Posts tagged with "Timber":

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Burning Man's radiant 2020 temple is revealed

This year, Burning Man will be getting an eight-pointed star structure called Empyrean as their official temple. Designed by architect and artist Laurence “Renzo” Verbeck and artist Sylvia Adrienne Lisse, who met while working on the 2019 temple, Empyrean will take a central role in Black Rock City, reaching 70 feet tall and spanning a diameter of 200 feet. The Burning Man journal wrote the project was selected for its “lovely geometry and inclusive design,” though it is not immediately clear what “inclusive” might mean in this context. The structure will feature eight wooden canopies arranged like the spokes of the wheel ,which start off solid on the ground and are cut with tessellated patterns towards the top to allow sunlight in. Within the triangular canopies will be spaces for offerings. Along the way, visitors will pass under “saffron-colored” fabrics. They can also write prayers on “Empyrean Flags” which will be hoisted up. According to the temple’s Kickstarter, after giving the prayers to the wind they will be burned alongside the entire structure. Multiple entrances will lead to a central gathering space. Above this atrium will be a wooden structure containing the “flame,” which is meant to be visible from across the Playa (for everyone’s safety, the flame is not real, just an electric simulation). As Lisse told Burning Man’s journal: “The Temple is a subtle and humble beacon that radiates at an indescribable magnitude.” According to Verbeck and Lisse, the eight-pointed star is a “symbol brought forward from our early human understanding of the intelligent order that underlies our universe” that has “represented hope, abundance, transformation, direction, justice, balance of duality, and harmony between the profound and mundane.” The geometric arrangement “activates the temple as a transformative healing portal” for Burners while the pointsdisgorge their energy skyward.” Visitors can enter and exit from any point, all passing through the physical and spiritual center of the temple. This multidimensional experience is meant to resonate with Burning Man’s 2020 “Multiverse” theme which “explores the quantum kaleidoscope of possibility, the infinite realities of the multiverse, and our own superpositioning as actors and observers in the cosmic Cacophony of resonant strings” and invites attendees to investigate if their realities will be “augmented, bifurcated, or omnidimensional?” As the official website notes: “Only time will tell. Or has told. Or is telling.” The temple’s title is derived from the theological term which denotes the pinnacle of heaven, in most cosmologies to which it is applied, home to the fire element. While Burning Man has provided $100,000 in funding, the creators are seeking an additional $100,000 to realize the project.
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80 Atlantic is Toronto’s first timber office building in generations

A look around Toronto’s seemingly innumerable construction sites tends to reveal building materials common to many North American cities: brick and stone, steel and glass, and of course, concrete. But a new mass timber office building in the Liberty Village neighborhood points in a different direction. Designed by Canadian firm Quadrangle for Hullmark Developments, with partner BentallGreenOak on behalf of Sun Life Assurance Company of Canada, the five-story, 90,000-square-foot 80 Atlantic debuted this past fall as Toronto’s first wood-frame office building in over a century. Part of a larger commercial development near the King Street corridor a few blocks north of the Gardiner Expressway, 80 Atlantic’s underground parking garage, first floor, and core were built using conventional cast-in-place concrete. The upper four stories, including an uppermost mechanical level, were built with glue-laminated timber (GLT) columns and beams that support nail-laminated timber floors. The rectangular building’s street-fronting east and west facades feature an irregular grid pattern in stone and glass, while its longer north and south aspects are fully glazed to reveal and highlight the internal timber structure. This is the second Liberty Village building designed by Quadrangle for Hullmark, following the firm’s conversion of an adjacent historic warehouse structure, 60 Atlantic, into office and retail space. According to the designers, uncovering the original post-and-beam structure at 60 Atlantic inspired the idea for a mass timber neighbor, now newly legal thanks to a 2015 change in regional building codes that allows for mass timber structures of up to six stories. “We started to imagine a modern wood office building that took all of the best parts of the old post and beam building that we uncovered at 60 Atlantic and combine it with all the modern comforts of a 21st-century office building and started referring to that concept as post and beam 2.0,” Quadrangle’s Wayne McMillan said at Toronto’s recent Building Show. According to the development team, using mass timber for 80 Atlantic also offered an important point of aesthetic differentiation as well as environmental benefit. Made from layers of treated and glued wood, GLT is fire resistant and durable and is considered more sustainable than concrete or steel. As the building industry increasingly searched for ways to to reduce both embodied and emitted carbon, advocates of mass timber forms such as GLT and its closely-related cross-laminated timber point to environmental benefits including wood’s ability to sequester carbon while growing, and to reduce the amount of carbon dioxide generated in the construction process. While mass timber has garnered significant interest abroad, including for the U.K.’s recently approved, fully timber Eco Park Stadium by Zaha Hadid Architects, its adoption for large-scale buildings in North America has been slower. 80 Atlantic is only the second mass timber building to be approved in Toronto, following 728 Yonge Street. This may soon change, as Sidewalk Labs recently proposed an entirely timber smart city on the Toronto waterfront.
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Henning Larsen proposes an all-timber neighborhood in Copenhagen

