Posts tagged with "Portland":

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Allied Works designs a stadium for “Soccer City, USA”

Portland, Oregon, has dubbed itself “Soccer City, USA,” and cultivated an ardent fan base for its two professional teams, the Timbers and the Thorns. Allied Works founding principal Brad Cloepfil is among those fans and has watched various iterations of the Timbers play since the mid-1970s. When he heard that the teams’ owners were investigating adding seats to Providence Park, their historic stadium, Cloepfil volunteered his firm to do a study. What followed was an exploration of how to design a stadium expansion in a tight urban space hemmed in by roads, utilities, buildings, and a light rail line. Where previous expansion studies had looked at the south side of the stadium, Allied Works focused on the east side and expanding upwards. The architects found a precedent in the raucous Estadio Alberto J. Armando in Buenos Aires, known as La Bombanera, where steep stands form a “U” around three sides of the pitch with a fourth flat side—a configuration the designers adapted in their new plan. Not being traditional stadium architects, they found another successful example of going vertical in London’s Globe Theatre, a venue whose stacked levels of outdoor seating manage to bring audiences close into the action below. From the outset, the project’s signature gesture was an arched canopy that sweeps from the edge of the existing seating on the lower level over three new tiers of seating. Fret-like trusses support a 117-foot cantilever and wrap back across the top of the building, transitioning into subtly modulated clusters of pipes as they extend down the facade and anchor to the sidewalk. “We looked at what would give it presence, knowing we weren’t going to make a solid, historicist, site-cast addition,” said Cloepfil. “We let the structure be the expression and had the tension pulled back to the street, which allowed the rest of the building to be quite simple.” With limited space between the field and the property line, and the need to get the right number of seats, the new levels of seating trays cantilever over the sidewalk, creating an airy, 25-foot-high street-level arcade behind the filigree of steel pipes. At each level, the architects “tuned” the angle of the seats to achieve the right slope and floor-to-floor heights to give visitors wide views of the pitch and accommodate the high-ball line. Providence Park is one of the oldest stadiums in Major League Soccer, and Allied Works wanted to respect that history. The stadium’s original 1925 master plan by prominent Portland architect A.E. Doyle and Morris Whitehouse proposed a classically styled facility. While the west and north sides hewed more or less to the architects’ design, the stands on the east side morphed over time, eventually becoming a partially covered, low-slung seating area. Allied Works’ design visually reinstates the more vertical east side stands envisioned by Doyle and Whitehouse. “It was a missing piece,” said Chelsea Grassinger, project lead at Allied Works, “and this was an opportunity to bring that back.”
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ZGF Architects designs choose-your-own-adventure office space in Portland

Expensify is an expense management software company, so it’s fitting that its newest office in Portland, Oregon, is set inside one of the city’s historic bank buildings. Located on the corner of Southwest 5th Avenue and Stark Street, the 103-year-old First National Bank, or the “marble temple,” does not look like the home of an emerging tech enterprise. But the San Francisco–based brand has outfitted the four-story atrium and other spaces to respond to its need for flexibility without compromising the integrity of the structure.

Designed by ZGF Architects, the office reflects Expensify’s self-described “choose-your-own-adventure” work setting. Employees have an array of seating options, from a 41-foot-long communal table to a plush swing set, a classy boardroom, and a speakeasy-style salon with leather booths by Restoration Hardware—all except for personal desks. This goal of creating a 100 percent agile workplace drove all design decisions both large and small, according to Alan Gerencer, principal of ZGF.

Expensify also wanted its office to be a place where employees could directly connect with each other and the national landmark building. Gerencer explained that the interior was completely shelled out when they began work. “It was bare concrete,” he said. “Our effort was to define this space and still respect what was existing.”

To do this, ZGF referenced both the obvious and minute details on the building’s exterior as well as its Art Deco, skylit interior. For example, the firm imagined a set of floating conference rooms immediately visible from the bank’s main entrance that resemble a tree house. Built with glass and blackened steel, the triad of windows on the boxy structures mirror the bank’s expansive vertical windows. Angular chandeliers from Nemo Lighting, reminiscent of the opulent hanging lamps found in old banks, gleam inside. Additionally, the oak flooring by Kährs and millwork used throughout the entire office pay homage to the patterns of oak leaves and acorns on the historic bank vault doors.

