Brought to you with support fromLocated on a prominent site within the town of Saint-Quentin-en-Yvelines, 20 miles from the center of Paris, the Elancourt Music School is a weighty two-story structure clad in hand-made bricks that stagger to create a series of apertures to illuminate interior spaces. The nearly 10,000-square-foot project was designed by Paris-based Opus 5 Architectes and completed in October 2018. Saint-Quentin-en-Yvelines is one of six major "new towns" built around Paris during the 1970s. The settlements are marked by their towering brutalist structures, and the Elancourt Music School is housed in the district’s former ecumenical center, a centrally placed concrete structure originally designed by French architect Phillippe Deslandes. Opus 5 reskinned this concrete building with a new brick veneer to establish the structure's new identity.
Posts tagged with "Brick":
London’s Fitzrovia neighborhood is a bit of an architectural collage. There are 18th- and 19th-century brick homes interspersed with 20th-century concrete housing blocks and, at its far east end, John Nash’s All Souls Church. The London firm Bureau de Change was asked to create a building sandwiched between two of the many simple brick buildings in the area, and as much as the firm hoped to respect this context and legacy, the designers wanted to disrupt it too. Their “Interlock” building, a five-story residential building with a street-level cafe and a gallery below, features an undulating facade of cool gray-blue bricks that enliven the building's elongated form. “We were interested in taking these very traditional proportions and in some way subverting it,” explained co-founder and director Katerina Dionysopoulou, “like a puzzle box that seems familiar and reveals a hidden complexity that increases the more you interact with it.” Considering how a brick facade could respond to openings and fenestration, rather than just frame them, Bureau de Change designed ripples that seems to grow out of and shrink into the windows and doors. The firm modeled 14 brick types and worked closely throughout the research and development process with brickmakers to iterate forms that would fit together, successfully fire in the kiln, and remain strong when arranged. Once the final forms were decided, handmade metal molds were made and bricks—5,000 of them—were cast. In addition to the 14 “parent” brick morphologies, 30 related “offspring” bricks were derived during the modeling and testing process, for a total of 44 different brick types. “We were walking the line of what would be technically possible, but through this process, found a point that was both buildable and produced the richness and movement we were trying to achieve,” said co-founder and director of Bureau de Change Billy Mavropoulos, on striking a balance throughout conception, design, and construction. The intensive modeling process allowed the designers to control the placement of each individual brick, and installers were given 3D files so they could align each of the rows correctly, which, due to the unusual nature of the structure, required millimeter-level accuracy and specific adaptations for each region of the facade. Between the windows, steel trays were necessary to support the bricks, but installers had to expertly align them so that the frames’ edges would be hidden. Similarly, the layout had to be crafted in such a way that holes within the bricks that help with their load-bearing ability were hidden despite the many odd angles they were placed at. The bricks were made of Staffordshire Blue Clay and were fired in oxidation to create the matte finish. Building the 5,000-brick “landscape” took three months. “The fabrication team used 1:1 printed templates that set out the number, typology, and location of each brick,” explained the firm, going on to say that the 188 templates acted as a sort of “construction manuscript.” The process was defined by collaboration between Bureau de Change, the brick manufacturers Forterra, and the construction team, and, as comes with working iteratively on untested ideas, it took a great deal of trial and error.
Brought to you with support fromLocated on a corner site within London’s historic Soho district, a neighborhood long associated with the arts, 40 Beak Street is an animated four-story structure clad in iridescent glazed brick with cast aluminum window surrounds and soffits. The nearly 28,000-square-foot project was designed by London-based firm Stiff + Trevillion and is currently undergoing interior work by artist Damien Hirst who recently purchased the building.