Copenhagen-based firm Henning Larsen Architects has proposed a low-rise neighborhood south of central Copenhagen using all-timber construction. The neighborhood, named Fælledby, was the winning concept of a national design competition hosted by local real estate company By & Havn, and was designed in collaboration with local engineers MOE. Divided into three circular “villages,” the neighborhood is designed to accommodate approximately 7,000 residents while leaving 40 percent of the natural landscape on its 44-acre property unaltered. “With the rural village as an archetype," said Signe Kongebro, partner at Henning Larsen, in a press statement, "we’re creating a city where biodiversity and active recreation define a sustainable pact between people and nature.” In particular, the master plan intends to preserve the wetlands and dry scrub on-site that have long been habitats for indigenous turtles, songbirds, deer and other wildlife. Henning Larsen intended to develop a new typology for the 21st century that combined the amenities of a city with the sense of community and relationship to nature of a village. Each of the master plan's three neighborhoods has a scalar design, beginning with "The Habitat" for local biodiversity, "The home" for different family unit types, "The Collection" for about 150 residents to share a garden or greenhouse, and "The Courtyard" for about 450 people to share a common parcel of land. Inspired by the rural village model, the new district will feature green corridors, active street corners, and a relatively dense city center where visitors and residents can congregate. The homes will all be built using locally-sourced timber and will come in 37 living arrangements types to house families, students, and retirees. To ensure that nature is given precedence in Fælledby, the roads will be narrow, parking will primarily be built underground, and the facades of each building will contain alcoves to accommodate birdhouses and other non-human habitats. Fælledby is currently in the planning stage with the city of Copenhagen and no completion date has been given.
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Hacker Architects marries contextualism with material efficiency

The origins and guiding principles of Portland-based Hacker Architects stem from the six years founder Thomas Hacker spent working for Louis Kahn, an architect who knew how to match dramatic siting with phenomenal material palettes. Hacker has since retired, but the firm has expanded to a staff of over 60 people and continues to treat each project as an opportunity to mix contextualism with the latest in efficiency and sustainability. The firm is known for its innovative uses of cross-laminated timber, a favorite because of the material’s quick renewability and capacity to function as a carbon sink; the firm also employs a wide range of locally sourced materials to reduce waste and incorporates passive heating and cooling methods whenever possible.

Hacker Architects’ leaders feel they are in service to the public and have become specialists in the design of libraries, museums, and other cultural institutions. The handful of private buildings they’ve designed, however, are no less representative of the firm’s dual interests in siting and materiality. Inspired by local history, natural scenery, and the imperative to reduce our carbon footprint, Hacker Architects sets examples for the industry with every project.

Lakeside at Black Butte Ranch

Surrounded by the scenic Cascade mountain range and the Deschutes National Forest in Central Oregon, Lakeside adds a sprawling recreational and dining complex to the rustic-modernist resort atmosphere of Black Butte Ranch. The project used a $11.5 million budget to replace an aging pool facility with a 15,000-square-foot design that heightens the experience of transitioning from the rugged outdoor landscape to the calming resort.

Douglas fir is the primary structural component for the project, while the interior and exterior are almost entirely clad in locally sourced cedar, a material in common use in the Pacific Northwest because of how it gracefully weathers. The firm envisioned the building as an “aperture for the site,” framing views that might strengthen connections between the ranch and the vast landscape beyond.

Bayview/Linda Brooks- Burton Library

Replacing a branch library dating from 1969 in the historically underserved neighborhood of Bayview in the southeastern portion of San Francisco, the Bayview/Linda Brooks-Burton Library was completed in 2013 and designed to be an open and inviting space for the community it serves. Many of the library’s design gestures are a nod to the neighborhood’s African and African American past, including the street-level window walls adorned with illustrations of the area’s history, the kente cloth–inspired exterior paneling, and the space allotted throughout the library for works by local artist Ron Moultrie Saunders.

The firm designed the library to look inward, with a courtyard at the center large enough to host events; thanks to the floor-to-ceiling windows that surround it, the courtyard provides generous natural light and views throughout the interior spaces. The library contains several environmentally efficient features that helped it achieve LEED Gold status, including passive ventilation and air-filtration systems in the exterior walls, embedded photovoltaic arrays, and a green rooftop that filters stormwater runoff using native grasses and perennials.

