closely with the school, the HLC has asked for an updated application by November 30, which will be reviewed at its February board meeting.

“The response from HLC was never a matter of a disagreement with what was previously submitted. In consultation with their staff, we now understand the areas where they would like to see us flesh out our previous submission,” remarked Frank Lloyd Wright Foundation president and CEO Stuart Graff in a statement to the press. Graff and school dean Aaron Betsky have met with the HLC in order to understand the commission’s concerns and recommendations for their upcoming application. Both Betsky and Graff are confident the school is on the path to accreditation as an independent institution.

 

It is important to note that the school has not lost its accreditation, which is good through 2017, but it must prove that it is independent before that accreditation expires. The HLC’s criterion for accreditation dictates that “the governing board of the institution is sufficiently autonomous” and “the institution’s resource base supports its current educational programs.” This separation from the Frank Lloyd Wright Foundation greatly affects the school’s funding, much of which has come from the Foundation. In 2015 the school successfully raised $2 million dollars in order to become financially independent.

The school has been an accredited institution of higher learning since 1987, and first became accredited as an architecture school in 1996. The school’s NAAB accreditation is good through 2023. The Frank Lloyd Wright School offers a three-year Master of Architecture degree, which students pursue while splitting the year between the school’s Scottsdale, Arizona, and Spring Green, Wisconsin, campuses.

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The Architectural League of New York announces 2016 Norden Fund winners

The Architectural League of New York has announced two winners for the 2016 Deborah J. Norden Fund travel grants. Claiming the award is Bryan Maddock for A Serpentine Science: Affonso Eduardo Reidy’s Housing Pair and Caitlin Blanchfield and Nina Kolowratnik for Deserted Border Lands: Mapping Surveillance along the Tohono O’odham Nation. As a result, the two teams will receive up to $5,000 annually in travel and study grants. Currently employed as a project designer for Bjarke Ingels Group (BIG), Bryan Maddock is due to head to Rio de Janeiro in Brazil on the hunt for a "socially responsive and environmentally sensitive housing typology" while looking at the legacy of Brazilian modernist architect Affonso Eduardo Reidy. Using "serpentine" social housing units, Reidy, like fellow compatriot Lina Bo Bardi, strove to unite his architecture with its natural context: dramatic, mountainous topography. Though he died at the age off 55, Reidy aimed to “elevate the working class both physically and symbolically.” Sadly, much of his work—including documents and drawings for unrealized projects—were destroyed by the state as his buildings were left to deteriorate. On his journey, Maddock will survey the landscape where Reidy's structures still remain. In doing so, Maddock hopes to establish an online visual archive of drawings, videos, and text. Reidy’s work “serves as proof that architecture can operate as a fantastic offense for the renewed city," he said. The other winning pair, Caitlin Blanchfield and Nina Kolowratnik meanwhile will head off to the border of Sonora, Mexico and the Tohono O’odham reservation, directly south of Phoenix in Arizona. Here they will analyze various aspects of the border area as more stringent security and surveillance measures are implemented on the sacred lands of the Tohono O'odam Native Americans. Using interviews, a community workshop, and drawings, the two will employ a interdisciplinary methodological approach to examine the “issues of spatial politics in border regions, indigenous rights, and critical landscape discourse.” Blanchfield is the managing editor at The Avery Review, meanwhile her partner for the project Kolowratnik works as an Adjunct Assistant Professor at Columbia University’s Graduate School for Architecture, Planning, and Preservation.
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The Frank Lloyd Wright School of Architecture is $2 million closer to independent incorporation