Even the oak wood–clad private booths on the third floor, designed for quiet work and conversation, feature a Scandinavian gabled roof design that’s defined with the exact shape and proportions of the classical X-shaped balustrades and grilles nearby. All of these varied work areas allow employees to interact with the historic space on many different levels.

Because Expensify is leasing the office space, ZGF laid out the interior architecture to “gently touch” its historic core. “This whole structure could essentially be removed,” Gerencer said, “and no one would ever know Expensify was there.”

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DLR Group’s Portland Building renovation will kill its historic status

An audit by the City of Portland, Oregon, has found that the DLR Group’s renovation of the Michael Graves–designed Portland Building is over budget and, once complete, will cause the building to lose its historic landmark status. The renovation began last year as an alternative to scrapping the postmodern Portland tower, which desperately needed waterproofing, seismic, and efficiency upgrades. The plan to overhaul the 360,000-square-foot building eventually ballooned to $195 million as DLR Group opted to reskin the tower with a unitized aluminum rainscreen designed to imitate the original facade. Because of budget constraints when the building was originally constructed in 1982, Michael Graves opted to support the building using a cheaper exterior concrete wall, but poor workmanship led to water infiltration issues. DLR Group will also replace the dark windows, value engineered in for insulation, with lighter insulated glass. However, according to the City of Portland’s audit of the renovation, a follow-up to an initial risk analysis report, the budget has increased to $214 million. It was also revealed that once the project is complete, the building will be removed from the National Register of Historic Places. According to the audit, “As a part of the local Historic Landmarks Commission reviews in June 2017, the National Parks Service and the State Historic Preservation Office alerted the City that it would remove the Portland Building from the register if the City pursued the proposed exterior design to address water leaks.” The city will have to enter into a “mitigation agreement” with the State Historic Preservation Office as well to offset the delisting, although what that entails is uncertain at this point. If the Portland Building is removed from the register as expected, the city will have the option of designating it a local landmark instead. The report notes that as the budget grew, the project team decided to scale back the renovation’s scope. While DLR Group is on track to meet the minimum waterproofing and seismic requirements, and to replace most of the building’s heating and cooling systems, several elements were eliminated from the original $195 million budget. The audit cites “furnishings, technology equipment, as well as tenant improvements for parts of the building that would otherwise be left unfinished—two and a half floors of offices, and the childcare center on the first floor” as having been “spun off” into separate projects, which accounts for the 10 percent cost increase over what was originally proposed. However, despite the fervor, Michael Graves Architecture is in favor of the changes. In a letter from 2017, the studio stood behind DLR Group's reskinning, nothing that several of their changes, including the decision to change the glass from black to clear, were part of the original design but were cut due to budgetary constraints. Work on the retrofit is currently ongoing and is expected to be completed sometime in 2019, six months ahead of schedule.
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Sidewalk Labs rolls out its mobile tracking services in Portland

Portland, Oregon, has partnered with Alphabet subsidiary Sidewalk Labs to roll out a new mobile data collection service, with the goal of tracking how people move through the city. Through Replica, Sidewalk Labs’ program that can aggregate de-identified location data from cellphones and turn it into a “digital map,” Portland will be able to more accurately track public transportation demand and the various ways in which people are getting around. According to GeekWire, the year-long pilot, which has been somewhat under the radar until this point, will cost the city of Portland $457,000. Replica works by first hoovering up de-identified location data from mobile apps, location data aggregators, and telecommunication companies, which sell location data. Using that information, combined with demographic data, Replica can create what Sidewalk Labs calls a “synthetic population” that can be used to model how real people move through any given area. The model is then calibrated against on-the-ground observations for accuracy. A new Replica model is generated every three months to show the impact of new policies and infrastructure on movement patterns. The use of Replica in Portland will be overseen by TriMet, the agency that operates mass transit in the Portland metropolitan area, the Portland’s Bureau of Transportation, and the Portland Metro. Portland’s City Council approved the use of Replica last December, but the program won’t be put in place until Sidewalk Labs provides a model derived from Replica in July that passes the bar set by all three agencies. The initial data aggregation for Replica has already begun, so that Sidewalk Labs can build its initial test population. If the Replica program is approved, the city hopes to use the data provided to measure the usage of bike lanes and public transportation, what impact for-hire vehicles are having on traffic congestion, what areas of the city are underserved transportation-wise, and what facilities are needed in public parks. Because Replica recreates commuting paths, the city would be able to track work commutes as well as where people gather during their free time, providing urban planners with an estimate of what’s actually being used. Replica has the added advantage of providing this information without the need to build surveillance cameras or take surveys, as smartphones are ubiquitous. Of course, privacy advocates have raised concerns over whether the data would truly be anonymous, and who would have access to it, concerns also raised over Sidewalk Labs’ Quayside development in Toronto. Portland has pledged that only the three aforementioned agencies would be able to use the information generated by Replica, but even they won’t have access to the entire dataset, only data returned via filtered queries. Sidewalk Labs is reportedly looking to test Replica in Kansas City and Chicago as well.
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Clarity is key for popular Portland-based firm Waechter Architecture