Berwick Hall

When tasked with creating a permanent home for the Oregon Bach Festival, an annual event in Eugene, Oregon, that celebrates the works of Johann Sebastian Bach, Hacker Architects combined an office space with a double-height rehearsal room acoustically designed to function like the musical instruments that it contains. A wood panel system made of tongue-and-groove Accoya boards allows the tops of two of the rehearsal space’s walls to bend in a way that provides abundant natural light from above while also preventing excessive audial buildup in the lower portion of the room.

Visually distinct from the cubic rehearsal space is the office bar, a lower-slung, redbrick building designed to match the older buildings on the University of Oregon campus. Many of its windows are operable, permitting natural ventilation while reducing the demand on the building’s active heating and cooling systems.

Sunshine Canyon Residence

One of Hacker Architects’ few residential projects—as well as one of the firm’s smallest, at 2,200 square feet—the Sunshine Canyon Residence was built in the hills outside Boulder, Colorado, to replace its client’s previous home, lost in the Fourmile Canyon Fire near the site in 2010. To preserve the landscape, the majority of the house is supported by narrow steel columns that minimized the amount of construction work on the site. Given that the house is in a cold climate that receives an abundance of annual sunlight, its windows face south to maximize solar gain and reduce the need for active heating.

The materiality and formal simplicity of the home were inspired by the abandoned mine shafts, rusted steel mining structures, and naturally occurring granite bordering the site that resurfaced after the fire. The majority of the exterior is clad with corrugated steel and untreated Ipe, both of which are designed to patina over time, like the nearby mining equipment. The interior is lined with clear vertical-grain fir that recalls the trees on the site while subtly changing in shifting daylight.

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LTL blends past, present, and future in the Telluride Center for the Arts

When New York firm LTL (Lewis.Tsurumaki.Lewis) won the bid to convert Colorado’s Telluride Transfer Warehouse into the Telluride Center for the Arts in the spring of 2017, the community embraced the step for the thriving local arts scene. The forthcoming state-of-the-art venue will host a wide range of cultural and artistic programming in the ski town. In addition to two stories of flexible exhibition space, the center will have a 100-seat media room for screenings and live broadcasts on a basement level, and a rooftop bar and cafe will take advantage of the building’s panoramic views of the San Juan Mountains.

Built over a century ago during a mining boom, the original two-story structure housed offices and livestock for the Telluride Transfer Company, which transported mining goods in and out of the town before it became a gas station and storage facility. The warehouse ceased to operate after a buildup of snow caused its roof to collapse in 1979, and for the next 40 years, it remained a roofless ruin, a sandstone skeleton of four walls and boarded-up windows with a cottonwood tree growing through its floor.

LTL’s design for the renovation pays homage to the warehouse’s decay, setting a multilayered timber structure within the original stone walls. Just beyond the entrance, a great hall will feature a retractable skylight with a tree growing beneath it in homage to the warehouse’s former derelict state. The new building will use the original windows and a glass ceiling to preserve the feeling of the open-air ruin.

“The Transfer Warehouse transforms the space through a creative engagement between old and new, past, present, and future, between flexible and highly calibrated spaces,” said LTL partner David Lewis in a statement. “Overall, the project aims to amplify the future of Telluride by cultivating a dynamic relationship to its past and supporting its present, evolving needs.”

The finished arts center will be free to enter and open to the public daily. While construction is not slated to begin until 2021, some public programs have already been held in the existing warehouse, a testament to this tiny mountain town’s dedication to making engaging and accessible art a priority.

In the meantime, Telluride Arts, the nonprofit behind the project, has gained control of the site from the city and a developer. The organization also had to go through a review by a historic arts commission. Both the approval of the design and the necessary transfer rights have been granted, and Telluride Arts will undertake a capital campaign to realize the project.

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Muji’s newest prefab home has ample open space and zero stairs

Muji, the famed Japanese retailer of “no-brand” home goods—and over the last 15 years, entire small homes—has released its fourth, and latest, prefabricated abode in Japan. Dubbed Yō no le (Plain House), the dwelling is a noted departure from the retailer’s previous venture into prefab housing, a slim and decidedly stair-intensive abode geared for impossibly tight urban lots named Tate no le (Vertical House) launched in 2010. While Yō no le is predictably compact and ultra-unfussy in keeping with Muji’s pared-down aesthetic, it’s the first prefab home offering from the company to be entirely stair-free and geared more toward rural environs than cramped Japanese cities where there’s not much room to go aside from up. Sporting 800 square feet of interior living space with a generously sized deck with room for container gardening out back, Yō no le’s flexible single-floor, single-bedroom layout is geared to appeal to homeowners who want to settle down and stay put in the same space for the long haul. A particular target market is seniors and empty nesters looking to live a more minimalist—and low-maintenance—lifestyle. Boasting clean lines, light wood, and loads of natural light, the highly customizable home (Muji also makes pretty much everything under the sun one would want to customize the home with) was described by the company as being designed to “accommodate wide range of generations and provide more choices for places to live, thus supporting a variety of lifestyles.” Although Muji has a healthy retail presence across the globe including over a dozen stateside stores mainly in New York and California, Yō no le, like the company’s other prefab homes, is only available for sale in Japan at an affordable $160,000. Of course, Muji isn’t the only purveyor of home furnishings to delve into the production of simply designed and assembled homes catering specifically to baby boomers and beyond. In 2019, IKEA announced a partnership with Swedish construction behemoth Skanska to erect a series of modular homes in the Stockholm suburbs for elderly inhabitants living with dementia.
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Oza Sabbeth opens the East End House on its rear for privacy