Victorian architecture of low to medium-height, laid out over a narrow network of streets. After setting the basic pattern of fenestration—nearly full height, double-fixed windows spaced evenly—the team dived into certain facade details such as the inclusion of projecting piers approximately every ten feet to conceal movement joints and further the verticality of the overall mass. According to Stiff + Trevillion, the design team “initially anticipated that the facade would be constructed using precast modules clad with glazed brick slips” due to the degree of repetition found in their facade pattern. Ultimately, the inability of the precast units to be fabricated within the predetermined cost constraints led the firm to incorporate hand laid bricks into their design. For the fabrication of the facade, the firm looked across the North Sea to St. Joris, a glazing specialist based out of Beesel in the southeastern corner of the Netherlands. The bricks, all roughly measuring 8.5 inches by 4 inches by 2.5 inches, were harvested in the centuries-old clay pits of the nearby Westerwald mountain range. The clay deposits found in this region are noted for their density of minerals, including quartz, illite, and kaolinite, providing a high threshold for firing stability, a useful trait when baked at temperatures bordering 1200 degrees Celsius. In total, St. Joris produced 100 special brick formats, a result of differing shapes and variations on which face the brick was hand glazed. Glazing for the project consists of two colors: a dark blue at the base of the building (handy for concealing grime associated with street level commotion) which brightens to a lighter blue-green moving upward. The bricks are arranged according to a stretcher bond layout, exposing the longer face of each brick on both the facade and interior spaces. "The facade was constructed with the brickwork acting as a rainscreen, and using secondary steel framing provided by Ancon Building Products as the inner leaf, faced in cementitious board," said Stiff + Trevillion Director Lance Routh. "The bricks are fastened to the frame by a course of stainless steel shelf angles that run continuously at every floor level." Between every brick course the contractor applied an approximately 1/4-inch application of black mortar to blend with the darker hue of the glazing. Where the design breaks away from its brick-and-mortar context is with unique corner window surrounds and soffits designed by British artist Lee Simmons. Composed of cast aluminum, the lustrous asymmetrical detail shifts away from the relative formality of the brick-faced construction, while falling in line with the more exuberant Victorian architectural details found throughout Soho. This secondary facade element is fitted to the "inner leaf" via armatures extending through the brick curtain, and sealed with a breather membrane and EPDM. The fit-out of the interior, which features a double-height space with a mezzanine deck, is expected to be complete at the beginning of 2019.At the inception of the design strategy, Stiff + Trevillion determined that a heavyweight building with a brick facade was the clear choice for integrating into the surrounding context. Soho, like much of London’s West End, is composed of Georgian and
Brought to you with support fromSince the construction of the High Line’s first section in 2009, Manhattan’s Meatpacking District has undergone a dramatic transformation from a declining industrial district to a burgeoning site of development attracting leading national and international firms. Now, California’s Backen & Gillam Architects has stamped its presence in the neighborhood with a modern aluminum-and-glass screen wall inserted atop a restored historic reddish-brown brick warehouse.
Landmarks Preservation Commission pushed the design team to draw upon the neighborhood’s prevailing historical elements: the bolts, splices, and rivet patterns found on steel and cast-iron awnings, as well as elevated infrastructure. The new black aluminum frames primarily consist of a set of prefabricated components. Each frame is composed of two aluminum cross braces which are fitted to a set of turnbuckles, allowing for the adjustment of tension across the screen wall. T-frames studded with bolts are the primary vertical and horizontal elements of the screen wall. These can be split into two categories: structural members that run the length of the elevation and drive into the building below, and beams supporting the overall rigidity of the frame. This entire system is connected to an array of vertical mullions through existing steel brackets and a new screen wall connector. For the project, Backen & Gillam worked closely with the manufacturer, Ahlborn Structural Steel, to produce a kit of parts that was easy to assemble on site. Every component shipped from Santa Rosa, California, was designed as a three-piece unit set to maximize space on the convoy of flatbed trucks that carted them across the country. Each aspect of the screen wall, down to the bolts, were numbered and classified to ease their installation. In total, the design and construction teams were able to