The disused-but-beloved Houston Astrodome may have finally found its savior.
In early October, the commissioners of Harris County approved a $105 million proposal to reconfigure the aging Astrodome for events and concerts. Plans call for the floor of the vacant stadium to be raised so approximately 1,400 parking spaces can be built underneath.
Designed by two firms—Hermon Lloyd & W. B. Morgan, and Wilson, Morris, Crain & Anderson—in the mid-1960s, the 18-story Astrodome was added to the National Register of Historic Places in 2014. When it opened, it was the U.S.’s first enclosed and air-conditioned multipurpose stadium and boasted the largest clear span dome ever built. Before it shuttered in 2000, the Astrodome served as home field for the Houston Astros, the Houston Oilers, and the University of Houston Cougars. It reopened briefly in 2005 to accommodate New Orleans residents displaced by Hurricane Katrina.
Legacy aside, the Astrodome’s age and size present distinct financial challenges to adaptive reuse. Maintenance costs run to $170,000 annually, but tearing down the structure would cost $30 million. The just-approved proposal is all taxpayer funded:property taxes, hotel tax, and parking revenue will each contribute to a third of the cost, while 10 percent of the funds will go toward finding an architect and engineer to design the renovation. Once (if) the plan is complete, revenue from parking will be plowed back into the venue to make the project financially viable.
If the architect and engineer’s design ends up costing more than $105 million, however, the county will not cover the shortfall—local government will employ other, to-be-determined financing methods. Taxpayers defeated a measure to resurrect the stadium in 2013 over cost concerns, so it’s too soon to tell if this latest plan will bring the Astrodome back.
Jonathan Schipper creates a new installation for his latest exhibition, Cubicle: an office setting that will undergo subtle, yet inescapable changes over the course of two months. It is a continuation of his work that includes The Slow Inevitable Death of American Muscle, in which two full-size automobiles crash into each other, simulating the force of a 30-mile-per-hour head-on collision, but over several days. The cubicle is meant to be a signifier of the not-too-distant past. Time has transformed the concept of the cubicle from a utopian vision of workplace comfort and privacy to an obsolescent remnant, giving way to the open office plan. Similarly, Schipper’s Cubicle will undergo mechanical stress for the duration of the exhibition.
Rice Gallery6100 Main Street, Houston
Through December 4
New York City-based Architecture Research Office (ARO) has been selected to lead the renovation and master planning of the Rothko Chapel in Houston, the home of 14 monumental panels by artist Mark Rothko. The chapel's interior was designed to the artist's precise vision. ARO will seek to improve the Chapel’s interior lighting and its presentation of Rothko’s panels by renovating the skylight, the interior light baffle, and the electric lighting systems in collaboration with lighting designers from George Sexton Associates. According to a press release, the project will also include improvements to the HVAC system and acoustics, and the entry vestibule will be redone to better enhance the visitor experience, all while maintaining a close eye toward Rothko’s original intent for the space.The master planning portion will address the outdoor plaza and reflecting pool containing Barnett Newman’s sculpture Broken Obelisk, as well as several adjacent edifices. Given that the chapel’s neighboring institutions, the Menil Collection and the University of St. Thomas, are both undergoing extensive renovations, the plans for Rothko Chapel seek to elevate its visibility while maintaining its identity and function as a quiet sanctuary. ARO has a history of working with leading universities and cultural institutions and is the winner of the 2011 National Design Award for Architecture from the Smithsonian’s Cooper Hewitt National Design Museum.
Two projects—one under construction and the other scheduled to start at the beginning of 2017—continue the trend of repurposing old buildings in downtown Houston. This movement began in the 1970s and accelerated in the mid-1990s when the city created a tax increment reinvestment zone for downtown coupled with tax breaks as incentives.
The 21-story Melrose Building (1952), originally designed by Lloyd & Morgan and the first modern skyscraper to be built in Houston, features horizontal bands of windows shaded by cast-in-place concrete brise-soleils. After languishing empty since 1991, it is now being converted into a Le Meridien hotel by the Beck Group, a Dallas-based construction and architecture firm for the Memphis, Tennessee, Development Services Group, Inc.
