A new exhibit at the Yale School of Architecture, Adjacencies uses a multi-media approach to tell the story of various strange and tactile projects from 14 emerging firms around the country, and the show highlights a one-of-a-kind, ground-up residential project that’s set to open in Atlanta later this fall. Haus Gables, designed by Jennifer Bonner of MALL, is a single-family home under construction along the Atlanta Beltline and a playful and surprising reinvestigation of the architectural zeitgeist using an exaggerated roof plan. The house is broken down in detail at Yale through a series of bright models, drawings, and ephemera that unveil her design philosophy for this inspired and irregular building. According to the architect, the project was influenced by Le Corbusier’s free plan and Adolf Loos’s raumplan—both residential design methods that called for unconventional interior spacing. Bonner’s aim was to “rework the spatial paradigms of the past” by organizing her architecture solely around the roof. She designed Haus Gables, a 2,100-square-foot structure, with six gable roofs that form one elongated canopy. The unique shapes of the resulting ceilings produced an interior filled with oddly-sized rooms, catwalks, and double-height spaces that are confined to the steep ridges of the pitched roofs. The idea for Haus Gables formed out of a 2014 course she taught at Georgia Tech School of Architecture, according to an interview with Curbed Atlanta. Bonner worked with students to imagine designs centered around individual architecture components. This exercise led Bonner to create her massive Domestic Hats exhibition for Atlanta's Goat Farm Arts Center, for which she studied Atlanta’s various roof typologies and created 16 models with alternative roof forms that challenged traditional domestic design. While Adjacencies provides a behind-the-scenes look at how Bonner specifically conceived the Haus Gables project, the real-life version is nearly complete on an 18 foot-wide plot of land in Atlanta’s Old Fourth Ward. Not only is the design itself unusual, but so are the materials specified for the project. Most notably, it features a cross-laminated timber (CLT) structure, the second of its kind in the United States, and prefabricated components that were quickly put together on site over the last year. Haus Gables, once complete, will also include extensive faux finishes on the exterior and interior. From the black terrazzo to the marble and brick, nothing will be real, but everything will be cost-efficient. Bonner even plans to conceal the CLT in an effort to mimic, yet bring a contemporary twist, to the Southern architectural tradition of DIY and “faking it.” An inside look at the production of Haus Gables will be on view in Adjacencies, curated by Nate Hume, at the Yale Architecture Gallery through November 15. Bonner will give a gallery talk alongside the other featured designers this Thursday, September 13, at 6:30 p.m.
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Half a million square feet of mass timber office space is coming to downtown Newark, New Jersey, thanks to international firm Michael Green Architecture (MGA) and New York–based developer Lotus Equity Group. Lotus has described the project as the largest timber office building in the United States, and the tower will anchor Riverfront Square, a massive 11.8-acre, mixed-use development in Newark’s Central Business District. The building itself will forgo the typical steel and concrete core, instead using cross-laminated timber (CLT) beams and panels, and rise from a concrete foundation. Most of the project’s space seems horizontally aligned, as the building is composed of three stepped volumes that top out with the 11-story tower. This makes sense, as mass timber high-rises are still a touchy regulatory topic; the Wall Street Journal notes that the tallest timber building previously approved in New Jersey was only six stories tall. While the core, slabs, and wall panels will all be made from wood, the facade of the building will likely be clad in brick, metal paneling, or more wood. The structural elements will remain exposed throughout the interior and create a warm, welcoming environment inside. Outdoors, employees will be able to make use of several roof decks and related amenities. “Good buildings are good neighbors and we envision a sustainable, efficient and architecturally-stunning future for Newark,” said Michael Green, founder and principal of Michael Green Architecture, in a press release sent to The Architect's Newspaper (AN). MGA is no stranger to timber construction, as 95 percent of the studio’s projects are in wood. Part of their commitment is driven by environmental concerns, as concrete and steel production accounts for 10 percent of greenhouse gas emissions worldwide. Conversely, timber buildings sequester carbon dioxide in the wood and can reduce a project’s environmental footprint. The development of Riverfront Square is being led a number of high-profile architecture firms, including TEN Arquitectos, Practice for Architecture and Urbanism, Minno & Wasko Architects and Planners, and MGA. Once completed, Riverfront Square should bring up to 2,000 residential apartments, 2 million square feet of Class A office space, 100,000 square feet of retail, 185,000 square feet of hotel space, 31 maker spaces, and a 30,000-square-foot arts and cultural area to downtown Newark. The drive to attract tech talent to Newark is likely motivated in part by Amazon’s search for a city to build their second headquarters in; Newark made the 20-city shortlist released last month, after promising $7 billion in tax incentives to the tech giant.