erect the entire addition in approximately two weeks. Gillam's interior spaces maintain the structure's historical bones while providing room to breathe for the new. The central and defining moment of the internal spaces is the light-filled, six-story atrium extending the full height of the complex, with successive rows of fluted Corinthian columns bordering aluminum-and-glass balconies.Located on the corner of Little West 12th Street and 9th Avenue, the nearly 100,000-square-foot project for the retailer formerly known as Restoration Hardware, now known as RH, is within the stringently-protected Gansevoort Market Historic District. The building itself was constructed over a century ago as a retail warehouse, and ultimately transformed into a garage for the renowned Astor family. For project lead Jim Gillam, the constraints set by the
New York–based multi-disciplinary studio, BREAKFAST, has unveiled a groundbreaking kinetic facade product dubbed "Brixels." The use of kinetic panels for facade and interior design has rapidly grown in popularity both domestically and abroad recently, animating visuals and opening new paths for natural ventilation. Each display is composed of an array of brick-sized pieces that are fully customizable in terms of massing, material, and finish. Through a central cavity, each individual piece is latched onto a central support shaft, which allows the objects to rotate in either direction. At the base of each central support shaft, BREAKFAST has inserted a series of printed circuit boards that are in turn connected to a Linux control computer. Through visual sensors, the installations can track and respond to adjacent physical movement or can be controlled directly through a web-based application. The multidisciplinary studio tested out their new technology with the 19-foot wide by 6-foot tall installation dubbed Brixel Mirror. Made of polished aluminum and matte-black steel, the pieces are capable of achieving 60 rpm via an app or one-on-one control. While Brixel Mirror is the most significant application of the technology-embedded material to date, Andrew Zolty, BREAKFAST’s co-founder and head of design, has big ambitions for the product. According to Zolty, the customizability of the interactive blocks allows them “to become part of the space, rather than an add-on, used to outfit or become interior walls, room dividers, fences, railings, or even building facades.” Brixels have been tested to withstand the elements outdoors; a building can be entirely clad in sprawling, perpetually moving paneling.
Brought to you with support fromMorris Adjmi Architects has just completed its wedge-shaped 363 Lafayette mixed-use development in New York City. The project is located in the heart of the NoHo Historic District, a context known for its mid-rise store-and-loft buildings clad in detailed cast iron and stone.
zoning and site constraints, the massing of the west facade is set back, with eight floors of office space rising midway through the elevation. The development’s facade is defined by horizontal and vertical bands of white brick, produced by Belden/Tristate Brick, which frame a charcoal-colored terra-cotta curtain wall. For the color scheme and materiality of 363 Lafayette, Morris Adjmi reinterpreted the area’s historically narrow terracotta mullions, window surrounds, and brick piers, into a much wider layout. Designed by the firm and crafted by Buffalo’s Boston Valley Terra Cotta (BVTC), the geometric pattern of the terra-cotta reliefs was conceived by the design team as an abstraction of neighboring Classical and Richardsonian Romanesque detailing. The custom-made terra-cotta rainscreen was installed on BVTC’s TerraClad clip system that attaches to a perimeter concrete beam and a medium-gauge framing wall. A series of gaskets and isolators allow the system to adjust to thermal expansion while reducing wind-induced vibration. Elongated rectangular windows, fabricated by TriStar with Win-Vent frames and Vitro Glass, are placed between chamfered terra-cotta mullions. Why does the building twist? Lafayette Street used to proceed north from Great Jones Street until the end of the 19th century when the street was excavated from the IRT subway. The excavation of the street led to the creation of odd-shaped sites, such as 363 Lafayette. According to the design team, “the building’s twist serves to reflect the cut of the street and to architecturally engage the setback with the lower portion of the building.”363 Lafayette’s site is prominent, with three visible elevations to the north, south, and west. The ground floor of the building is dedicated to commercial space and extends from Great Jones to Bond Street. Due to
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The Owsley Brown II History Center is just one part of a unified campus expansion for The Filson Historical Society in Louisville, Kentucky. Located in the historic neighborhood of Old Louisville, the project reinterprets the surrounding Italianate architecture in a contemporary way. de Leon & Primmer Architecture Workshop (DPAW) played with proportionality, depth, and layering of materials to achieve this.
