Posts tagged with "Office Buildings":

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WeWork takes over London’s iconic Number One Poultry building

Co-working company WeWork has added London’s iconic Number One Poultry to its growing roster of historically significant buildings, and will reportedly convert all 110,000-square feet of the postmodern landmark into creative office space. Clad in alternating bands of pink and yellow limestone and most recognizable for its periscope-shaped tower above the main entrance, One Poultry has been a distinctive part of London’s urban fabric since its completion in 1997. Completed five years after the death of its architect, James Stirling, the building has gone from being an object of public scorn to being designated as a historical structure worthy of preservation. Earlier this year the building became the youngest ever to win Grade II* historical preservation status, even as the Financial Times reports that it was “voted as the fifth-worst building in London by Time Out in 2005.” The site itself has a contentious history, as Stirling’s playful scheme famously beat out a modernist tower proposed by Mies van der Rohe after public opposition scuttled Rohe's 18-story glass and bronze building. One Poultry is currently undergoing an interior and lobby renovation by London-based BuckleyGrayYeoman Architects in an attempt to attract new tenants. The re-situated office space seems like a natural fit for WeWork, as BuckleyGrayYeoman has managed to fit a more conventional design into Stirling’s bulging and unequal volumes by opening up the floors and exposing the concrete columns and trusses. The new plan also calls for an underground bicycle storage center, a new 4,000-square foot double-height lobby, a reception area, and a locker room. A grand staircase that had been closed off will also be reopened as a separate entrance for private members. WeWork has been on an aggressive expansion lately in both the architectural and business worlds. Earlier this month it was revealed that the company had launched WeGrow, an education-based offshoot, and had hired the Bjarke Ingels Group (BIG) to design their flagship school. This week alone has seen WeWork readying itself for a foray into retail, as well as a $32 million investment in the women-only co-working group Wing. As the company continues to grow, it will be worth keeping an eye on what other notable buildings it acquires in the future.
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Some Apple employees are reportedly unhappy with workspaces in the new $5 billion Apple Campus

Apple’s new $5 billion headquarters has been in the works for almost six years now and it recently opened its doors, only to reportedly receive complaints and criticism from some employees. A controversial building from its conception, rumor has it that Apple Park has been met with dissatisfaction from certain workers over its open and collaborative workspaces, according to the Silicon Valley Business Journal. The late Steve Jobs imagined the complex as a rethinking of the modern office—“I think we have a shot at the best office building in the world,” he said—and instructed London-based Foster + Partners to design a building that would fit all 12,000 Apple employees under one roof and include access to perks like a wellness center and cafes. Additionally, Apple Park moves away from private offices and cubicles and uses an open floor plan, bench seating, and shared desks. Although this design was intended to encourage collaboration between workers, some employees reportedly want the cubicles and old offices they left behind. Recent rumors of discontent among high-level Apple staff come from the notable Apple podcaster and blogger John Gruber. On his podcast, as reported by Silicon Valley Business Journal, he described how Apple’s Senior Vice President of Technologies Johny Srouji demanded a separate space outside the main building for his team. Reports of similar arrangements for other Apple employees were echoed by Bloomberg. Concerns from Apple workers were also echoed in a recent Wall Street Journal article that stated, “many will be seated in open space, not the small offices they’re used to. Coders are programmers are concerned that their work surroundings will be too noisy and distracting.” It is doubtful that Apple anticipated this response from its staff, but this conflict continues the ongoing discussion surrounding collaborative and progressive workspaces.
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Another uncharacteristically subdued, verdant office building by Gehry Partners is on the way