Every year the Architectural League of New York recognizes eight dynamic young firms as Emerging Voices that have the potential to become leaders in the field. Historic winners like Morphosis (1983) and Toshiko Mori (1992) have become today’s lions, and practices like Johnston Marklee (2007) and Tatiana Bilbao (2010) have jumped to new heights after recent wins. This year’s crop was selected in a two-stage portfolio competition where a jury of architects selected the winners. The deciding jury included several previous winners like Dominic Leong (2017), Fernanda Canales (2018), and Marlon Blackwell (1998), giving the process a familial feel. Laureates for 2019 come from across North America and almost all are partnerships or collaboratives—capital letters feature prominently, too.  Waechter Architecture will lecture at the Scholastic Auditorium at 130 Mercer Street, New York, New York, at 7:00 p.m. on March 14, as part of the Emerging Voices lecture series. For Ben Waechter, practicing architecture is an investigation into creating spaces with clarity. As founder of the Portland, Oregon–based firm, Waechter Architecture, he tries to design buildings that feature clear, visual identities that resonate with the people who experience them. The way the firm tackles this goal is through an informal, ongoing study Waechter calls “The Clarity Project.” He encourages his team to analyze their projects, and those of others, at every stage, from schematic design to post-construction. In doing this, they aim to discover the best ways to create a distinct internal logic for an individual design and reveal the underlying relationships that make it successful. “To us, a strong sense of clarity tends to be in places that simply feel the best to be in,” he said. According to Waechter, that’s one of the main themes that must be teased out when reviewing a project. Another theme is composition. The firm’s Tower House, built in 2014, presents a tubular facade with large-scale cutouts that organize the interior. It is situated on a steep site previously deemed “unbuildable,” so Waechter’s team envisioned the four-story home as a stacked structure. “We spend a lot of time making sure our projects are distilled down to a composition that’s whole and complete by itself,” he said. “If you take one point away or add something, it doesn’t work anymore.” Equally important is creating clarity of figure-ground. Waechter determines the programming within a building from the beginning. “We like to think of our plans as being carved out of a building mass and then using poches as secondary support spaces.” This strict editing process, as well as the firm’s clear commitment to minimalism, is inspired by Swiss architecture and Waechter’s own architectural journey. As a former employee of Renzo Piano, he takes the refined details seriously. “There’s a constructional logic to Renzo Piano’s buildings,” he said. “One similar thread between our work is that we also try to include a few details done really well in order to create a stronger identity.” In some cases, Waechter distinguishes his architecture by simply framing views of the surrounding locale. For a recently completed project at Furioso Vineyards in Dundee, Oregon, the firm designed a glass-enclosed tasting room on a raised platform. The height allows guests to feel as if they’re hovering above the vineyard while simultaneously connecting them with the wine-making process. If one thing is clear, it’s that clients are attracted to Waechter Architecture’s meticulous attention to detail and old-school analytical practices. Though its award-winning portfolio largely showcases expertise in single-family home design, with the vineyard project and their upcoming Society Hotel in Bingen, Washington, they’re branching out to into new territory.
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LEVER Architecture revamps The Nature Conservancy's Oregon HQ