The building’s massing is composed of two equal volumes on the east and west of a central atrium. Both volumes are of the same height and footprint of the houses in the neighborhood. Each portion is clad with brick veneer and glass curtain wall, while the atrium facade is a frameless glass wall. A custom-fabricated metal cornice reminiscent of the Italianate-style caps the whole building. DPAW detailed the two brick volumes based on the programmatic needs of the interior. The east portion of the building contains the archives and has an expansive north-facing glass curtain wall that allows for ample indirect daylight. On the west, the facade articulates the fenestration with smaller openings and encloses two stacked event halls. The horizontal panel joints on the brick veneer continue the elevation lines from the surrounding context and recede as the building increases in height. At most of the curtain wall, DPAW included curved precast concrete fins on either side of the openings. The color and striation of the concrete matches the adjacent brick paneling. These fins express the flatness of construction of brick veneer and contrast the load-bearing masonry walls of the surrounding brick buildings. The atrium between the east and west volumes is a continuation of the exterior plaza leading up to the entry of the building. A frameless glass wall with spider fittings and glass fins clads the space, opening up the facade to an unimpeded view of the monumental wood-slat stairs in the interior. Drawing inspiration again from the surrounding buildings, DPAW detailed this stair as a contemporary interpretation of the older, elaborate wood staircases. Due to its historic nature, the neighborhood’s residents met the project with initial backlash. DPAW coordinated with the city’s Landmark Commission on the design and detailing of the facade. They worked to ensure that it fit within the historic context without being a faux imitation of the existing architecture. Furthermore, the project team worked with the builders and contractors to push the envelope of standard construction and detailing to arrive at their clean facade.
How do you rebuild after a natural disaster? This question was the call to action at the fifth edition of the MEXTRÓPOLI Festival of Architecture and City that took place March 17 to 20. The four-day city-wide event was presented as an active reflection to rebuild since last September’s major earthquake that struck central Mexico. Coincidently marking the 32nd anniversary of the 1985 Mexico City earthquake, the natural disaster in September last year hit hard on the same day three decades prior–at least 40 buildings collapsed, wreaking havoc in the Mexican states of Puebla, Morelos, and in the Greater Mexico City area. At MEXTRÓPOLI, temporary built environments activated Mexico City’s public spaces to promote reflection of those events and fuel sustainable future building. Twenty pavilions designed by institutions such as UNAM, Ibero Puebla, Anahuac University, Querétaro, Sci-Arc, and Maristas took up at Alameda Central, the oldest public park in the Americas located downtown, adjacent to the Palacio de Bellas Artes. The goal? To inspire sustainable and preventative practices, and to demonstrate potential sustainable architectural futures. Architect Elias Kababie, Taller Paralelo Arquitectura, Michigan Architecture, and students from Colectivo Seis collaborated to design Pabellón ( ), a brick pavilion, with financial support from Masonite. The ephemeral structure is described by Kababie as a built testament to what local people felt in the aftermath of the quakes. “It creates an experience based on what we felt when everything was demolished,” explains Kababie. The structure itself was the very first built project for Colectivo Seis, who are only in their second year of college. As the story goes, on the first night of building the pavilion, the students and Kababie assembled the bricks made by a local factory and craftsman. The bricks themselves are made from locally-sourced clay, baked, and dried. Initially, they tried laying each brick one by one. Eventually, they made a rig that allowed them to stack eight bricks at a time. What took six hours to build on the first day took only one hour on the second. The trace of their handiwork lingers, with the red ochre-hued dust marking anyone who enters the pavilion. From the outside, the pavilion looks fortress-like, a cubic construction of six tiers of stacked brick on all four sides. Visitors were invited in by Kababie and the students through the periwinkle Masonite door into a narrow, tubular passageway. Once inside, onlookers are pleasantly surprised to find an undulating series of brick laid out to form the negative space of a circular sphere, or, if you will, an inverted oculus. The stacked formation encourages sitting and climbing, as well as spectacular views of the heart of Mexico City. Aptly dubbed, Pabellón ( ) is formally a parenthesis. Conceptually, it is a theoretical interpretation of the meaning of “collapse,” what students from Colectivo Seis described as the continuum of material and emotional rubble that was left behind after the quake. These experiences are collectively housed between the empty parentheses, the material manifestation of the symbolic namesake, the pavilion. “It’s a metaphor for the current situation. When you have this perfect brick wall that when you walk outside, you don't realize that there’s a greater structure, an emptiness that came about through the earthquakes. It’s still there and it hasn’t been fixed. We wanted this to be a point to talk about those aspects of our lives and that is still going on and many of us don’t realize it,” explained Alonso Varela of Collectivo Seis. This collective experience is not only expressed in concept, but also in practice. Kababie proudly reflects on their experience as completely collaborative, a project completed by a group from beginning to end as a group. “Having that extraordinary shared journey, the idea of idea of changing the conversation through bricks, through a situation, with a door that you go through, in a specific place as a specific project—it was an amazing idea.” You can find more videos of Mextropoli, Pabellón ( ), interviews, and other footage of the festival as a story highlight on AN's Instagram story highlights.
