The new North Chiller Plant replaces a smaller plant and enhances the University of Massachusetts Amherst campus’s master plan by locating the new plant outside a major view corridor. The parallelogram footprint maximizes usage of the narrow site by reconceiving the typical rectangular orientation of the chillers into an “angled parking” layout. The exterior continues this geometry with an angled interface between the insulated metal panels punctuated with channel glass above and a glazed base. The base is highest on the northern side to allow vehicle access and lowest on the southern to reduce solar gain. The transparent ground floor promotes “technology on display” by exhibiting the color-coded piping and equipment, transforming the building into an engaging element of visual learning for the campus.Construction Manager: Fontaine Brothers MEP and Structural Engineer: RMF Engineering Civil Engineer: Nitsch Engineering Landscape Design: Brown, Richardson + Rowe Acoustics: Acentech Honorable Mentions Project Name: BART Market Street Canopies Designer: VIA Architecture Project Name: WETA Richmond Ferry Terminal Designer: Marcy Wong Donn Logan Architects Editors' Picks Project Name: Frances Appleton Pedestrian Bridge Designer: Rosales + Partners Project Name: Northeastern University Pedestrian Crossing Designer: Payette
Posts tagged with "Leers Weinzapfel":
2019 Best of Design Award for Infrastructure: North Chiller Plant, University of Massachusetts Amherst Designer: Leers Weinzapfel Associates Location: Amherst, Massachusetts
America’s largest mass timber building has opened at the University of Arkansas. Spread across a series of interconnected structures, Adohi Hall is a 202,027-square-foot residential project constructed from cross-laminated timber. Boston-based Leers Weinzapfel Associates led a national design team of heavy hitters for the $79 million project: local practice Modus Studio, the St. Louis-based Mackey Mitchell Architects, and Philadelphia's OLIN helped bring the sustainable, 708-bed student complex to life. Located on a sloping, four-acre site on the Fayetteville campus’s hilly southern end, Adohi Hall features a nature-centric design with room for classrooms, a community kitchen, lounges, a rooftop terrace, and more. Linked by a ground-level passage called the “cabin,” the large-scale, dual-volume complex snakes around the linear lot and is configured around three courtyards. As the nation’s first CLT "living learning" setting, Adohi Hall was built for undergraduates but is also targeted for architecture, design, and art students, and features ample programming to reflect that. Throughout the four-story facility, communal areas encourage collaboration while “workshops,” or maker spaces, provide students with the opportunity to rehearse or host performances, record music, or participate in other live/learn events. The design team integrated exposed structural wood throughout the project to remind residents and visitors of the building’s groundbreaking construction. Exposed timber columns, ceilings, and trusses bring a sense of warmth to the interior spaces, while generous light also shines in through the floor-to-ceiling glass windows in the cabin area and provides views of the surrounding landscape designed by OLIN. The majority of Adohi Hall’s facade, which lightly cantilevers over the first-floor, is less obviously about wood and features zinc-toned paneling with copper and white accents. In a statement, Andrea P. Leers, principal of Leers Weinzapfel, noted the stark contrast between Adohi Hall and the other Collegiate Gothic-style architecture on the university’s campus. She noted that the contemporary residential building is fitting for the site despite its differences, especially given the administration’s commitment to sustainable design. “We drew inspiration from the regional context of the Ozarks, creating a living/learning environment powerful enough to be a destination remote from the center of campus,” said Leers, “and the wood-based construction system we developed forges a bond between setting, human comfort, and sustainability.” Adohi Hall (adohi meaning woods in Cherokee) was named as a tribute to the tribe members who passed by the site on the Trail of Tears. The area’s long history as a heavily forested region motivated the architects and the university to pursue this ambitious mass timber project. Leers Weinapfel Associates told Architectural Record that they responsibly-sourced European spruce, pine, and fir for the structural components of Adohi Hall, while cypress was selected to outfit the interior. It makes sense that the University of Arkansas—with its Fay Jones School of Architecture committed to researching and teaching wood-based construction—would be the first school in the country to build a large, CLT-based residential complex. As mass timber manufacturing grows in Arkansas and the surrounding states, it’s a possibility that other Southern institutions will follow Adohi Hall’s lead.