Michael Green Architecture (MGA) is a leader in the design of mass timber structures. The firm, jointly based in Portland, Oregon, and British Columbia, Canada, has been a pioneer in mass timber construction since the early days of glulam. Now, as mass timber technologies proliferate and gain wider acceptance, MGA is poised to make the next great leap in mass timber construction: full-fledged mass timber automation and prefabrication. “All of our projects are made from wood,” Michael Green explained over telephone, before adding that 95 percent of the firm’s work is specifically built using mass timber. The approach is due mostly to preference, as Green is a trained millworker who began his career decades ago working for renowned architect César Pelli designing “big buildings in steel and concrete around the world.” Those whirlwind experiences left the architect starved for ways to reengage with natural materials and craft, so after returning to his native Canada, Green opened his own wood-focused office. Throughout the early mass timber era, the architect was among the first to consider its widespread use and architectural potential. Today, the office focuses on utilizing mass timber elements in a variety of building types—for example, when tight urban conditions call for compact and efficient structures. The firm also works with institutional clients seeking long-term facilities and “100-year” buildings, which mass timber can easily provide. Green sees working in mass timber as “an opportunity to insert a lot of passion” into building projects that work as explorations in industrial design and are planned with a keen understanding of how they will be put together. This industrialized construction process suits Green, who explained that construction remains the last “major industry left on Earth that is still craft-oriented,” meaning that every building is built essentially as a one-off, custom prototype with none of the cost-saving benefits of industrialized factory production. That’s where mass timber comes in—building components are produced to order in controlled factory settings, where weather, temperature, and other variables are tightly relegated. The firm is currently working with technology start-up Katerra, which is looking to utilize the potentials of mass timber to automate and integrate the construction process nationwide. Wood Innovation and Design Centre MGA recently completed work on the Wood Innovation and Design Centre in Prince George, British Columbia. At the time of its completion, the nearly 97-foot-tall, six-story structure was the tallest all-timber structure in the world. The lower three floors of the project contain facilities for students pursuing wood-focused engineering degrees while the upper floors house governmental and wood industry–related office spaces. The building is clad in an elaborate system of louvered wood shutters that are optimized by exposure to mitigate solar glare. Aside from the structure’s mechanical penthouse, there is no concrete used in the building. Instead, the “dry” structure integrates CLT floor panels, glulam columns and beams, and mass timber walls into a complex design that conceals electrical and plumbing services within its relatively thin floor panels. North Vancouver City Hall The renovation and expansion of a municipal City Hall structure in North Vancouver, British Columbia, is one of the firm’s earliest mass timber projects. The 36,000-square-foot renovation bridges a repurposed 1970s-era structure and an existing library building with a new double-height mass timber and glass atrium. The 220-foot-long space is topped with CLT roof joists propped up on large CLT columns. Where the atrium meets the existing offices, clerestory windows provide views between public and business areas. The exterior of the long and narrow addition is clad in charred wood—a material that also wraps the exterior surfaces of other building elements—creating a new and dramatic exterior courtyard. Empire State of Wood As part of MGA’s early mass wood experiments, the firm worked with Finnish wood and paper group Metsä Wood on their speculative wood initiative. For the project, the firm was tasked with redesigning an iconic steel structure using mass timber elements. Naturally, MGA chose to envision the Empire State building as a mass timber tower, replacing steel girders and beams with glulam structures joined by metal plates. With slight modifications to the existing tower’s structural design, MGA was able to pull off a mass timber replica that matched the Empire State Building’s height inch for inch. Réinventer Paris/Baobab Tower The firm’s Réinventer Paris project proposes a large-scale, 35-story mass timber tower complex that would span over Paris’s Peripherique highway belt. The innovative and speculative proposal attempts to explore a new model for high-density housing that encompasses a variety of functional uses—market-rate and social housing, a student-oriented hotel, and a bus depot—dispersed throughout a series of high- and midrise timber structures. The timber towers feature CLT columns that frame indoor-outdoor verandas, with lower buildings clad in wood louver assemblies.