In collaboration with the Scottsdale, Arizona-based Frank Lloyd Wright Foundation (FLWF), the Frank Lloyd Wright School of Architecture (FLWSA) has raised more than $2 million dollars from 317 contributors. To comply with new accreditation requirements, the school is in the process of becoming an independent subsidiary of the foundation. The funds are an important milestone on the FLWSA's journey towards financial stability. The FLWSA was founded by Wright in 1932 at Taliesin, his home in Spring Green, Wisconsin. The school, with a current enrollment of 19 students in its M.Arch program, is now dually located at Taliesin and Taliesin West, in Scottsdale. In 2011, the Higher Learning Commission (HLC) changed its accreditation requirements, stipulating that it will no longer grant accreditation to schools which operate under umbrella institutions with "multifaceted missions." The FLWF, whose purpose is to "preserve Taliesin and Taliesin West for future generations, and enrich society through an understanding of Frank Lloyd Wright’s ideas, architecture, and design,” is helping the school on its mission. As part of the agreement, the foundation will loan the school classroom and residential facilities at Taliesin and Taliesin West. The FLWF will put $1.4 million over four years towards the operating costs of the school, in addition to a $7 million investment over the same period. FLWSA's dean, Aaron Betsky, outlined the direction the school will take: “We have been hard at work with the Foundation’s staff and Board to ensure the School’s future not just in financial and organizational terms, but also by improving its curriculum and by developing programs that continue Wright’s legacy in organic architecture and learning by doing in ways that answer to our needs for a more sustainable, open, and beautiful human-made environment.” Students will design and build desert shelters, as well as take newly added courses in digital fabrication, design, and theory. The school has a four year partnership with the mining towns of Miami and Globe, Arizona. Students will carry out community–based projects in those communities and in similar towns near Taliesin. To solidify accreditation, the foundation and the school board will prepare a "Change of Control" application for the HLC to review in June 2016. If the HLC approves, the foundation will file documents with state and federal agencies to legally recognize the school as an independent subsidiary of the foundation. If all goes smoothly, the process is expected to be complete by early 2017.
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On View> The White Shirt According to Me. Gianfranco Ferré

The White Shirt According to Me. Gianfranco Ferré Phoenix Art Museum, Steele Gallery 1625 N. Central Avenue, Phoenix, AZ Through March 6, 2016 Gianfranco Ferré, the “architect of fashion,” probably loved white as much as Le Corbusier did, but thankfully that’s where the comparisons between the Italian fashion designer and modernist pioneer end. The White Shirt According to Me. Gianfranco Ferré exhibits 27 white shirts that defined Ferré’s career spanning from 1982–2006. After obsessing over the medium throughout his life, and considering it as the ultimate expression of form, communication ideologies, beauty, and emotion, Ferré’s deviations on the subject are well chronicled. That’s not to say there will just be fabric on display. In fact, a multiplicity of media has been used to illustrate the seemingly never-ending iterative processes Ferré employed to discover new forms of the white shirt. Sketches, technical drawings, photography, and film convey these techniques and ideas that have been used to create his well-established “hallmark of style.”
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It’s the Great Pumpkin, Peoria! A 25-foot-diameter pumpkin balloon rolls through Arizona town

Yesterday, Peoria, Arizona, was attacked by an unlikely foe: a 25-foot-diameter, 350-pound jack o’ lantern balloon. The inflatable pumpkin “escaped” from a Halloween display in the Peoria Sports Complex and proceeded to bounce and roll through the town, including multiple traffic lanes and a neighborhood park, where it eventually got stuck. Officials say that the pumpkin got loose due to strong winds in the area. (Personally, we at AN think it was a copycat performance inspired by the runaway RedBall in Toledo, Ohio). No one was injured, although it did cause street damage at 83rd and Grand Avenues.
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Amangiri Resort blends with Utah’s dramatic desert landscapes for one luxurious getaway

One of hospitality’s hottest hideaways is located—where else—on barren desert land solely accessible via a treacherously winding road. Booked to nearly full capacity for the first two years of operation, the Amangiri resort is nestled in a desert region called the “Four Corners,” where the borders of Utah, Colorado, New Mexico, and Arizona converge. The resort was crafted by architects and designers Wendell Burnette, Marwan Al-Sayed, and Rick Joy, and guest rooms overlook a sea of sand billows, presenting unhindered views of the Stud Horse Point of the Glen Canyon to the majestic Grand Staircase Escalante National Monument. A bird’s-eye-view of the estate hints at an unimpressive, boxy encampment, but staying in this luxury enclave will set you back $1,100 a night for a desert-view suite and $3,600 for the Amangiri Suite. Designed to blend into the surrounding monoliths, the building features natural materials and textures, with a concrete facade subtly tinted pink, ocher, and light yellow to soften the building’s profile. The pavilion and main pool (which is heated to more than 80 degrees at all times) are configured around a dramatic stone escarpment which is more than 150 million years old. Adjacent to it is a communal great room with four fireplace niches, which serves as a reception area, dining room, gallery, library, and living room—as well as an optimal vantage point for drinking in the sunset. Two accommodation wings stem from the pavilion—the Desert Wing contains 16 suites, with 18 suites and the Aman Spa located in the Mesa Wing. In designing the building the architects deferred to the geometry of the looming cliffs, often slanting walls towards each other to provide slot canon views of the desert and mesa. Desert-dwelling pastimes touted by the resort include hot air ballooning, helicopter rides, equestrian excursions, hikes, and day trips to Lake Powell. The luxury resort is the brainchild of Singapore-based company Aman Resorts, which specializes in developing small, exclusive properties in locations that stray from the beaten path. [h/t Fubiz.]
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Aaron Betsky to Head Frank Lloyd Wright School of Architecture