Assistance in funding the $80 million project came from a mixture of sources, including: $15 million from the federal EB-5 Immigrant Investor Program, which allows foreign nationals to essentially “buy” green cards by investing in job-creating businesses in the United States; the Federal Historic Preservation Tax Incentive Program, which provides tax credits equal to 20 percent of the income tax owed on qualified rehabilitation expenditures; and the Texas Historic Preservation Tax Credit Program, which gives credits equal to 25 percent of eligible rehabilitation costs. Key requirements of these credit programs are: The building must be listed on the National Register of Historic Places or a Recorded Texas Historic Landmark (the Melrose Building was entered in the National Register of Historic Places in September 2014), and the proposed remodeling work must follow the guidance of the Texas Historical Commission and the National Park Service.
The exterior elevations will be restored to their original appearance. When the building was first completed, the spandrels below the clear vision glass were clad with turquoise tiles. In 1969, Lloyd & Morgan, who were commissioned to modernize its then 16-year-old building, proposed a modest update that entailed covering the tiles with bronze anodized aluminum panels and replacing the clear glass with bronze-tinted glass. These exterior changes are currently being reversed in the name of authenticity—that is to say, to erase the marks of time on the building and return it to a supposedly pristine state.
The second project is the conversion of the Houston Bar Building into an AC Hotel. This building, currently sheathed in dark-tinted glass and a granite panel curtain wall, is actually two adjacent 10-story buildings, the M.E. Foster Building (1914) and the Gulf Building (1916), both designed by architect Alfred C. Finn. In 1966, architect Eugene William Slater was tasked with the unenviable job of modernizing them to keep them competitive for leasing.
Slater stripped historical ornament off the exterior and interior of both buildings and sheathed them with a bronze-colored, reflective glass curtain wall. Inside he covered the elevator lobbies’ walls with panels of smooth, polished marble. The unified building was then renamed the Houston Bar Center in an effort to appeal to downtown lawyers. Although the Bar Center was never abandoned, it was looking tired, especially considering the new construction activity around it in the last few years, and was ripe for its second redevelopment, this time at the hands of Dallas-based hotel management firm NewcrestImage. The $44 million project is also in part supported by tax incentives. The Downtown Redevelopment Authority, which controls expenditures from the Downtown TIRZ, provided an economic development grant of 50 percent of the tax increment generated by the project site for the first 10 years, equivalent to approximately $1.2 million. Additional state and federal tax breaks are pending the building’s entry into the National Register, which is currently in process.
The developers claimed to be surprised that the Texas Historical Commission recommended not to go back to the 1914 and 1916 originals, but rather to rehabilitate the 1966 curtain wall. The logic for this decision was twofold: First, the slipcover is fifty years old, a critical threshold for historic consideration, and second, the building’s original facade was so damaged during Slater’s remodeling that the missing ornament would have to be almost entirely reconstructed. According to the developer, this will be the first time that such a slipcover has been intentionally preserved in Texas. This approach has raised the ire of no less an authority than architectural historian Stephen Fox who complained that the Texas Historical Commission was using “twisted logic to preserve a mediocre exterior.”
These two projects demonstrate the nimble maneuvers that developers and preservationists increasingly have to make as they knit together institutionalized funding incentives and a growing awareness of the importance of historical architecture—even in a city as notoriously anti-historical as Houston.
Taryn Kinney and Michael Morrow’s eponymous architectural practice, kinneymorrow, is one of several small, reasonably new studios that should gain enough momentum to redefine the staid Houston architectural scene in coming years. What sets this cohort apart from its peers is the intellectual rigor of its design methodology. Rather than slapping together a collage of materials and boxy shapes—the kind that typically passes for modern architecture in the Houston market—kinneymorrow’s designs arise out of a careful analysis of the program. These initial studies almost intuitively take the form of a diagram, with shades of the Beaux Arts era esquisse, a rapidly drawn sketch containing the big idea (or ideas) that guides the project to completion. Coupled with this is an unusually pronounced contextual sensitivity that is all the more remarkable considering that Houston, table-flat and sprawling messily over the Gulf Coast plain, is by no means considered a city where architecture has served its traditional role of spatially defining the urban environment or of even making a mark on public consciousness. These two tendencies produce thoughtful, modest, and witty projects that—despite their oft-diminutive size and small number—are immensely satisfying on many levels.