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In Portland, Oregon, even the buildings are bespoke and locally-sourced. At least, that’s the case with Lever Architecture’s Albina Yard project, where the developer—Portland-based Reworks—tasked the architects with creating a marquee structure that could be used as a testing site and showroom for emerging mass timber systems built from locally-sourced lumber. The 16,000-square-foot speculative office building is a love letter to mass timber construction that proudly utilizes prefabricated elements as finishing materials, leaving raw Douglas Fir cross-laminated timber (CLT) panels and glulam beams rough and unadorned. Albina Yard is the first building in the U.S. to use domestically produced CLT panels as the primary structural building element. The speculative nature of the four-story office building forced the designers to be “very, very deliberate about architectural moves,” according to Thomas Robinson, founding principal at Lever Architecture. The mindset resulted in a rather straightforward building: A plywood shear wall–wrapped elevator core anchors the rectangular office block along one of its long sides, leaving open spans elsewhere. Besides the elevator, the core contains bathrooms, egress stairs, and an accent stair made entirely of CLT panels. The building’s U-shaped open plan provides large-span offices topped by glulam beams with columns spaced farther apart than would be allowed under less rigid structural systems. Both short ends of the building are studded with windows—The principal facade contains ground floor retail that hugs the street while the back face overlooks a modest courtyard containing a small shipping container that houses a separate office. Custom-fabricated, powder-coated steel connections hold the wood assemblies together, their engineered bolts embedded deep within the mass of each glulam beam. “We wanted to find a way to embed steel in the wood to protect it from fire,” Robinson explained in reference to the buried bolts. He added, “the powder coat finish prevents the connections from rusting and staining the wood, as well.” Like the structural members, the connections were digitally-fabricated to order for the project and designed to “drift” in either direction by as much as 2% in the event of an earthquake, providing just enough flexibility for the building to sway but not shatter. The crisp structural connections and exposed fire suppression and HVAC systems lend the structure the type of elemental clarity usually reserved for utilitarian warehouse spaces, on-brand for creative office–seeking clientele. The building’s main facade is clad in a custom window assembly made up of large floor-to-ceiling spans of plate glass interrupted by narrower expanses containing operable windows. “We were excited to express wood on the exterior of the building,” Robinson said, highlighting the rot-resistant Port Orford Cedar wood mullions and window frames along the gradually cantilevering facade. The window wall is an indication, Robinson said, of the building’s innovative structural system. The face of the building steps out little by little as it climbs, with the second and third floors together projecting four feet out and the fourth floor above cantilevering just a few more feet over the street. The depth of these cantilevers is directly related to the spanning capabilities of the three-ply CLT panels used to structure the building. Ultimately, the project—now fully leased—seems to pull off its intended showroom purpose, showcasing glulam beams that were machined in Portland and CLT panels manufactured in southern Oregon, with everything made from Oregon-harvested lumber.