Los Angeles–based Gehry Partners is moving ahead with a 135-foot-tall office structure slated for L.A.’s Silicon Beach district, the second such creative office project announced in recent months. The firm broke ground earlier this year on an 80,000-square-foot, single-story office complex called Ascend in nearby El Segundo that features spartan formal treatments and exuberant planting arrangements. The subdued creative office complex is designed with 24-foot interior ceilings and is modeled after the ubiquitous wood bowstring truss warehouse structures that populate L.A.’s industrial neighborhoods. With its latest office project—a 200,000-square-foot complex located just next door to the firm’s own offices in Playa Vista—the firm will add another streamlined creative office project to a growing body of tempered, late-career work following in the footsteps of the firm’s headquarters for Facebook from 2015. The purposefully banal projects in question are somewhat of a departure for a firm best-known for exuberant, sculptural works typically made from exquisite materials. Even so, the projects bear a certain resemblance to Gehry’s earliest works, which focused extensively on deploying prototypical materials and building technologies in unexpected ways. The New Beatrice West project, as it is known, expands on this new mode by creating a multi-story office tower complex peppered throughout with terraces and groves of trees. Renderings for the project depict a multi-volume cluster wrapped in alternating expanses of glass curtain walls and solid building masses. The curtain walled areas are delineated by projecting floor plates that create horizontal louvres over the glass expanses while the more solid facades are punctured by punched windows. The building’s 845-stall parking podium at the building’s base is concealed by an expansive arrangement of growing walls, trees, and terraced volumes that will include a restaurant, among other programs. The project is currently undergoing approval by city agencies and will be appearing before the Los Angeles City Planning Commission in coming days. Planning documents submitted in support of the project indicate the complex will take roughly 22 months to build, with final completion expected in 2019.
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New renderings released for Gensler’s “EPIC” creative office tower in Hollywood

Architects Gensler and developer Hudson Pacific Properties have revealed a new set of renderings for a 300,000-square-foot creative office tower complex in Hollywood, California. The project, dubbed EPIC, will replace an existing parking lot and be 230 feet tall. The EPIC tower rises highest and most prominently along Sunset Boulevard and contains ground floor retail wrapping its base. The structure steps up from a wide parking podium section until roughly the midway point of the tower’s height. These stepped sections contain a series of elaborate, multi-level planted terraces that overlook the surrounding neighborhood. Higher up, the tower presents a more formal silhouette and is studded with floor-to-ceiling, square-shaped expanses of glass. These sections are offset slightly from one another and contain divided light window assemblies Interior creative office spaces feature spare interiors, with unfinished concrete floors and a spare grid of square-shaped concrete columns spanning the structure’s broad floorplates. The new batch of renderings includes several views of multi-level interior office spaces and of the outdoor terraces, as well. The terrace areas contain a variety of seating configurations, are landscaped with modestly-sized trees, and divided up by variable planted partitions. The tower is being developed as a sister project to the developer’s $150 million expansion of the Sunset Bronson Studios complex directly across the street. That project consists of a 14-story tower containing 400,000-square feet of office spaces, including five-stories of movie, sound, and film production facilities. Both projects join an increasing number of high-rise, mixed-use tower complexes slated for the area, including the recently-completed RCH Studios–designed Columbia Square development and the beleaguered Natoma Architects–designed Hollywood Palladium towers. EPIC is currently in the beginning stages of construction; a final construction schedule has not been completed.
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VR was essential to Gensler’s design of NVIDIA’s new headquarters