Both Kinney and Morrow are graduates of Rice University, studying there in the late 1990s and early 2000s when it was headed by the Swedish polymath Lars Lerup, perhaps best known as a writer of marvelous essays that speculate in a simultaneously poetic and bemused fashion on the current state of the contemporary city. In 1994, Lerup described Houston in the essay Stim and Dross, (required reading for all Rice students at the time): “The European metropolis-without-crowds has skipped westward while radically transforming itself into a new creature: leaner, meaner, and more superficial, but harder to catch, at once simpler and less bearable to live in.” kinneymorrow, now about a dozen or so years out of school, is doing the hard work of turning such ideas into an architecture inflected by the experience of living in this ephemeral city and it is exciting to see.
This support space for an artist’s studio was plugged into an existing prefabricated metal shed in a rustic outpost just west of Austin, Texas. It measures 12.5-feet-wide by 25-feet long and contains a small kitchen, bathroom, living area, and sleeping loft. The building is conceived as a didactic tool to explain the artist’s process as a printmaker. The site slopes to one side, necessitating a tall concrete foundation, which the architects extruded up an extra three feet past the level of the floor to form a structural wainscot around the inhabitable spaces. Into this concrete, they inserted a set of the artist’s wood blocks, corresponding to different colors and shapes used to make a single print. After the concrete cured, the blocks were removed and the relief images around the base of the building record the artistic process. The new building, with its taut, vertical proportions clad in corrugated metal siding, is a foil to the long, low shapes of the existing studio and its extension. The artist uses red as a signature in her prints and it appears sparingly as an accent in the otherwise all-white, concrete space.
Decatur Street House
Here, Kinney and Morrow were commissioned to remodel a double shotgun house built in 1894 located in the Old Sixth Ward, a compact community in the shadow of downtown Houston that contains the largest collection of 19th century architecture in the city. Since the Old Sixth Ward is designated as a protected historic district, the exterior elevations of buildings cannot be altered. The architects, who also live and work in this neighborhood, focused their interventions on the interior instead. The existing long and narrow plan consisted of two rows of four interconnected rooms with no hallways. In the new plan, the service areas including kitchen, bathrooms, and closets are arranged along the western side of the house, thus retaining the longitudinal logic of the shotgun house, but adapting it to the desires of contemporary clients. The entire eastern side is left open for living and dining areas with three new sets of double French doors opening to a new outdoor deck and a new, giant seven-foot square window at its farthest reach that entices with a distant view of a pocket garden. Space is articulated with level changes and subtle variations in proportion, rather than with walls and doorways as in the former plan. To accommodate the larger dimension of these living areas and bedrooms, the architects simply extruded the shape of the existing house to the rear building line of the lot.
Kane Street Office
For another project in the Old Sixth Ward, the architects negotiated the purchase of a 751-square-foot house built sometime in the 1880s—positively ancient by Houston standards—that was to be relocated from its original lot to make way for a new structure. Remarkably, Kinney and Morrow were only the house’s third owners. Its plan, a double shotgun, like that of the Decatur Street House consisted of two rows of three interconnected rooms. Through some investigative detective work and relying on a single photo of the house from the 1970s, they discovered that the center room along the western half of the house was originally a semi-enclosed porch. They restored it along with the missing front porch on the house’s street-facing, north elevation. In the eastern three rooms, the configuration was left unaltered, and the architects chose to make a radical intervention by running a row of giant, black-stained plywood work desks through openings cut through the walls between the rooms. This unites the three rooms and also introduces an intriguing ambiguity in scale, proportion, and color inside the otherwise all-white studio work space.
East 21st Street House
A second project in Sunset Heights revels in the small scale. The architects were commissioned to rework a diminutive 750-square-foot house built in 1890 as one of the original farmhouses on the tract before it was subdivided. The house, which is 22-feet-wide by 26-feet-long, is a miraculous survivor and the architects could not bear to see it get scrapped. Therefore, the design scheme was to use the existing house as the module and replicate it twice more to accommodate the new program of an increased number of bedrooms and a larger living area oriented to a majestic pecan tree in the back yard. The exterior of the old house with its hipped roof, waterfall siding, and bit of ginger-breaded porch will remain essentially untouched, while the new modules, connected by low, flat-roofed hyphens will retain the square plan and pyramidal roof—but will have modern, minimal detailing to indicate their place as successors to the originals.
Houston’s green renaissance set the stage for a recent conference of landscape architects, designers, planners, institutional leaders, and policy makers who convened at the Museum of Fine Arts Houston on March 11.
Hosted by Washington, D.C.–based non-profit The Cultural Landscape Foundation (TCLF), Leading with Landscape II: The Houston Transformation focused on how landscape architecture is changing the city at a scale not seen in the U.S. in a century.