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Completed this year, 150 Wooster is an eight-story, mixed-use infill project for KUB Capital that offers a contemporary version of Soho loft living in a historic district. HTO Architect worked with the New York City Planning Commission and the Landmarks Preservation Commission to deliver the project, which features a custom-detailed brick facade articulated with limestone and painted steel ornamentation. Daniel Schillberg, managing director of design and architecture at KUB Capital, said this infill project is located on one of the last developable lots in Soho. “This was one of the last ground-up buildings in Soho and will probably be the last,” he said. Soho’s predominantly cast iron structures date from 1830s to the 1850s, the surprisingly narrow spectrum of time when the majority of construction occured. The speed of construction in this neighborhood and others like it was achieved by means of prefabrication and a “kit of parts” mentality that was made possible due to advances in cast iron technology that paralleled mass industrialization. KUB said the project was inspired by this context, along with masonry structures that surround site. Depth of the facade was a key consideration in the design. The facade arranges a large operable window unit measuring over four by eight feet into eight bays, finding a sweet spot between energy code's permitted window-to-wall ratio, historic compositional proportions, and window manufacturer fabrication limitations. The resulting design, which received unanimous Landmarks approval, was approximately a year-long process.To achieve the desired effect, the architects looked to materials common to the area—brick and limestone—but sought out detailing methods that produce a refined contemporary aesthetic to, in their words, "push the building into our modern times." This led to the refinement of a limestone trim detail that projects four inches beyond a primary facade of Petersen Tegl Kolumba brick. The masonry veneer is a long and thin proportion arranged in a stack bond with a tight 3/8" mortar joint to privilege the color of the brick over the mortar color. "These Petersen bricks have a lot of texture. They're essentially hand made which lead to a lot of ridges and good imperfections," said Schillberg. Window units are defined by a dark metal frame set 16 inches back from the face of the building, exposing Indiana limestone, which swells to meet the window frame assembly in one precise angular taper. The masonry installers built a single window bay mockup by looking at the detailing of the spandrel bricks, limestone trim, and the primary facade bricks. One of the constructional challenges was the weight of the limestone trim, which required complex drop beams with specific edge detailing for the concrete superstructure. The limestone, which is pinned back to these moments in the structure of the building, acts as a modified custom brick lintel to support the masonry veneer. Another key detail of the project is the custom metal work on the storefront and cornice. Both elements were inspired by traditional cast iron detailing involving prefabricated modules of profiled galvanized steel sheets. The cornice essentially functions as a miniature brise-soleil, and is composed of custom-profiled metal fins. "I loved the idea of having a cornice where, as you approach the building, it evoked the sculptural shaping of a cornice, but as you get underneath it, it actually disappeared into thin elements that allow light through," Schillberg said. The brick manufacturer, Petersen Tegl, is a small family-run Danish brickworks company founded more than 200 years ago. Their products are still handmade through a carefully crafted traditional process of hand-pressed, coal-fired production. This produces authentic bricks with a variety of signature light and dark shades. In addition to helping new buildings meld with older and more classic surroundings, Petersen Tegl’s handmade bricks are also helping to revive the idea of the skilled artisan and masonry construction. They’re popular in New York: A developer on Manhattan’s Upper East Side working on the tallest building in the neighborhood north of 72nd Street is utilizing nearly 600,000 Petersen Tegl bricks to connect the structure to its art deco context. Across the river in Brooklyn, two developers have launched luxury condo projects, 145 President and 211 Schermerhorn, each featuring the handcrafted aesthetic of a Petersen Tegl brick facade.