Hao Ko, principal and design director at Gensler, will be delivering the keynote presentation at the 2017 Tech+ Expo (May 23, New York City). Like a test rendering of a 3-D model, Gensler’s new headquarters for microchip maker NVIDIA in Santa Clara, California comes haltingly into view across the landscape, a glitchy image slowly gaining resolution. The 550,000-square-foot structure has been in the works since before the Great Recession and after nearly a decade in development, work is quickly progressing on final construction. The structure is on track to open for business in September of 2017—construction photos provided to The Architect’s Newspaper (AN) by Hao Ko, principal and design director at Gensler, indicate that work on the building envelope is almost complete, with the installation of final interior finishes and the landscape underway. Devcon Construction is building the project and Louie International is acting as the structural design engineer. Along the exterior, practically every edge of the wide, triangular structure is canted subtly. A roof profile that appears curved is actually made up of broad, segmented lines. Along two sides, the building bulges at the middle, creating fat, cyclopean bay windows. From above, the building is revealed across the landscape as a microchip-inspired paper airplane—a thin roof structure pierced with triangular skylights heaving over the earth. The building is actually capped by a steel truss roof supported by steel beam walls and columns. The deeply-overhanging and undulating roof creates a cavernous interior volume below. Whenever the roof’s folded planes meet at a peak or a valley, they turn downward as large steel section columns that resolve themselves dutifully and unceremoniously by plunging straight into the concrete slab. [interstitia] The construction images showcase a cavernous, two-level interior volume intersected by a series of opaque, faceted cores that interlock with one another and contain communal functions and meeting rooms. The peripheries of each floor plate are lined with work areas. Here, the formal rows of desks and more open-ended breakout spaces will exist in a broad, sky-lit space, framed by triangular roofing members above. The project is notable for the collaborative effort between client and architect that allowed the design team to embed virtual reality-based (VR) visualization into the design process. NVIDIA worked to develop new uses for the graphics chip manufacturer’s Iray rendering engine: the project's iterative daylight simulations involved modeling up to 5,000 light sources per image. Using the technology and cluster computing to pool GPU-power, designers were able to generate renderings in as little as ten minutes’ time, converting the technology into a rapidly-deployable design tool. The technology was also designed to include physically scanned materials in such a way as to capture light intensity and character—rather than to generate only various intensities of color, as is more common in rendering applications. The resulting “simulations” guided the design of the workspaces, where NVIDIA wanted to maximize quality of light. The scheme, as a result, ended up with fewer skylights than originally intended. Simulations showed that not as many skylights were needed to achieve the correct lighting effect designers were looking for. Ko explained over telephone that virtual reality workflow integration allows for a project to take on more life, saying “previously we only had artists’ renditions of what a space could feel like.” Ko added that with VR, the architects at Gensler wanted to figure out how could get “more reality” into the design experience. Scott DeWoody, Gensler’s creative media manager, said that the use of virtual reality was integral to the NVIDIA project and that the firm had “found a use for it at every spot in the design process.” VR is something that is not only easy to adopt into the traditional office workflow, DeWoody explained, but once rendering times are reduced, the tool can result in better overall design quality, as designers “render everything around them, instead of just (rendering) an open scene.” Ko agreed that the advanced simulation techniques add more to the design process than traditional renders, saying, “I’m old school—I came in the profession back in the day when we were building big physical models, to understand size, scale, and experience. Prior to having VR, it was always a challenge to reconcile how you do that.” Technology is driving rapid changes in architecture and construction industries and the building industry, in turn, is a driver of the U.S. economy. Tech+ Expo brings together, for the first time in NYC, industry and technology leaders that are shaping the future of the built environment.
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Gehry Partners breaks ground on 80,000-square-foot L.A. office complex

Los Angeles–based architects Gehry Partners and real estate developer NSB Associates have quietly started construction on an 80,000-square-foot creative office building in Los Angeles’s El Segundo area, establishing a new foothold for the region’s burgeoning Silicon Beach area. The new open-office structure is modeled on the traditional warehouse typologies that are typically being converted to office uses in other parts of the city, including the Arts District downtown. Instead of being organized in a typical manner with a sea of parking lots surrounding the warehouse structure, the project—named Ascend by the development team—is designed to be vertically-stacked, with office uses located above a covered parking structure. The complex is also designed with a large degree of exterior glazing, in contrast to many of the existing, often masonry construction warehouse structures being converted into office spaces. The complex is studded with large, floor-to-ceiling windows and 24-foot tall interior volumes. Sam Gehry—Frank Gehry's son who is also an architect—described the outdoor areas in a promotional video for the project, saying, "We're able to maximize the buildable area of the lot [by stacking the office above parking] to create this large floor plate building. Part of what that allowed us to do architecturally... [is to create] entries at four points on the podium level that [also] become nice outdoor amenities and outdoor space." The building will also contain roughly 16,000 square feet of private outdoor space accessible to the office areas that will double as circulation cores for the parking structure. The complex is to be located a short walk from the Green Line light rail line and is expected to be open for occupation by the fourth quarter of 2017. For more information, see the Ascend website.
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Deborah Berke completes new Cummins office building