Brought to you with support fromOn June 25, Facades+ is returning to Boston for the fourth year in a row. The conference, organized by The Architect's Newspaper, is a full-day event split between a morning symposium and an afternoon of workshops led by top AEC practitioners. Leers Weinzapfel Associates (LWA), a Boston-based firm with projects nationwide, is co-chairing the conference. Panels for the conference will focus on the changes underway in Boston, ranging from new educational structures, the city's new tallest residential building, and historic preservation projects. Participants for the conference's symposium and workshops include Behnisch Architekten, Knippers Helbig Advanced Engineering, Pei Cobb Freed & Partners, Bruner / Cott, Arrowstreet, Consigli Construction, Walter P. Moore, Autodesk, Atelier Ten, Harvard GSD, the Wyss Institute, and Okalux. In this interview with The Architect's Newspaper, LWA's designer and business development representative Zhanina Boyadzhieva and associate Kevin Bell, the conference co-chairs, discuss their firm's growing body of work and the developmental trends within the city of Boston. The Architect's Newspaper: Boston is known as a relatively quiet city with a predominantly low-slung skyline. How is current development reshaping that identity and what does it mean for the future? Zhanina Boyadzhieva: Boston is indeed a “quiet” city, but it is also a hub of innovation and creative thinking. In the past few years, we have observed dynamic design work, largely by local firms, on several fronts: 1) creative re-envisioning of historical landmarks through readaptations and additions such as Smith Center at Harvard University and Congress Square in downtown Boston 2) careful insertions of new landmarks in the skyline such as One Dalton 3) fast development and growth of existing or new resilient neighborhoods such as Harvard’s Allston campus. Each design solution addresses unique urban conditions and entails holistic thinking about city planning, resilience, and sustainability, coupled with a sense of function, form, materiality, and human experience. Naturally, facades combine all of these considerations and become dominant players in the reshaping of cities. The diversity of approaches we observe—controlled material juxtapositions of old and new, sculptural form-making, and playful screening strategies—are testaments to ongoing design experimentations here. There is a search for new methods to address creative reuse, high performance, material fabrication, and user experience. AN: The city possesses one of America's largest concentrations of brutalist buildings, as well as large historic districts. How can Boston embrace its heritage while moving forward? Kevin Bell: The rich building history of Boston, including modern landmarks like City Hall, and its brutalist companions make for wonderful urban fabric for intervention and a great place for an architect to practice. This history should serve to elevate our expectations for new buildings and major renovations in the city. The recent warming to Boston’s brutalism, its strong geometry and bare materials, is welcome, encouraging designers to consider rather ignore these local icons. It presents the opportunity to consider adaptation and re-envisioning through sustainability’s lenses, the human experience, and materiality. If we can dramatically improve the energy efficiency and human use in these sensitive historic buildings, we can achieve the same in new construction and create a model for continued improvement. AN: What innovative enclosure practices is LWA currently executing? KB: As a firm, we have a legacy of designing efficiently in an urban context. Often, our site is an existing historic building or a tightly constrained sliver of land, or sometimes, there's no site at all. This fosters a sensibility within the studio toward compact volumes, materially efficient, with taut fitted skins, a practice that serves us well as we work to make evermore energy efficient and sustainable buildings. We're also redefining our performance expectations around our clients' commitments to energy efficiency, many of whom have established operational carbon neutrality as their aim by mid-century. The enclosures we design today will be part of that efficiency equation. They must be considered to be part of a carbon neutral organizational environment as a performance baseline above simple compliance with today's codes or target certifications. Envelope performance, especially the use of innovative glazing materials, is a logical extension of the way we think about reactive, efficient space and energy efficiency targets in building enclosure design. Our Dartmouth Dana Hall renovation and addition, under construction now, is an example of this process and practice. We worked closely with the college to define a program for building reuse around its energy use reduction targets that dramatically improved envelope efficiency. Through the design process, we worked with our design and construction partners to continually refine the design while holding to incremental improvement in energy efficiency at each step; our modeled efficiency improved even as we moved through cost reduction exercises. The result is a highly insulated building, triple glazed throughout, with a thermally improved, south-facing glass curtainwall system combining vacuum insulated high-performance glass modules with integrally solar shaded, triple glazed vision glass as part of a building with a predicted energy use index (pEUI) in the middle twenties before the introduction of site renewables. AN: Which materials do you believe are reshaping facade practices? ZB: Materials are the agents of larger design strategies shaping the practice such as resilience, sustainability, and human experience. The aim to rethink and cherish historical buildings, for example, leads to a careful layering of existing and new materials that contrast and simultaneously enhance each other. Heavy textured concrete at the Smith Center is supplemented by light and open transparent glass, green walls and warm wood. Traditional brick block at Congress Square is juxtaposed with a floating glass box on top of sculptural fiber-reinforced plastic panels. On the other hand, the vision to create new landmarks that celebrate and reshape the Boston skyline result in the careful sculpting of distinctive volumes as in One Dalton, a tall glass skyscraper with careful incisions of exterior carved spaces for human use. Finally, the goal to produce energy efficient but playful envelopes leads to a game of patterns composed of an inner insulated layer with an outer wrapper of perforated metal screens or angled aluminum fins. Each choice of material and its manipulation reflects a larger vision to create a unique experience in the city. Further information regarding Facades+ Boston can be found here.