In September, the Mexican-born artist Bosco Sodi responded to Trump’s border wall plans with "Muro," a one-day performance installation in Washington Square Park in downtown New York City. “Muro” translates to “wall” in Spanish, an apt title for what Sodi built, brick by brick, with the help of his Mexican creative friends living in the city and anyone who happened to be in the park between 3 and 8 p.m. After every brick was stacked, the wall was torn down by the same people who might otherwise be on both sides of the wall, suggestively breaking down physical and mental barriers. Sodi made 1,600 clay bricks for Muro by extracting raw earth and mixing it with water and sand to form clay–a vernacular Mexican building material. The clay was then shaped and smoothed by hand into solid cubes that were left to air dry in the sun at his studio in Oaxaca, Mexico. Once cured, the cubes were fired in a traditional brick kiln with wood, jacaranda seeds, and coconut shells. Using the same process, Sodi formed clay cube sculptures, which he considers “living sculptures,” for Caryatides, his first solo exhibit at Paul Kasmin Gallery, on view until January 6, 2018. Stacked in a series of volumes, the cubes are a material amalgam of varied terra cotta hues, streaks of green and black, and jolie laide surfaces. The Architect's Newspaper spoke with Bosco Sodi about his exhibit and his process. Architect's Newspaper: Why clay? Bosco Sodi: Clay is one of the early material building materials. It is poetic, representing the essence of human building. I have been using clay for 3 years. It began when I started to go very often to see the [local] clay workers. I visited them and started to experiment. I wanted to do something that was seemingly impossible to develop with the material. It took a year to develop a cube that did not split and break. We made them by hand, and then we let them dry in the sun for two months, then they cook in the kiln. Each [Caryatides] cube weighs 3,000 pounds. AN: What is unique about your process of making these works? BS: Made with no mold, they are completely human-formed. The materials [themselves] are unpredictable; they create a unique result each time. The clay cubes and bricks are made by hand, in the same process to build the wall in Washington Square Park and the sculptures in the gallery. They are political pieces. AN: How is the material political? BS: All of the bricks have different colors, yet they are made the same. They are the metaphor of the dream of what it meant to come [to the United States]. AN: And then, the political meaning came into form as performance at the Muro installation? BS: Yes. We put up a wall in the U.S. made by Mexicans with Mexican elements: sun, water, fire, wind, and earth. It was made in a public place, New York, by Mexicans. Then, we let everyone take it down. It was a social performance where you become part of a happening and a result of the piece. Caryatides, the first solo exhibition devoted to Bosco Sodi’s clay cube sculptures, is on view through January 6, 2018 at Paul Kasmin Gallery on 515 West 27th Street. *This interview was edited minimally for clarity.
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Paju Book City, around an hour's drive north of Seoul, is a unique cultural complex entirely devoted to the creation, publication, merchandising, and sales of Korean books. Around 250 publishers with over 10,000 workers call Paju Book City home. Fittingly, Paju Book City is also the site of the Rainbow Publishing Headquarters, recently completed by London-based DaeWha Kang Design. The project is a mixed-use four-story building that combines offices, a gallery, and a residence for its Korean-based publisher. A simple box-like volume incorporates a large vertical window on its primary facade, revealing a custom-designed bookshelf and staircase configuration that provides a growing archive for the publisher’s collection of work. Bricks of varying depths, from approximately 2-1/2 inches to four inches, are composed to produce a staggered geological strata-like patterning up the shell of the building. This subtle use of texture and rhythm “adds layers of richness and meaning to otherwise austere forms, according to the projects London-based architect DaeWha Kang. “The challenge of the project was to create a dramatic impact within limited means. Simplifying the volume and focusing on the quadruple height space of the main circulation stair creates a sense of monumentality and strength.” The brick material Kang used is inspired by hyeon-mu-am volcanic stone traditionally sourced from Jeju Island, a volcanic island off the southern tip of South Korea, although for this project the low-density basalt veneer bricks were sourced from nearby China for budgetary reasons. The material is common among Korean decorative objects and Kang estimates around 200 to 300 buildings in nearby Seoul incorporate the material, analogous to a granite or other specialty stone, on their facade. The most notable component of the project is a staircase that wraps around a 100-shelf bookcase which serves to catalog the work of the publisher. Kang said the vision of the publisher is to produce small print run biographies of ordinary Koreans who have lived through extraordinary times of the twentieth century, building up a country from one of the poorest in the world to a globally successful economy. “Their belief is that while individual lives might be only small sparks of light when collected and seen together they might come together into a beautiful rainbow.” The staircase winds its way around one hundred levels of shelves, rising through the years from 1918 to 2017. As the publishers release each book, they will put the new biographies on the shelves corresponding to the years when their subjects were born. In this way, the journey through the building becomes a journey through the history of the country and its people. The custom fabricated wood and steel bookshelf is revealed to the exterior by means of a large vertical window. By coordinating joints of the butt glazed window panels with the angle of the staircase, a more seamless and transparent view to the bookshelf beyond was achieved. The diagonal geometry of the window panels pairs nicely with a tapered wall return, which accentuates the depth of the facade and establishes a planar starting point for the textured brick patterning of the facade. Kang’s office analyzed the siting of the building and local climatic conditions help to establish key views both to the building from the surrounding city and to the surrounding mountains from within the building. This resulted in positioning the building with precise setbacks. The long side elevation performatively absorbs winter sunlight, radiating heat to the garden while protecting the site from northerly wind. Small windows on the north elevation help to manage heat loss while encouraging cross ventilation. This understanding of the site allows the building to quietly perform. Kang said that, in the end, the project was an effort to create a timeless building through simple volumetrics and materiality.