The search for a new leader of Frank Lloyd Wright's School of Architecture concluded today, as the Frank Lloyd Wright Foundation named Aaron Betsky the new dean in charge of Taliesin. Betsky previously served as director of the Cincinnati Art Museum, but stepped down from that position in January 2014. He was previously the director of the Netherlands Architecture Institute, and he directed the 11th International Architecture Exhibition at the Venice Biennale in 2008. He has authored numerous books on art and architecture and continues to blog for Architect. Split between campuses in Spring Green, Wisconsin and Scottsdale, Arizona, the Frank Lloyd Wright School of Architecture is in the middle of a fundraising campaign that could decide the future of the school's accreditation. Facing new rules from the Higher Learning Commission, officials from the institution said they must raise at least $2 million before the end of 2015, or the school will lose its standing once those new rules take effect in 2017. Betsky will "set the intellectual tone or the School," according to a press release, but he will also have to help tackle the school's financial challenges. "Frank Lloyd Wright's architecture broke the box and opened vistas toward a democratic landscape; he made organic architecture and built with, rather than on, the land before anybody talked about sustainable architecture," Betsky said in a statement. "I look forward to continuing the tradition of experimental architecture he did so much to define." The future of that tradition, however, remains uncertain. In December Sean Malone, president of the Frank Lloyd Wright Foundation, said the school would remain committed to design education even if they are no longer able to award accredited degrees after 2017. With Betsky at the helm that mission appears intact; the Foundation said they will continue to award degrees at their Taliesin East and Taliesin West campuses either way, perhaps in partnership with accredited institutions. "We wanted a bold thinker and a talented leader," Malone said in a statement, "and we found both in Aaron." Betsky, who was born in Montana but grew up in the Netherlands, succeeds Victor Sidy, who returns to his private architectural practice. Betsky assumes the role of dean immediately.
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Three big-name teams shortlisted for Mesa, Arizona plaza

If all goes according to plan, Mesa, Arizona is going to have one heck of a public plaza in the center of its downtown. The city just unveiled schemes from three teams, selected from a recent RFQ (PDF), to design the space, located on an area currently occupied mostly by local government buildings and surface parking lots. According to the city, the site, meant to accommodate up to 25,000 people, would host annual events like the Mesa Arts Festival, Arizona Celebration of Freedom, and the Great Arizona Bicycle Festival. The three finalists are Colwell Shelor + West 8 + Weddle Gilmore; Otak - Mayer/Reed; and Woods Bagot - Surface Design. The Coldwell Shelor + West 8 + Weddle Gilmore team presented a "Town Square With a Twist," keeping the area cool through, among other things, trees, water features, and a giant copper shade structure. Varied upper and lower terraces would be connected by a "leisure promenade," designed for walking and running. Otak-Mayer/ Reed centers on a "Living Room Plaza," an open design lined with hardscape and punctuated by shade structures, lawns, trees, and a reflecting pool. Other elements of the plan—meant to connect seamlessly with surrounding streets—include more intimate courtyards and a grand arrival portal, sculpture park, pond, and pedestrian breezeways. The Woods Bagot - Surface Design team proposed "Mesa Central," an undulating landscape, inspired by the area's natural topography, featuring a diverse mix of gardens, performance spaces, plazas, play areas, and places for escape. Major components of the scheme, which are similar in form and function to natural elements, include a wash, bluffs, foothills, mesa, canal, and orchards, all connected by a central indoor space containing community activities known as the Hangar. Preliminary designs are being funded by a $70 million park bond measure. According to the city, the winning team will be chosen by November 18. Videos of the finalists' schemes can be found here. More images of the schemes can be seen below.
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Lake|Flato Beats the Heat at ASU

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."
  • Facade Manufacturer Kovach (metal panels), Arcadia (curtain walls), Trex (lattices)
  • Architects Lake|Flato Architects, orcutt | winslow (associate architect)
  • Facade Installer Kovach
  • Location Tempe, AZ
  • Date of Completion May 2012
  • System brick and metal panels over rigid insulation, low-e insulated glazing, corrugated metal overhangs, recycled wood pulp and plastic lattices
  • Products brick from Phoenix Brick Yard, rigid fiberglass insulation, Kovach metal panels, low-e insulated glass, corrugated metal, Trex lattices
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."
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debartolo architects’ Weathering Steel Bicycle Gallery

Glass and corrugated metal envelop a Scottsdale cycling shop.