Cummins Inc., the Columbus, Indiana–based diesel motor company has completed a new office tower in downtown Indianapolis. The nine-story building was designed by New York-based Deborah Berke Partners. The building will be home to distribution and select corporate offices. The slender profile of the new Cummins office, along with its orientation, are optimized to maximize environmental performance. Along with reducing heating and cooling loads, the shape allows for every worker to have direct access to natural light. The facade of the project is made up of a varied grid of glass and metal fins that are calibrated for the particular shading and daylight needs of each face of the building. J. Irwin Miller, Cummins’s former Chairman and CEO, had an intense interest in architecture and was a major architectural patron. The foundation which he founded helped fund many civic and cultural buildings by famous modernist architects in the small town of Columbus, Indiana. Cummins itself has facilities designed by architects such as Kevin Roche, Eero Saarinen, and Harry Weese. “Over the decades, Cummins has demonstrated a commitment to great design that benefits its employees, its customers, and the community,” said Deborah Berke in a press release. “This building carries that legacy forward with an environmentally sustainable design that dignifies the work going on inside while enhancing the urban realm. The building’s articulated facades and distinctive form serve a purpose—to create a comfortable, light-filled work environment for employees that adds to the vitality on Market Street. Adding some muscle to the great bones of downtown Indianapolis, the park is a public amenity that does double duty as a robust piece of green infrastructure.” The base of the tower includes a lobby and retail. Employee common spaces fills the second floor, including a space called the Square for large gatherings of employees and guests. The second floor also includes a conference center for employee development. Throughout the building flexible work spaces and connective common spaces allow for workers to collaborate and work in multiple configurations. Throughout the building, an art program will fill the workspaces with over 60 individual works of art. Three pieces by artists Kendall Buster, Odili Donald Odita, and the collaborative of Jennifer Riley and Emily Kennerk were commissioned specifically for the building. This article appears on HoverPin, a new app that lets you build personalized maps of geo-related online content based on your interests: architecture, food, culture, fitness, and more. Never miss The Architect’s Newspaper’s coverage of your area and discover new, exciting projects wherever you go! See our HoverPin layer here and download the app from the Apple Store.
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Stacking glass bars in Chicagoland

