The new United States Courthouse, a LEED Platinum structure, meets its energy target of 35kBTU/GSF annual consumption through a variety of sustainable design features. The most visible is the facade—a solution that gracefully responds to the solar orientation of the site. A key challenge was to manage intense sun exposure from the east and west while maintaining the building’s alignment with the street grid. The pleated facade design incorporates shaded panels in east- and west-facing pleats to minimize solar thermal gain, and transparent glass panels in north- and south-facing pleats to maximize natural daylight inside the courthouse. This reduces annual solar radiation load and central plant load while lending visual dimension to the facade."At a time when much design effort is confined to the envelope, this project stands out for its intelligence in aligning environmental performance with architectural goals across various scales." —Eric Bunge, principal, nARCHITECTS (juror) Owner: General Services Administration General Contractor: Clark Construction Group Facade Contractor: Benson Industries Blast Engineering: Applied Research Associates Inc. Mechanical and Electrical Engineering: Syska Hennessy Group Inc. Honorable Mention Project: University of South Florida, St. Petersburg, Kate Tiedemann College of Business Architect: ikon .5 architects, Harvard Jolly Architects Location: St. Petersburg, Florida Inspired by the indigenous coral stone of Tampa Bay, the 68,000-square-foot Tiedemann College of Business is conceived as a porous container. The most unique feature of the building is its glass facade: The composition consists of a ceramic fritted first pane that is double-run with two tones of a circular pattern and a mirrored second pane that allows views out while reflecting the first pane’s patterned coating.
Posts tagged with "General Services Administration":
2017 Best of Design Award for Facade United States Courthouse - Los Angeles Architect: Skidmore, Owings & Merrill Location: Los Angeles, California
The federal government ended its decade-long search for a new FBI headquarters, leaving the law enforcement agency in the deteriorating J. Edgar Hoover Building, The Washington Post first reported yesterday. For more than ten years, the government has looked for a new building in either Maryland or Virginia as a replacement for the current 43-year-old Brutalist Hoover Building (the building that everybody loves to hate). According to The New York Times, the building can house only half of the 11,000 FBI employees stationed in Washington, D.C. and its dire conditions warrant security concerns. Years of efforts to persuade Congress and the government to back the project gained momentum under the Obama administration, though those efforts will be brought to a grinding halt with this decision. Officials from the General Services Administration, which manages federal real estate, had planned to trade the Hoover Building to a real estate developer while using $2 billion in taxpayer dollars to fund the remaining cost. The Obama administration had sought $1.4 billion for the project, but Congress left it underfunded by more than $800 million. With escalating costs and a lack of leadership following the dismissal of former director James B. Comey, interest in the project stalled, according to officials and executives involved in the process and reported by The Washington Post.
The 10-story courthouse includes ten courtrooms for the District Court of Utah, fourteen judges’ chamber suites, administrative Clerk of the Court offices, the United States Marshal Service, United States Probation, and other federal agencies.Thomas Phifer and Partners recently completed a United States Courthouse in Salt Lake City for the General Services Administration (GSA). The 400,000 sq. ft. project consists of a blast resistant shell clad with a custom designed anodized aluminum sun screen. The screen is arranged in four configurations dependent on solar orientation, performing as a direct heat gain blocker on the south facades, while subtly changing to a louvered fin configuration on the east and west facades. The architects won the project in a national competition in the late nineties, however it was just recently completed. Thomas Phifer, Director of Thomas Phifer and Partners, says that during the duration of the project various site changes occurred, and the building design naturally evolved into a particular focus: “We began to think about a building that embodied light as a metaphor for the enlightenment of the courts. It began to fill these spaces inside the courtrooms, the judges chambers. The design came from a sense of light.” Phifer said a precedent for the project is Donald Judd’s 100 untitled works in mill aluminum (1982-1986). In Judd’s project, each of the boxes he crafted have the same outer dimensions, with a unique interior offering up a variety of tectonic conditions. Some of the boxes are transected, while others have recesses and partitions. Phifer says the project inspired an interest in detailing of the aluminum sun screen: “What’s interesting about his [Judd’s] boxes is their extreme simplicity: it’s important how the plates come together…the beautiful screws. You see the thickness of the aluminum, and the construction honors the material,” says Phifer. “The boxes begin to honor the light surrounding it.” The architects worked with the curtain wall contractor to develop a custom designed louver system from extruded and milled aluminum components to manage daylight. Everything had to be designed with calculations and technical documentation, including plenty of mock-ups. Phifer says this level of detailing is at the heart of their office’s production: “the facade system developed here was completely new.” This system is punctured in selective places on the facade with a polished stainless steel portal celebrating very specific spaces within the interior such as the judge’s chambers. “It has the character of receiving light and being a real part of the environment,” says Phifer on the outcomes of the decade-long project. The project could be considered a super-scaled descendant of one of Judd’s well-crafted boxes, but also should be a sophisticated addition to Thomas Phifer and Partners’ repertoire of working with light (a portfolio that includes a 2011 AIA Honor Award for the North Carolina Museum of Art). The results are a robust box, with a beautifully simple, passive performative agenda.