MIT’s School of Architecture and Planning (SA+P) is currently scattered all over the school’s Cambridge, Massachusetts, campus, but not for much longer. The university announced on December 14 that it had tapped New York’s Diller Scofidio + Renfro (DS+R) to convert the historic Metropolitan Storage Warehouse into a central design hub. The idea of renovating the Metropolitan Warehouse, which was added to the National Registry of Historic Places in 1986, has been kicking around since June of this year. At the time, SA+P dean Hashim Sarkis expressed the desire to consolidate the physical design and research components of the school into one location. The proposed changes would preserve the warehouse’s distinctive red brick facade (likely because of its historical significance). DS+R will be partnering with Boston’s Leers Weinzapfel Associates, no strangers to academic work, to bring 200,000 square feet of classrooms, galleries, workshops, studio spaces, and an auditorium to the former warehouse. A makerspace, accessible to the entire campus, will also be installed under the administration of Project Manus, a group responsible for integrating and updating such spaces at the school. The selection of DS+R began with a long list of potential architects that was put forth by MIT’s Office of Campus Planning (OCP). Representatives from every department of SA+P, Project Manus, and OCP then whittled the list down to four finalists. The remaining studios were invited to give private presentations in October, and feedback on each was taken from SA+P students and faculty, as well as representatives from the city. “A project of this scale and complexity,” said Sarkis, “which demands a design sensibility informed by both art and technology—along with a deep understanding of architecture education as well as the role of public space—is made for a firm like DS+R.” No estimated completion date for the project has been given yet, nor has a budget estimate, though MIT says that the school is in productive talks with alumni about fundraising to pay for it.
A national design collaboration led by Boston-based Leers Weinzapfel Associates and including Arkansas-based Modus Studio, St. Louis–based Mackey Mitchell Architects, and Philadelphia-based OLIN has created America’s first large-scale, mass timber interactive learning project, already under construction at the University of Arkansas. Working off of a “cabin the woods” concept, 708-bed Stadium Drive Residence Halls feature fully exposed, locally harvested wood structural elements. The residence halls are a pair of snaking buildings joined in a central plaza, and include classrooms, dining facilities, maker-spaces, performance spaces, administrative offices, and faculty housing. The five-story buildings, totaling 202,027 square feet, are clad in a zinc-colored paneling, while copper-toned panels are scattered along each floor that appear to float above the heavily planted backdrop. Inside, wooden columns, beams and cross-bracing are all displayed to present a sense of warmth, and to connect students with Arkansas’s local ecology. The halls terminate with large study rooms at the end of each floor, which light up at night and act as beacons for the rest of the campus. The panels were constructed from Cross Laminated Timber (CLT), while the structural columns and beams are made of glulam, where layers of wood all facing the same direction are laminated together under pressure. Each arched building curves around a courtyard or common park area and students enter the complex through a covered “front porch” at the northern building’s main entrance. The central gathering room that connects the hall’s two wings has been dubbed the “cabin,” and despite being relatively small, packs in a hearth, community kitchen, lounge spaces, and a planted green roof. Each hall also features a double-height ground floor lobby with floor-to-ceiling windows that allow uninterrupted views of the surrounding landscape. “The interwoven building and landscaped courtyards, terraces, and lawns; the beauty of timber structure and spaces; and the excitement of performing arts and workshop facilities will make this newest campus residential community a destination and a magnet,” said Andrea P. Leers, principal of Leers Weinzapfel Associates. Leers Weinzapfel is no stranger to working with timber, as its multidisciplinary design building for UMass Amherst wrapped up construction late last year. The project is expected to finish in 2019, and will anchor a new master plan for the University of Arkansas campus.
Boston-based Leers Weinzapfel Associates recently completed construction of the new Design Building at the University of Massachusetts Amherst, the first academic building in the U.S. to use a Cross Laminated Timber (CLT) as its primary structure. (See images of the building under construction here.) Targeted for LEED Gold, the building includes other sustainable architectural features like bio-swales for water runoff filtration, a green-roof which doubles as an outdoor classroom, and the largest installation of wood concrete composites in North America. The building is described by Principal Architect Andrea Leers as “a teaching tool for the design disciplines.” Leers made the case that educational environments, especially those for design school, can serve a pedagogical function in the training of young architects. Leer stated further that:
From my own teaching experience there’s nothing more potent than being able to talk with students about the space around you—in this case, the building’s collaborative configuration, innovative structure, considered material and detailing choices, environmentally-driven site, and synergistic landscape concepts that define the project.The building is organized around an interior atrium lit during the day by several skylights. This daylighting strategy reduces energy consumption and provides the school with a bright central space for exhibitions, design critiques, lectures, informal gatherings, and other events. The studios and classrooms are arranged around the atrium, visually connected to the commons through window apertures that allow visitors to glimpse the work being done by the students and faculty. The design of the building’s commons also emphasizes the unification of the university’s departments of Architecture, Landscape Architecture and Regional Planning, and the Building and Construction Technology program into one singular facility. In addition to its extensive use of wood products, the architects chose to clad the building with copper-finished aluminum panels that protect the highly-efficient envelope. Though the building fills much of the site, the landscape design by Stephen Stimpson Associates strategically uses native plants and local paving materials to connect the building to the larger campus. In the end, the building cost $52 million to construct, a price tag that was partially funded by Massachusetts State Legislature, and adds 87,500-square-feet of additional interior space to the university. Suffolk was the construction manager.