  LEVER Architecture is currently renovating the Oregon headquarters of The Nature Conservancy in East Portland. The Oregon Conservancy Center (OCC), as the building will be known, is on track to becoming one of the first structures in the country to utilize U.S.-manufactured cross-laminated timber (CLT) made from Forest Stewardship Council (FSC)–certified wood. Located at the corner of SE Belmont Street and SE 14th Avenue, the three-story structure will be revamped with an open-office space for the majority of its staff. LEVER will elevate the existing facade with a weathered steel rain-screen and high-performance glazing while building a one-story addition featuring mass timber. The newly built structure will house event space and a conference center, topped with a roof garden and an outdoor deck. The architects specified sustainably-sourced Oregon Juniper, CLT, and cedar from Oregon, Washington, and California in an effort to complement the Conservancy's commitment to energy efficiency and environmental stewardship. An array of photovoltaic panels will hover over the building and cover one-quarter of its energy use while a new variable refrigerant flow (VRF) system will assist in heat recovery. “We’re excited to be part of a project that embodies The Nature Conservancy’s commitment to protecting and restoring critical ecosystems,” said LEVER’s principal Thomas F. Robinson in a statement. “The design connects people and nature by integrating materials and landscapes that are specific to The Nature Conservancy’s priority projects around the state.”   LEVER is working alongside Portland real estate developer Project^ to get the building off the ground. Project^’s vast portfolio includes the award-winning Framework, the first wood high-rise permitted in the country. Construction on the OCC started in March and is expected to be done in early 2019. The building is set to receive LEED V4 Gold certification.
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DLR Group's controversial Portland Building renovations are in full swing

Construction has begun on a contentious weatherproofing, renovation, and seismic retrofit plan led by architects DLR Group for the Michael Graves–designed Portland Building in Oregon. The $195-million plan started with the simple aim of halting persistent water infiltration issues. However, as the scale of that investment became clear, Portland authorities found that it made more sense to completely overhaul the tower so that it might be fully retrofitted for improved and adaptable long-term use. The project now aims to extend the life of Graves’s iconic work by 50 to 100 years, an effort that involves the controversial act of reskinning the 360,000-square-foot tower with a unitized aluminum rainscreen and adding a reinforced concrete shear wall through the building’s core. This wall will be supplemented with steel reinforcing to bolster the tower’s seismic resiliency, among other features. Built on a minuscule budget in 1982, Graves’s bold, competition-winning concept was value engineered into submission as it was erected. Cost-cutting efforts included the use of an exterior concrete structural system, an emphasis on humble materials, and the application of shallow-relief ornamentation, among other approaches. Shoddy detailing from the concrete wall system created the water infiltration issues, while also forcing Graves—who initially wanted to hang colorful stucco panels off the exterior walls in order to express the building’s iconic, historically evocative design—to instead opt for painting the bare concrete walls in colorful hues. The designers plan to encase the 15-story tower in a new insulated and waterproof wrapper while also maintaining—and in some cases, implementing for the first time—Graves’s original intentions for the building’s facade. The building’s dark, square-shaped windows, for example, were installed for energy conservation reasons against Graves’s wishes and will be replaced with insulated clear glass openings. Other changes include updating the tile patterns at the building’s base to a larger, 2-foot-by-2-foot grid, closer to what was originally proposed. The plan also includes closing in and reconfiguring some of the unsuccessful ground floor retail spaces and an old subterranean parking structure. The changes have been controversial within the preservation community, and local authorities have acknowledged the seemingly radical nature of the plan, but the restorative scheme is deemed necessary to fully extend the life of the structure and improve its functions as a public office building. Initial partial demolition of the facade elements began in March of this year and construction has now entered full swing as ground floor areas are closed off and the windows are removed. The project team expects to complete the renovations by 2020.
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Oregon becomes first state to legalize mass timber high rises