Charles Birnbaum, founder and executive director of TCLF, posited Houston’s built heritage in three sections: The linear hardscape and engineering of freeways,
the iconic architectural monuments connected by said infrastructure, and today’s emerging landscape architecture that is stitching together the natural and built environments.
“The story of zoning and planning in Houston is a fascinating study, one that lies at the very center of the conference and tours. It is a story characterized by political wrangling, economic boom and bust cycles, hurricane and flooding, the influence of the automobile in infrastructure and housing development, public-private partnerships, and the presence of the many bayous that traverse the city,” Birnbaum wrote in the conference guide. “Houston provokes the question, ‘Can a city that has developed largely without a plan also be one that is leading with landscape?’”
Conference discussions looked ahead to the ambitious new plans for Bayou Greenways, Memorial Park, the Menil’s Campus, and the Houston Botanic Garden, while examining the successes of Discovery Green and Hermann Park. Issues of street-level design for pedestrian experiences, equity, inclusion, and funding were also brought to the forefront to improve upon the city’s connectivity and accessibility.
The daylong panel discussions included the voices of leading landscape architecture firms and various institutions: SWA, Michael Van Valkenburgh Associates, West 8, Hargreaves Associates, the Office of James Burnett, Reed Hilderbrand, Design Workshop, Nelson Byrd Woltz Landscape Architects, Asakura Robinson, Clark Condon, the Hermann Park Conservancy, the Kinder Institute for Urban Research at Rice University, the Houston Chronicle, the Kinder Foundation, Chilton Capital Management, Clean Line Energy, the School of Architecture at the University of Texas at Austin, the Houston Parks and Recreation Department, Rice University, the University of Houston, and the Anchorage Foundation of Texas. San Antonio mayor Ivy Taylor and former Houston mayor Annise Parker also spoke during the final session titled, “An Appraisal.”
Taylor, an urban planner originally from Queens, spoke about parks as potential anchors for neighborhoods, including San Antonio’s redevelopment of the Riverwalk, Pearl Brewery, and drainage improvements, as well as matters of park equity. She cited having grown up near Central Park in New York, “the granddaddy of them all.”
“As a little girl, I didn’t go to those parks. We had a square patch of grass. How do we reach out to folks to experience the natural environment?” Taylor asked. Her presentation led to the question: How are we to be stewards for the next generation?
The foundation also hosted expert-led free tours March 12–13 at more than 30 iconic sites that demonstrate Houston’s legacy of green and public spaces, including Buffalo Bayou Park, Sesquicentennial Park, the Menil’s Campus, Gerald D. Hines Waterwall Park, Sabine Promenade, and Discovery Green.
“This is my city. I love this city,” Parker said. “This is a city of big ideas and we tackle big things in big ways.” She continued to discuss the importance of the Port of Houston, the Astrodome, “Houston” as the first word on the moon, and issues including infrastructure, parks, preservation, and public art. She also elaborated on the Bayou Greenways Initiative and how it touches every community in Houston by creating an interconnected green web. As great cities attract intellectual capital, it also needs amenities and attractions for its citizens.
Neighbors of the recently approved Houston Botanic Garden (HBC), designed by New York–based West 8, oppose the plans, saying that the to-be-built garden will increase traffic in their neighborhoods and prevent neighbors from criss-crossing the site on foot, as is local custom.
Right now, the 120-acre site, in the southeastern area of Houston, is home to publicly-owned Glenbrook Golf Course. "The Park Place Civic Club is taking the position of formal opposition," President Larry Bowles toldThe Houston Chronicle. "Members feel that the garden will disrupt the neighborhood environment that we're used to here and that the open space that the current Glenbrook Golf Course provides will be in essence taken away." The HBG organizers are planning to lease the site from the city, which means that there's extra imperative to keep the public engaged.
West 8's plans respond to community desires for connection to the bayou, shady walking paths, access to the outdoors, and space for community events. The master plan will connect the two "precincts" of the garden, named the Island and the South Gardens, with a bridge over Sims Bayou, one of the few bayous in its natural state, that defines the northern border of the proposed park.
The bridge over the bayou is part of "Botanic Mile," a wending drive that will take visitors to the heart of the park, an arrival plaza in the South Gardens. The design had to be hurricane- and flood-proof: Landscaping will elevate the site's topography to bring it outside of the 100-year floodplain.