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Chicago architects Goettsch Partners, along with Clayco and Thornton Tomasetti, among others, have achieved U.S. Green Building Council LEED Platinum certification on a new North American headquarters for Zurich Insurance. The campus, located in suburban Chicago is the largest LEED Platinum Core and Shell v2009 project in the U.S. and the only LEED Platinum CS v2009 project in Illinois. The building achieves a 62.7 percent whole-building energy cost savings, making use of multiple green roofs, energy efficient technologies, rainwater harvest and re-use, accommodations for electric and low-emitting vehicles, and native landscaping with more than 600 trees on 40 acres.
  • Facade Manufacturer FacadeTek (Indianapolis) for Ventana
  • Architects Goettsch Partners; Clayco (developer/design-builder)
  • Facade Installer CK2 installer (contracted by Ventana)
  • Facade Consultants Thornton Tomasetti (sustainability consultant / daylighting / façade performance); CDC (unitized curtain wall design for Ventana / FacadeTek); Sentech (engineering of glass fin lobby wall and ventilated double skin façade)
  • Location Schaumburg, IL
  • Date of Completion 2016
  • System Unitized curtain wall with integrated horizontal aluminum sunshades, structurally glazed ventilated double wall
  • Products Shanghai Pilkington / Carey Glass / PPG-Oldcastle (exterior glazing); Ventana / FacadeTek-CDC/ Active Glass (Curtain wall and storefront systems); Ventana / Sentech (Structural glass systems); Prodema (exterior soffits); Horiso (Double-skin façade cavity shading); Lutron (Interior solar control shading)
The building is composed of three primary “bars” stacked and arranged to maximize views of the surrounding landscape and optimize solar orientation. The composition is benchmarked off the top volume, which was rotated 22-degrees. Paul De Santis, principal of Goettsch Partners, said this calculated move aligns the building with downtown Chicago, over 30 miles away. "The idea that you are in the suburbs but have a visual connection to the city resonated with Zurich's leaders." The lower bar on the east side of the campus is set 90-degrees off of the top bar, which helps to deflect northern winds and buffers sound from a nearby highway. Its rotation allows for direct sun in the courtyard near midday, promoting outdoor campus usage during the lunch hour. The curtain wall facade wraps outboard of three super scale trusses that are set 60 feet on center, achieving an 180-foot span over the middle of the campus, and a 30-foot cantilever at the perimeter. Michael Pulaski, vice president of Thornton Tomasetti, said that their team fine-tuned the glazing characteristics on the building, and custom designed a shading system that reduces peak gains and optimized daylighting. Detailed daylighting studies, using parametric software like Honeybee, were used to evaluate the effects of automated interior blinds and fine-tune the depth of the exterior shading devices for each orientation. The analysis optimized the depth of the shades for energy performance, which reduced peak solar gain for better thermal comfort and the size of the mechanical systems. De Santis said that in addition to this significant work to manage electricity usage, the management of water on site helped the project achieve its LEED Platinum rating. To push the project from a gold to platinum rating, De Santis said, "it comes down to two things: energy and water." The project team also incorporated features such as 1 acre of green roofs, native planting strategies, and large water retention areas for landscaping irrigation. The most advanced facade assembly occurs along the glazed south-facing wall of a three-story cafeteria where a ventilated double-wall facade was specified. Here, to verify performance and optimize the façade for reduced energy consumption, Thornton Tomasetti provided computational fluid dynamics (CFD) modeling. The 4.5-foot-wide double wall with integrated shades is designed to reduce solar gains in summer, while increasing the gains in the winter, as well as to improve daylighting, resulting in an estimated 33 percent energy savings in the adjacent space. Elsewhere, a single low-e coating on the number two surface (inner side of the exterior layer) continues through the insulated spandrel panels to produce a more uniform aesthetic while helping to minimize solar heat gain. The ground floor features a more transparent recessed glass, which De Santis said was an aesthetic and compositional move to help the upper floors read as "floating" volumes. With approximately 2,400 employees moved into the facility, the campus was designed to accommodate up to 2,800 employees. De Santis said the two lower bars are designed to extend an additional 100-linear-feet if and when more space is needed in the future: "It's very rare to work on a 26-acre site. We're used to working in very urban conditions. So the idea that the land allows for some of these growth strategies is very natural for the project. The longer these bars get, the more elegant the architectural expression will be."
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CetraRuddy designs an 18-story office building in the Meatpacking District