The University of Massachusetts (UMass) Amherst, about 100 miles west of Boston, will get a new multidisciplinary addition this fall. Boston-based Leers Weinzapfel Associates designed the UMass Design Building, set to open November 2016 in time for winter classes. It will unite the architecture, landscape architecture, regional planning, and building technology departments into one facility. The building is currently under construction. See our slideshow above and images below for exclusive construction photos (we've included a few renderings, too). When the project opens, it will be one of the largest mass timber structures in the United States. The building's interior will feature Cross Laminated Timber (CLT), an engineered wood known for its durability and lightness. Projects can use CLT to replace materials with higher embodied energy such as steel, concrete, and masonry. While it has been popular in Europe and Canada for some time, CLT is gaining traction in the United States, mostly on the west coast (one notable project is the Bullitt Center in Seattle). The 87,000 square foot Design Building will also rely on a glue-laminated wood frame, a wood composite floor, and a copper anodized aluminum building envelope. The facility will bring together over 500 students and 50 faculty across the four departments into a space that is transparent, open, and light-filled. The design features a lowered atrium with a zipper truss, an upper courtyard, and offices and classrooms rising in a coil, explained Andrea Leers, principal and co-founder of Leers Weinzapfel Associates. A major goal of the design was to help facilitate greater interaction between student and faculty. The firm put studios and offices on each floor, said Tom Chung, principal at Leers Weinzapfel. Yet there is also an element of independence, as studios on each level are at one end, while offices are at the other. The studios will be medium-sized, able to fit up to 5 sections. “UMass did not want a lecture hall,” Leers said. Instead, the ground floor—which has no predefined programming—includes stairs that double as seating for presentations and a flat floor for absorbing activities and other events. Also planned is a cafe, exhibit space, and libraries. The Design Building site is a sloped area on the southern part of the UMass campus between Stockbridge Way and Kevin Roche’s 1975 Haigis Mall. “It is a challenging site,” said Leers. The building will rise to four stories on one end and three stories on the uphill. The landscape design by Stephen Stimson Associates relies on a bioswale for water filtration. Leers Weinzapfel stressed the close connections between the exterior and interior, with the concept of building-as-landscape and landscape-as-building. In separate conversations with both Leers Weinzapfel architects and UMass building technology specialists, both emphasized the educational component of the Design Building—how the building itself would serve as a living instructional example. “We wanted this building from the early stages to be a teaching tool for advanced timber construction,” said Peggi Clouston, associate professor of building and construction technology at UMass Amherst. “The project uses CNC milled wood,” said Alex Schreyer, building construction and technology program director at UMass Amherst. “There are extremely tight tolerances. It’s innovative with these spans of 25, 26 feet.” But there are challenges to building in timber in the U.S. “The forests are in a state of decline. They are not properly managed, and weed species [smaller species] are choking out larger ones," said Clouston. These weed species are easy fuel for forest fires. The use of mass timber reflects the university’s roots in agriculture—the university was founded under the President Abraham Lincoln-signed 1862 Morrill Land-Grant Colleges Act. The university was first called the Massachusetts Agricultural College. “It was a public process,” said Josiah Stevenson, principal at Leers Weinzapfel of the design. The total cost of the project is $52 million, with $36 million going toward construction. When it came to obtaining funding, the UMass's efforts were partially an “activist intervention,” Leers explained. UMass faculty went to the state legislature for funding, and spoke with former Massachusetts Congressman John Olver. He was taken with timber, said Clouston. Currently down the hill from the Design Building site is Wood on the Plaza, a white ash timber bridge shell installation at the Fine Arts Center Plaza. The architecture department will be moving out of its home in a Brutalist Kevin Roche building. The university will reuse the current architecture and building technology spaces, while razing the landscape department building, originally built as a dorm. You can find more Design Building information, construction photos and time-lapse videos online. The construction manager for the project is Suffolk Construction.