It’s a first for the United States: the State of Oregon and City of Portland have granted a building permit for the first Cross-Laminated Timber (CLT) high rise over 85 feet. The building is called Framework, an under development 12-story (148 feet tall), 90,000-square-foot mixed-use building in Portland, Oregon designed by LEVER Architecture that will make use of a wood core structure. The building will house a bank and timber exhibit at ground level, offices and affordable housing above, as well as a roof deck and garden. Construction is expected to begin this fall, while the building is slated to open in the winter of 2018. The design required rigorous fire, seismic, and other safety tests to prove its durability compared to typical steel and concrete construction. Testing and research at Portland State University and Oregon State University was funded in part from a $1.5 million U.S. Tall Wood Building award sponsored by the United States Department of Agriculture. While Framework is not the first tall wood building in the U.S.—Michael Green Architecture with DLR Group designed T3, a seven-story mass timber building clad in steel in Minneapolis and completed in November 2016—it is now the tallest permitted mass timber building in the U.S. today.
In the Pacific Northwest, Seattle was the first U.S. city to allow CLT in construction, yet the current building code caps wood office buildings at six stories high and wood residential buildings at five stories. Oregon may have gained an advantage through a convergence of factors: ample resources, performance-based testing, political support, and perhaps even that quirky Portland entrepreneurial spirit. “Projects like the Framework building present a new opportunity for Oregon that we are perfectly suited to take on,” said Governor of Oregon, Kate Brown, in a statement. “Oregon’s forests are a tried and true resource that may again be the key to economic stability for rural Oregon, expanding opportunity for communities hit hard by the decline of the natural resource economy. The Framework building shows that we can use sustainably harvested timber in a sustainable way to act as a catalyst for economic development through the creation of timber and manufacturing jobs in rural economies.”
An expanse of sustainable timber just clinched the Chicago Architecture Biennial’s Lakefront Kiosk Competition
Officials with the Chicago Architecture Biennial today announced the winners of the Lakefront Kiosk Competition, choosing a team whose stated goal was “to build the largest flat wood roof possible.” Dubbed Chicago Horizon, the design is by Rhode Island–based Ultramoderne, a collaboration between architects Yasmin Vobis and Aaron Forrest and structural engineer Brett Schneider. Their pavilion uses cross-laminated timber, a new lumber product that some structural engineers call carbon-negative for its ability to displace virgin steel and concrete while sequester the greenhouse gas carbon dioxide during its growth. Ultramoderne's long, flat roof “aims to provide an excess of public space for the Architecture Biennial and Chicago beach-goers,” according to the project description. Their design rose above 420 other entries from designers in more than 40 countries, and will receive a $10,000 honorarium, as well as a $75,000 production budget to realize the kiosk. BP is providing those funds as part of a $2.5 million grant to the inaugural biennial. Three teams—Lekker Architects, Tru Architekten, and Kelley, Palider, Paros—were finalists for the top honor. Fala Atelier, Kollectiv Atelier, and Guillame Mazars all received an honorable mention. The Biennial has posted a selection of submissions to the Lakefront Kiosk Competition on its Pinterest page.
After the biennial, Chicago Horizon "will find a permanent home in Spring 2016, operating as a food and beverage vendor, as well as a new public space along the lakefront.During the Biennial three other kiosks will be installed along the lakefront. Details on those are due to be announced next week, but here are the preliminary project descriptions:
The Cent Pavilion, designed by Pezo von Ellrichshausen in collaboration with the Illinois Institute of Technology, is a forty-foot tower meant to convey silent and convoluted simplicity. Rock, the kiosk designed by Kunlé Adeyemi in collaboration with the School of the Art Institute of Chicago is a pop-up pavilion a public sculpture composed from the raw and historic limestone blocks that once protected the city’s shoreline. Summer Vault, designed by Paul Andersen of Independent Architecture and Paul Preissner of Paul Preissner Architects, in collaboration with the University of Illinois, Chicago, is a lakefront kiosk that consists of basic geometric shapes combined to create a freestanding hangout within the park.