Thanks to a recent addendum to Oregon’s building code, the state is the first in the country to allow timber buildings to rise higher than six stories without special consideration. Portland has become something of a hotbed for timber innovation as of late. Carbon12, PATH Architecture’s eight-story glulam and cross-laminated timber (CLT) tower with a steel core, recently became the country’s tallest timber building and was set to be surpassed by LEVER Architecture’s 12-story Framework. Alas, that project was put on hold due to mounting financial difficulties last month, but it seems the precedent that the project achieved in securing a building permit from the State of Oregon and City of Portland will live on. The timber allowance comes courtesy of Oregon’s statewide alternate method (SAM), a state-specific program that allows for alternate building techniques to be used after an advisory council has approved the “technical and scientific facts of the proposed alternate method.” The allowance comes after the International Code Council (ICC)–the nonprofit group that Oregon models its building codes after–established the ICC Ad Hoc Committee on Tall Wood Buildings in 2015 to explore the benefits and challenges of using timber in tall buildings. A Committee Action Hearing was held in April of this year, where the Ad Hoc Committee, made up of code experts, stakeholders, and industry members presented their findings. All 14 of the committee’s suggestions were adopted, introducing standards and best practices for fireproofing, the load-bearing potential of CLT and heavy timber, water resistance, sealing, seismic ratings, and more. Three new building classifications were introduced as a result: Type IV A, timber buildings permitted up to 18 stories and 270 feet tall, Type IV B, timber buildings with a maximum height of 12 stories and 180 feet, and Type IV C, which is permitted to rise nine stories and 85 feet tall at maximum. The shortest of the timber typologies is allowed to use exposed structural timber as an interior finish, whereas the tallest, type A, must enclose all exposed surfaces and include a three-hour fire-resistance rating for the structural elements. “We congratulate the State of Oregon on becoming the first state to provide building code recognition for construction of tall, mass timber buildings,” said American Wood Council President & CEO Robert Glowinski in a statement. “Mass timber is a new category of wood products that will revolutionize how America builds and we’ve seen interest in it continue to grow over the last several years. This action by the Codes Division Administrator helps code officials in Oregon by making provisions consistent throughout the state. In adopting this new method, Oregon has also recognized the significant environmental benefits that accrue from greater wood product use.”
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Portland reveals winner in public bench competition

Interested parties have been left standing around for an extra week while they wait to find out the three finalists of Portland, Oregon's Street Seats: Urban Benches for Vibrant Cities design competition. The announcement ceremony was rescheduled to avoid a potentially violent political protest at the adjacent Tom McCall Waterfront Park and eventually took place on August 9 in downtown Portland. Street Seats was an international competition to design new public benches for the city of Portland. Design Museum Portland organized the competition in partnership with Portland General Electric Company (PGE) and World Trade Center Portland (WTCP), which is also the site where the 15 semi-finalists have been installed. Nestled between the Willamette River and downtown, the contest aims higher than merely bolstering public seating. Juror Kregg Arntson, executive director of the PGE Foundation, hopes the seats "inspire people to come down and enjoy the community." Launched in January, the competition attracted over 200 international entrants, and many referenced the Pacific Northwest's rainy climate and penchant for locally sourced wood construction. In addition to basic physical and safety requirements, the design brief emphasized sustainable materials and innovative processes while requiring a 1/8th scale model and a video. Fifteen shortlisted entrants received $1,000 grants to fabricate and install their prototypes on site. Portland-based Kyle and Alyssa Trulen, a landscape architect and a videographer respectively, took the grand prize with their entry A Quiet Place to Sit and Rest. Inspired by author Shel Silverstein's "The Giving Tree," the bench reflects the design of a stump and protects the trees it's installed around from soil compaction and bark damage. The thermally treated pine and ash are also insect resistant. "The real purpose of the seat design is not merely protection," said the Trulens, "it's about the relationship of a person with a tree...in hope of a healthier urban environment for both." The runner-up, Fluid Wood, was the result of a collaboration between Portland-based architect Norberto Gliozzi and Axiom Custom Products. Fluid Wood comprises layers of laminated wood cut in an egg-like form. Another finalist by The Tubsters, from Berkeley, California claimed the people's choice award for Tub(Time), a cut-away bathtub containing hardened transparent resin representing the Willamette River and a topographical map of the downtown and central eastside. Passersby are encouraged to climb in and recline. The Design Museum, which hosted a similar Street Seats competition in Boston in 2013, was not the first to sponsor such a challenge in Portland. The City of Portland Bureau of Transportation (PBOT) had developed guidelines in 2012 based on similar programs in New York and San Francisco to convert on-street parking spaces to public use. During a 2014 collaboration with the Center for Architecture, Portland yielded two winning submissions for seating that were installed in the city's northeast quadrant. In the summer of 2015, Portland State University architecture students designed and built a seating structure downtown. PBOT canceled the 2016 competition for an uncharacteristically low response rate; however, PBOT's program still exists outside of the downtown area. This year's Design Museum Portland competition is unrelated to the City's previous efforts and was launched independently. Many passersby spontaneously stopped to try the seats and participate in the announcement ceremony after the unveiling, reaffirming Design Museum Portland's managing director Erica Rife's statement that it is "important to be a good neighbor and inspire this community to be closer"—a much-welcomed change from the previous weekend's police and protester standoff. The 15 seats and over 200 1/8th scale models will remain on view until February. Several seats—Fractal Rock by Holst Architects, B_tween Bench by Gamma Architects, and Fern by Yingjie Liang, in addition to the winner and runners-up—will remain installed at the WTCP while the others will be relocated to sites throughout Portland. An online exhibition and schedule of accompanying programs are hosted at designmuseumportland.org.