The Meatpacking District will soon to be the home of a new 18-story office building designed by New York–based architecture and interior design firm CetraRuddy. Due to changes in market conditions, the client requested that CetraRuddy transform their initial hotel design into an office building with over 144,000 rentable square feet of space. Located at 412 West 15th Street, the project also features the renovation of two adjacent buildings at 413-435 West 14th Street. These structures add an additional 110,000 rentable square feet of space to the project. Ensuring a connection between the new building and the adjacent 413 West 14th Street was a major goal in the design process, said John Cetra of CetraRuddy. A yard—not visible in the renderings—runs the entire length of the new building and will connect it and the neighboring structure on the ground level. The existing structure, a pre-1910 “rational, no nonsense” building, was built as three stories with a fourth story later added. To build atop it, Cetra found inspiration in the nearby High Line's exposed steel structure. The new construction is similarly designed to create “an elegant structure,” he explained, with metal cladding and open floors exposed by glazing. The new building's steel frame was designed to reveal its cross-bracing. (While the firm thought masonry was more appropriate for a hotel, they switched to steel when it became an office tower.) Decorative metal panels cover the project's elevator and stair shafts. The new structure will have a relatively small floor plate but offers expansive views and plenty of natural light. Cetra said that his team worked “[to design] the superstructure and systems within the space so that it wasn’t necessary to suspend the ceiling within the spaces.” The building has a distinct context: the office tower on West 15th Street falls just outside of the Gansevoort Historic District but the existing building on West 14th Street is within its boundaries. The new building features more contemporary styling while the West 14th Street structure aims to fit into the existing environment.    In regards to sustainability, all of the roofs for this project will be blue roofs, retaining stormwater. The building will also boast rooftop conference rooms and terraces. Cetra noted the open, flexible design for the ground floor retail space will allow customization for whichever tenant rents it. An open lobby with floor-to-ceiling glass and high ceilings aims to create a “gallery-like experience.” Terrazzo floors and black and stainless steel and darker metals fit well with the neighborhood, said Charles Thomson, the project's manager. A luminous canopy outside the new building’s entrance differentiates the office tenant's entrance from the retail storefront. The building is currently under construction with the beginning of tenant fit-out scheduled for some time mid- to late-2017.
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New details emerge for REX’s sleek office building with a fluted facade

Brooklyn-based architecture firm REX, led by Marcus Prize winner Joshua Prince-Ramus, has announced plans for a new 450,000 square foot "premium" office complex for real estate company Tishman Speyer.

The building—which AN first reported on last year—will be located on 2050 M Street in Washington D.C. and aims to "set the new standard of trophy office buildings" in the district's "golden triangle," a renowned business hub.

The project will feel light given its surrounding buildings—which range from Beaux Arts, Neoclassicism to Art Deco and Brutalism—feature heavy masonry exteriors. 2050 M Street's distinction will be further accentuated by its lack of ornamentation.

In this respect, REX's office building could be considered a contemporary take on Mies van der Rohe's high modernist style. While 2050 M Street avoids Mies's trademark use of steel structure, the principles of openness, proportionality, and legibility (in renderings, at least, the floors remain clearly visible) remain. As REX described in a press release, the project employs "hyper-transparent, floor-to-ceiling glass" that hide the view of "impending mullions."

To achieve this, the glass will use "subtly-reflective pyrolytic" coating on the exterior. A relatively new advancement in glass technology, the process involves applying the coating while the glass is in a semi-molten state, allowing the chemical composition to form a bond and become part of the glass surface. The coating provides enhanced durability against scratches and other forms of degradation. In addition, a low-e coating will be applied within the glass’s insulating cavity to improve thermal performance by reducing solar heat gains. Both coatings will be applied to the curving panels that repeat 900 times along the building's facade to create a shimmering, kaleidoscopic effect, thus hiding the mullions. The panels' curvature also has a structural purpose: the "curve’s inherent rigidity in compression" means "only the top and bottom edges of the panels are supported from the floor slabs." Meanwhile, the "‘mullion-less’ vertical edges are flush-glazed for a minimalist aesthetic that improves sight lines, while gaining useable floor area." The lobby will also house site-specific art that has not yet been commissioned. The project has not broke ground but REX, in press release, stated that completion is due for 2019.
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REX revamps the facade of Davis Brody (Bond)’s 1970 Five Manhattan West

Original Architect: Davis Brody Architect: REX Steel manufacturer and installer: Permasteelisa Date of Completion: 1970 Date of retrofit completion: expected 2016

Before BIG built its pyramid on New York’s west side, there was the concrete ziggurat at 450 West 33rd Street, designed by Davis Brody (now Davis Brody Bond) and completed in 1970. The 16-story office building lost whatever Brutalist charm it possessed when, in the 1980s, its precast concrete facade was painted beige and covered with brown metal panels and it gained the dubious honor of being one of the ugliest structures in New York. Now known as Five Manhattan West, the building is undergoing another makeover, spearheaded by REX, to update its facade with the latest in form-fitting fenestration.