Brought to you with support fromThe Moody Center for the Arts, designed by Los Angeles–based Michael Maltzan Architecture (MMA), is a 50,000-square-foot, $30 million center located on the campus of Rice University. It serves the campus and general public as an experimental platform for making and showcasing works across disciplines through deliberately flexible interior spaces. The building is generally composed of three long narrow blocks, set along an east-west campus grid. The structure references typological buildings and their related exterior quadrangle spaces on Rice University’s campus, which stem from an early 1900s masterplan by Boston architect Ralph Adams Cram. "We had this fantasy that, if you could take all of the campus and squish together its long rectangular buildings with its exterior quads, you would combine both formal and informal ways of making connections and learning," said Michael Maltzan, founder of Michael Maltzan Architecture. "In that regard, we were alluding to the Moody as a microcosm of the entire Rice campus." The facade appears quite massive from far away, but as you get closer, it is revealed that the facade is actually quite thin and permeable. This is most apparent through a "floating" outdoor canopy that frames an arcade running parallel along the building's primary north elevation. The facade here is framed by steel and integrates a secondary steel web that spans from the second floor to the roof continuously along the entire facade. This web encloses “lanterns,” or volumetric voids in the massing of the building, and wraps around starburst-shaped columns which bookend the composition. These iconic columns carry the load of the steel and masonry structure at each end of the building. A double angle detail provides a crisp bearing shelf for the brick facade. At the east lantern, the brick surface is installed as screen wall configuration. To achieve this, threaded stainless steel rods were integrated into the hollow cells of the brick units, which were installed in a 1/3 running bond pattern. Andrea Manning, associate at Michael Maltzan Architecture, said this allowed for selective bricks to be omitted, producing a unique perforated floating masonry screen. "It was a technical challenge to make brick work this way while maintaining a light and delicate structure," she said. Maltzan said this building uniquely brings together a lot of programmatic elements they have worked on in the past. "There aren't that many examples of this new type of building whose ambition is to be [a] extremely cross-disciplinary hype-collaborative center where lots of different unexpected individuals, groups, artists, technical people all come together. One of the biggest challenges is to anticipate the wide range of activities that might take place without any of that being determined yet when designing the building. To try and build in the right amount of flexibility without flexibility completely taking over the building in such a significant way that it compromises any parts of the program. Getting this right was a big learning curve for everyone involved on the project." The brick is a dark manganese ironspot brick, which Maltzan says produces a surface that is animated by the dynamic quality of the atmosphere of the site. “Brick often feels like it is very stable and unchangeable. The manganese brick is black, but over the course of the day with changing lighting conditions, it can take on the appearance of metal, deep purple, or sky blue. That quality, along with the thinness of the assembly gives a new reading and character to brick which we are very excited about.” Beyond the facade, at the heart of the Moody is a double-height “Creative Open Studio” that anchors the building in plan and section. This space was imagined by the architects as an interior version of the typical campus quad. “This interior landscape brings the most diverse programmatic functions into contact with one another, while opening views out to the campus,” said Maltzan. The cross-disciplinary building establishes a new arts district on campus, with proximity to the Shepherd School of Music and the James Turrell Twilight Epiphany Skyspace on the Suzanne Deal Booth Centennial Pavilion. The facility will be programmed, but it’s also a place where the public can be inspired, with public shows and free admittance year-round.