Rounding out the program are a classic glass conservatory for exotic plants, as well as amenities like a cafe, visitor's center, lecture hall, and events pavilion.
With a goal of opening in 2020, the group has raised $5 million already, and aims to raise $15 million through 2017. Construction on the project's first phase is expected to begin in 2018.
Tomorrow, a public meeting will be held to discuss plans for the HBG. Adriaan Geuze, co-founder and principal of West 8, will be on hand to answer residents' questions.
Barnett Newman: The Late CollectionThe Menil Collection
1533 Sul Ross Street, Houston, Texas
Through August 2
The Late Collection pays homage to Barnett Newman, an artist who came to define the spiritual aspirations of American painting in the mid-20th century by deviating from traditional concepts of figure and foreground in search of an experience of the sublime. The exhibition charts the technical and material transformations of the twilight period of Newman’s career, including his transition from oil to acrylic paint.
The artist passed at age 65, leaving behind finished and unfinished works, many of which lay bare the concepts underlying his broader production. Newman’s signature paintings are of large and bold vertical planes of color with upright lines that he called “zips.” Zips, he thought, would reach out to the viewer and lift them out of their torpor into a confrontation with eternity.
The exhibition also features major paintings made throughout Newman’s career from The Menil’s permanent collection.
While visiting, also note that construction has begun on The Menil Drawing Institute, designed by Los Angeles architectural practice Johnston Marklee.
The motto of Houston architecture, civic art, and product design firm METALAB is "finding new and better ways to build things." In addition to forming the core of his professional practice, this mission aptly describes principal Andrew Vrana's work with the Texas digital design and production network TEX-FAB.
"We align emerging designers working with contemporary digital design techniques with companies who are experts in digital fabrication to build experimental architectural assemblies that push the capabilities of all parties," he explained. At next week's Facades+AM Houston symposium, Vrana will share his perspective on new techniques and materials in high performance building envelopes through the lens of TEX-FAB's annual design and fabrication competition.
The theme of each TEX-FAB competition reflects the community's commitment to exploding the limits of conventional architecture practice. "We have recently been interested in materials that allow for plasticity in form and performance," said Vrana. Hence the title of the 2014 competition, PLASTICITY. The winning project, by computational design specialist Justin Diles, is called Plastic Stereotomy, and explores the use of composites in construction. After taking first prize in the small-scale prototype round, Diles teamed up with Kreysler & Associates to build a full-scale pavilion for this year's TEX-FAB conference in Houston. (The pavilion also traveled to the AIA convention in Atlanta.)
Past competition winners have similarly paired with industry experts to bring their concepts to fruition. For the 2013 SKIN competition, for instance, TEX-FAB put the winning team—a group associated with the University at Buffalo, with materials sponsor Rigidized Metals—in touch with Zahner "to construct an innovative facade prototype using patterned sheet metal folded into complex origami-like modules," explained Vrana.
Hear more about TEX-FAB's approach to digital design and fabrication at Facades+AM Houston June 18. Register today and see a full list of presenters on the event website.
As EcoServices team leader for Kirksey Architecture, Julie Hendricks spends her days thinking about how to build sustainably without busting a project's budget.
On a typical job, whether for Kirksey or an outside firm, "we look at energy use, daylighting, and site analysis," she explained. "We do a lot of different studies to make sure buildings are performing at the highest level." The EcoServices team also conducts non-billable research, primarily focused on comparing actual to projected performance on buildings designed in-house. Hendricks will present an example from her research portfolio on June 18 at the Facades+AM Houston symposium.
Achieving sustainability goals is particularly challenging in Houston, said Hendricks. "We feel like we have a unique and especially difficult climate because of the humidity and heat," said Hendricks. As a result, she explained, they have a limited range of passive strategies to work with; yet passive interventions are the most straightforward and cost-effective tools for mitigating thermal gain and moisture transfer. "That's the number one thing we deal with, and have tried to become experts in," she said.
The hot Texas sun can be especially hard to beat. Too often, said Hendricks, facades systems are applied counter to their intended use. "One of our favorite games on the EcoServices Team is to drive around and point out ineffective shading devices," she said. "It's ironic, because they're really expensive. It means someone's investing in a device that has a purely aesthetic function."
On the flip side, Hendricks is encouraged by the increasing availability of glass products with built-in thermal protections. "When we can [mitigate solar gain] with just glass, those solutions tend to be more affordable," she explained, citing glazing with embedded shading devices, ceramic frit glass, and electrochromic glass as examples worth exploring. Besides the potential to keep costs down, these options better satisfy clients seeking a streamlined curtain wall aesthetic.