A long-standing fortress of state secrecy is under siege. The federal government is selling Washington, D.C.'s J. Edgar Hoover Building to a developer who, citizens hope, will turn the FBI's headquarters into a mixed use development. Designed by Charles F. Murphy and completed in 1975, the 2.8 million square foot Brutalist building is praised and reviled for all the reasons Brutalist buildings are praised and reviled. Despite its historical significance and because of $80 million in deferred maintenance, the building will likely be replaced with development that creates a more pedestrian-friendly streetscape. There are, however, massive bureaucratic hurdles to clear before the property can be developed. First, the congressionally-approved 1974 master plan must be revised s0 the site can be developed as a non-office building. However, the Pennsylvania Avenue Development Corporation, the entity that created the plan, folded in 1996. Its responsibilities are now shared by the National Park Service, the General Services Administration (GSA), and National Capital Planning Commission (NCPC). The three agencies must agree on every step of the plan for it to move forward. When and if these master plan revisions are approved, the agencies can develop design guidelines for the site. The design guidelines must be adopted before developers can bid on the property because of a particular arrangement the federal government requires of this site. The GSA, the federal office responsible for securing land for a new complex, must offload underperforming assets (like the J. Edgar Hoover Building) before acquiring new ones. The developer will take a risk in buying this property because the exchange must occur before what can be built on the property is absolutely final. Finally, the developer's plans will go though the city's design review boards. Developers willing to endure a potentially Kafka-esque wait will be rewarded with prime land on the capital's most prestigious avenue.
One of the country’s most prominent female-led firms has named a new co-principal. Julie Snow Architects will now go by Snow Kreilich Architects. Matthew Kreilich, one of Minneapolis/St. Paul Business Journal's "40 Under 40” in 2013, is now a partner and design principal of the Twin Cities-based firm. Kreilich has worked at Julie Snow Architects for 10 years. Snow’s work includes Target's Minneapolis headquarters, the Lake Superior Weekend House, and the U.S. point of entry in Warroad, Minnesota. The firm is part of a design team recently selected to lead an overhaul of Minneapolis "main street" (Nicollet Mall), along with James Corner Field Operations and Coen+Partners. (Julie Snow also serves on A|N’s Midwest editorial advisory board.) The firm also updated their web address: www.snowkreilich.com.
Los Angeles–based artist Cliff Garten has just completed his latest commission: Ribbons, a series of landscapes and sculptures in the courtyard of the Beaux-Arts 50 United Nations Plaza in San Francisco. The symmetrical design riffs on the existing structure's classical uniformity by inserting a sculptural collage of paving, seating, fountains, and plantings into the building's 20,000 square foot courtyard. Curving concrete pavers are set into a larger surface of decomposed granite, while cast concrete benches twist as if made of rubber, appearing to lift out of the ground pattern. "Concrete is great. I think I have finally found my medium for infrastructure," said Garten, who noted that he's hoping to develop a line of street furniture with the manufacturer Quick Crete. The project was commissioned by the General Services Administration's Art in Architecture Program, which sets aside a half percent of construction funds for federal projects for art. See more pictures below.
AN has been anxiously awaiting official news of an architect for Los Angeles' long-awaited Downtown Federal Courthouse, and we've picked up the scent of a promising rumor. Brigham Young's DTLA Rising blog has heard from a "source at a large architectural and design firm in Downtown LA" that SOM has won the commission, beating out a short list of teams including Yazdani Studio and Gruen Associates, Brooks + Scarpa and HMC Architects, and NBBJ Architects. The new $322 million courthouse will be located on a 3.7-acre lot in Downtown LA at 107 South Broadway and will contain 600,000 square feet incuding 24 court rooms. The General Services Administration (GSA), the federal agency in charge of building the new courthouse, hopes to have the project completed by 2016. The former art-deco courthouse at 312 North Spring Street will be sold to help pay for the new structure, drawing criticism from some politicians. The GSA is expected to make an official announcement soon, and we'll be sure to keep you updated as news comes in.