When debartolo architects principal Jack DeBartolo 3 AIA first visited the site of Bicycle Haüs in Scottsdale, he knew it was exactly what owners Shasta and Kale Keltz were looking for. "In Arizona, with our very intense heat, we love it when we can unite two things: a northern orientation to maximize light without direct sun, and high visibility to the public way," said DeBartolo. "When a parcel's oriented like this, with its main side facing north, it allows us to do both things in one. We can build a glass facade for light and to advertise the contents, and it can also be a view building." DeBartolo's firm designed a wedge-shaped structure with a broad structural glass facade facing the street. The remainder of the building is clad in weathering steel, a low-maintenance material that taps into the desert aesthetic of decay and renewal. "The concept for the building was all about its orientation, and its place, and its environmental response," explained DeBartolo. The architects chose a wedge form for the 5,000-square-foot showroom for several reasons. First, they wanted to maximize glazing on the north-facing facade. "With the shape of the building we collect that northern light and pull it deeply into the building," said DeBartolo. "In the desert, we get a lot of our intense sunlight bouncing off the ground. It also bounces off the ceiling inside the space, so often there's almost no electric light needed in this room." In addition, the building's massing pushes its activity to the street rather than to the back of the lot. Finally, the architects designed the wedge form and a gently sloping roof to someday accommodate solar panels. The 48-foot-wide, 30-foot-tall structural glass wall on the north facade was the product of careful coordination among the architects, engineers, and installers. "What we love, and where we often say less is more work, is that in Arizona we can attach the glass directly to the structural shell using a liquid affixing system," said DeBartolo. Steel tabs welded to the ends of a series of 2-inch-by-6-inch structural tube steel columns receive six-foot-wide panels of low-e insulated glass. Since the glass and steel erectors work with different tolerance levels, explained DeBartolo, "getting them all on the same page early on takes a pretty significant learning curve. You're pushing construction to the max, but we love the overall quality we get when we've literally just glazed the structure." The bicycle shop's mezzanine level cantilevers ten feet over the entrance to create a shaded porch. In addition to providing a space for cyclists to gather before and after rides, the porch "encourages sidewalk activity along First Avenue," said DeBartolo. "That's an important criterion that Scottsdale's trying to push."
  • Facade Manufacturer Gen3 (corrugated steel), Allred Metal Products (structural steel)
  • Architects debartolo architects
  • Facade Installer Gen3 (corrugated steel), Allred Metal Products (structural steel), Coyote Glass (glazing)
  • Location Scottsdale, AZ
  • Date of Completion 2013
  • System structural glass wall, corrugated box rib cold-rolled steel, galvanized flat panels affixed with VHB
  • Products low-e insulated glass from PPG, structural tube steel, 20GA box rib steel from Myers Group, galvanized flat panels
Corrugated box rib cold-rolled steel, fabricated by Gen3, envelops the building's east, south, and west facades. "The idea was to economize the skin and create a really well-insulated building," said DeBartolo. The architects liked that the steel was available in 30-foot runs, allowing them to avoid horizontal seams. They also wanted "something with aesthetic richness," said DeBartolo. "We try to do everything we can to avoid painting buildings. This weathering steel allows the building to continue to enrich itself as time passes." At the southwest corner of the lot, where team members enter through a back door, debartolo architects carved a notch out of the building's massing, replacing the corrugated envelope with galvanized flat panels affixed with VHB. "We allowed the interior when we cut it away to remain galvanized," explained DeBartolo. "It creates relief, visually, from the harsh exterior." The designers incorporated custom slot windows into the metal facades. "They work really well with our strong western light," said DeBartolo. "We just get little strips of lights rather than a large mass that creates heat gain." The windows are arranged so that they hit the corrugation pattern at the same place every time. They are also integrated with the interior displays, moving up and down to make way for racks of merchandize. "It was very thought through, very methodical, though it created something that almost looks random," said DeBartolo. The architecture of the Bicycle Haüs embodies the owners' passion for cycling. "They really pride themselves on staying state of the art with respect to cycling," said DeBartolo. "In much the same way they wanted the building to really respond to that. Furniture and fixtures define the movement of people, but the space is a lofty room that's almost a gallery for bicycles."