Street Seats Grand Opening

Celebrate international, impactful design as you take in the summer sun, enjoy great local eats, and take a tour of the Street Seats exhibition! The Street Seats Grand Opening is the culmination of ideation, creative problem-solving, and teamwork from designers around the globe. Street Seats is an outdoor public exhibition that celebrates local and international design, urban innovation, and sustainability. Designers from 6 continents, 24 countries, and 22 U.S. states responded to an open call for entries to Reimagine the Public Bench. These fifteen chosen Street Seatsare environmental and unique, embracing and enhancing the vibrancy of downtown Portland. Each bench was imagined, designed, and built by creatives from around the world. Join us for the Grand Opening, August 9th from 5-7pm as we launch this 6-month outdoor design exhibition and announce the top 3 Finalists, each receiving cash prizes.
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Construction on Framework, the tallest timber tower in the U.S., has stalled

Disappointing news has come out of the woodwork this week: plans for the tallest timber building in North America have been shelved. Framework, a 12-story structure planned for downtown Portland, Oregondesigned by LEVER Architecture, was set to begin construction after receiving a building permit and a $6 million investment from the City of Portland to include 60 units of affordable housing. The developer, project^, said that inflation, escalating construction costs, and fluctuations in the tax credit market are to blame for the sudden hold. Despite massive investment, the project still had not met it’s $29 million fundraising goal as of Monday. The tower was on track to break records as the largest single use of Cross-Laminated Timber (CLT) in the U.S., and would have set an example for possibilities in timber structures. It would surpass the already-built Carbon12an eight-story, mass timber building also in Portland. The research and planning that went into crafting the design for Framework were considered by many to be revolutionary in the field. Anyeley Hallova, a developer with the project, acknowledged the extensive work and collaboration the Framework team has undertaken with both private entities and public agencies since the design process began in 2014. “Although beset with market challenges beyond our control, we are very proud of Framework’s achievements and the new standards we’ve established for the use of CLT in the U.S.,” Hallova said in a statement. The project was also expected to be a building block for the revival of the state’s rural timber industry. Recent political attention has surfaced on the topic as Oregon senators Ron Wyden and Jeff Merkley pushed for a half a million dollar grant last week to be awarded to Oregon State University to study the durability of CLT. The team behind Framework was also able to advance research through a $1.5 million award which it won in the 2015 U.S. Tall Wood Building Prize Competition, sponsored by the U.S. Department of Agriculture.  
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Portland Art Museum presents Minor White's evocative Oregon photographs

In the Beginning: Minor White’s Oregon Photographs Portland Art Museum 1219 SW Park Avenue, Portland, Oregon On view through October 21 The Portland Art Museum (PAM) is currently presenting In the Beginning: Minor White’s Oregon Photographs, a two-part photography exhibition highlighting the evocative works of the famed 20th-century modernist photographer. The twin showcases focus on White’s early work documenting historic architecture and landscapes in Oregon. In 1938, White was hired to record changes along the city’s Front Avenue for the Oregon Art Project, part of the Works Progress Administration (WPA). Employed as a “creative photographer,” White documented the iron-front and industrial buildings in the district that were to be demolished in order to make way for Harbor Drive, a new highway on-ramp. The project was followed in 1942 by a commission from PAM to document a pair of historic Portland homes.