The client, Brookfield Office Properties, was committed to transforming its ugly duckling into a swan. “If anything, our initial design sketches weren’t ambitious enough,” said REX founding principal Joshua Prince-Ramus. “We were trying to do something innovative and exciting thinking that we were pushing the envelope, and then they said ‘it’s a bigger envelope.’” REX ultimately devised a “pleated” glass facade that ripples down the building to flood the large, open interiors with light. These pleats are composed of panels angling out toward each other from the floor and ceiling, a design driven by the need to mitigate the structure’s slope, which limited the leasable space along the interior perimeter. But the unique form is more than just window dressing. According to Prince-Ramus, “What’s interesting about the geometry is that the sun doesn’t hit the lower piece of glass, so we can have a building that is transparent and simultaneously energy efficient.”

Every adaptive reuse project presents unique and unexpected challenges. To compensate for weakness or irregularity in the nearly 50-year-old concrete slabs, REX devised an unobtrusive steel substructure to support their new facade. Beyond re-cladding the building, the architects dramatically reconfigured its lobby and improved its core and mechanical systems. Impressively, this was all done while tenants continued to occupy the building.

The glistening glass pyramid will anchor Brookfield’s adjacent Manhattan West development and its investment and ambition seem to be paying off. The massive floor slabs and floor-to-ceiling windows are attracting tech companies and other businesses looking for nontraditional office space. The anything-but-retro retrofit will be completed by the end of this year but the transformation is already profound. At street level, Five Manhattan West feels brighter and less imposing. Though its edges may have softened, the once-Brutalist building still cuts a distinct figure among the increasingly anonymous glass towers of Manhattan.

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Gensler’s Duncan Lyons shows how today’s facades reflect changing trends in the workplace

As an architectural typology, the contemporary office building sits at the intersection of a number of social, economic, and environmental trends: the changing nature of the workplace; the expanding reach of communications and other technologies; and an increasing focus on sustainability and resilience. Three AEC industry professionals at the forefront of office building design and construction will be on hand at this week's Facades+AM DC symposium to discuss the new materials and technologies (including coatings, fritting, curved, and formed glass) that can be brought to bear on the challenges and opportunities associated with private- and public-sector office projects. Bob Schofield, Senior Vice President of Development and Director of Design and Construction at Akridge; Front Inc. Founding Partner Marc Simmons; and Gensler's Firmwide Commercial Office Building Developers Practice Area Leader, Duncan Lyons together bring years of experience in high performance design and construction to the conversation. Asked about the factors influencing the design of an office building's facade, Gensler's Lyons cited, "How the office building contributes to place-making, energy performance, and user experience; creating a healthy and inspiring workplace; [and] connecting building users to daylight, outside air, and a unique sense of place." That the worker experience is a key consideration in office building design reflects a broader transformation in American work culture, one in which a focus on fostering employee potential has replaced the traditional emphasis on products and processes. Just as employer–employee relationships have changed, so, too, has the technology available to tackle other pressing issues, including environmental performance. Lyons sees a future for dynamic building facades that utilizes new glass technologies, operable facades, and user adaptation—developments that promise to boost both worker satisfaction and sustainability. Hear more from Lyons, Schofield, and Simmons, as well as other movers and shakers in the facades world at Facades+AM DC. Register today and earn CEU credits at the event March 10.