Catch up with Hendricks and other experts in high performance facade design and fabrication at Facades+AM Houston. Register now on the event website.
As founding principal of Muñoz Albin, Jorge Muñoz has a unique global perspective on high performance facade design. Based in Houston, the firm's earliest projects were located overseas. "In the last 20 plus years, we have worked and continue to work on projects in Western Europe, where there is a tradition of more generous budgets on building envelopes as well as more flexible user and developer demands on efficiency," said Muñoz.
Over the course of his career, Muñoz—who will bring his comparative point of view to a panel on "Current Projects Pushing the Envelope" at next month's Facades+AM Houston symposium—has observed the tendency of facade design and construction technologies to vary from one locale to the next. "There are many exceptions to this rule, but in general, a building envelope matches the market expectations and budget allocation of where the building is being built," he explained. "Climate, program, environmental performance, and design challenges are different in different markets."
In Houston, said Muñoz, building envelopes have evolved alongside the economy. "One can see double skin solutions built in the early 1960s, and advanced solutions in the 1970s," he said. "While Houston has lived through many years of pragmatic envelopes, in the last few years architects have been pushing for more and more sophisticated solutions." Houston has tended to be "timid" when it comes to adopting advancements in envelope design, explained Muñoz, but is beginning to consider cutting-edge performance solutions. "In time, we will have some of those buildings in our city," he said.
As for local projects, Muñoz expressed admiration for HOK's Sysco headquarters phase one building. The building is on the older side, but "the massing as well as the envelope design denotes a sophisticated understanding of performance and aesthetics," he said. Like conference co-chair Kristopher Stuart, he also pointed to Pickard Chilton's Exxon complex in the Woodlands, as "another example of a complex and sophisticated envelope solution that is worth studying and understanding." Muñoz and Stuart also agree that another Pickard Chilton project, the under-construction 609 Main Street, is worth a close look. "It will offer not only a double- or triple-layered skin that also envelopes an eroding and slightly more plastic building massing, the first in the city," said Muñoz.
Muñoz looks forward to a productive dialogue among panelists and attendees at Facades+AM Houston. "I think that facade design is a fascinating subject, and one that elicits plurality of thought," he said. "It will be most interesting to hear about the current trends in the city."
Visit the Facades+AM website today to learn more or to register.
Thanks to the city's humid subtropical climate, facade designers and fabricators face a special set of challenges in Houston. Unchecked, steady sunshine and high temperatures can permeate the building envelope, leading to a heavy reliance on mechanical cooling systems. Meanwhile, Houston's Gulf Coast location makes it vulnerable to tropical storms.
Sanjeev Tankha, principal and director of facade engineering at Walter P. Moore, argues that the solution to performance issues including solar gain and wind lies in a holistic approach to facade design. "All aspects of building envelope performance—from materials science to building physics analysis, structural analysis, research and development, waterproofing and weatherproofing, longevity and life cycle analysis—must be given a platform to engage effectively in the design process," he said. "Our industry must come to terms with and take on the challenge to respond effectively to the elements of solar heat and wind mitigation."
Tankha will share his experience responding to the local climate next month at Facades+AM Houston. A half-day spinoff of the popular Facades+ conference series, Facades+AM brings regionally-specific discourse on high performance building envelopes to AEC industry professionals, students, and policymakers.
In the real world of building design and construction, observed Tankha, environmental performance is regularly sidelined in favor of other concerns. "Performance of the building skin, in any given project, is often trumped by financial pressures to the detriment of overall building performance," he said. "I would like to see more commitment from AEC stakeholders to make performance issues a core value in our work." The key, he explained, is making performance a priority from the get-go. "The early design work needs to embed these values in the development so they are not add-on features," said Tankha. "This is a philosophical debate that is held on every project, and many times building performance comes out on the losing side."
In Tankha's experience, less can be more when it comes to addressing solar gain and wind. "I always encourage the use of passive technologies and passive building systems first before the overlay of active systems," he said, pointing to historical strategies including building form and orientation. "I see some of that design philosophy coming back and now coupled with advancement in materials, coatings, and efficient mechanical systems, we have a palette for a holistic approach towards exploring effective solutions."
To hear more from Tankha and other building envelope specialists, register today for Facades+AM Houston.