Located on the edge of Long Island in Sag Harbor, New York, the East End House by Oza Sabbeth Architects takes cues from the surrounding landscape. Sag Harbor developed as a working port on Gardiner’s Bay and was designated as the first port of entry to the United States. Today, the village is home to a range of vernacular structures associated with whaling. Inspired by this context and the densely vegetated pond on-site, the East End House reinterprets both regional forms and materials. The project is bookended by the pond and a busy turnpike. To create a tranquil sense of place, the home’s form turns away from the sights and sounds of street traffic and toward the pond and forest. The building features a sequence of moments that showcase its layout and materials. The entry is composed of a dense bulwark of concrete and wood, as well as an intimate forecourt. From there, an entrance foyer opens up to the landscape and pond. The organization in plan generated a private front and an accessible backyard with multiseasonal outdoor spaces on the lowest level. Oza Sabbeth experimented with using substrates as finish materials for the home. The roof and walls are designed as a rain screen assembly of exposed rubber (EPDM) and mahogany decking material. “The substrate, EPDM in this case, is revealed in instances and slips behind the mahogany shell where needed,” said Oza Sabbeth principal Nilay Oza. The flooring is a poured self-leveling concrete, typically used as a substrate for tile. For the millwork and wall panels, the team used a Baltic birch platform as a base upon which more expensive finish veneers were applied. Architect: Oza Sabbeth Architects Location:   Sag Harbor, New York Engineer: CRAFT | Engineering Studio Contractor: Modern Green Home Facade: Mahagony decking over Pro Clima weather-resistant membrane; EPDM over plywood sheathing Roof: Mahagony decking over EPDM Aluminum doors: Arcadia Aluminum windows: Gerkin Windows and Doors
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Waechter Architecture takes cues from origami for timber townhouses

Origami is a new residential development by Waechter Architecture in Portland’s Piedmont neighborhood. As an urban gesture, the project occupies a full city block with twelve wood-framed townhouses. The buildings’ footprint frames a shared internal court at the back, where each residence has private space for gardens and parking. Exterior wall surfaces allow each unit to retain its own character. The design takes inspiration from origami, the process of folding paper to create complex forms. In a play of light and shadow, the team utilized the concept of “the fold” to shape a roofscape that connects the gabled facades of each unit. Waechter decided to use Hardie siding and asphalt shingles to bring together the exterior walls and roof surface. To enhance the desired qualities of shadow relief and texture, the designers went beyond cladding with several techniques, including a flashing detail and window placement. Principal Ben Waechter explained the approach, noting, “At a building scale, we folded the facade, and at each of the folds there is a special detail that visually gives the impression that the facade plane has been scored and folded. This three-piece flashing detail allows the fold to bend at a concave or convex angle. All the windows are recessed into the wall cavity rather than attached directly to the outside face of the sheathing. With the windows recessed, the trim is able to be applied perpendicular to the facade, giving it more visual depth than what is typically achieved with standard flat trim." Origami is a study in scale and balance for new multifamily housing. The project’s concept provided individual articulations of each unit while maintaining the sculptural impact of the whole, and in turn, created a subtle identity for the development. Location: Portland, Oregon Architect: Waechter Architecture Contractor: Yorke & Curtis Structural engineer: Grummel Engineering Civil engineer: KPFF Landscape: Lango Hansen Rainscreen: James Hardie Concrete block:  Mutual Materials Windows: VPI Quality Windows Doors: Andersen, VPI Quality Windows Cabinetwork: Euro-American Design Paint: Miller Paint Solid surfaces: Caesarstone Floor and wall tiles: Emser Tile Lighting: Kuzco Lighting, RP Lighting + Fans Plumbing: Duravit sinks, bathtubs, toilets, and faucets
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Finland's Venice pavilion will highlight former prefab timber housing industry

The little-known history of Finnish prefabricated timber housing will be on display in the Finnish Pavilion at next year's Venice Biennale. Archinfo Finland, the organization charged with populating the country's exhibition, announced last month that New Standards, curated by Laura Berger, Philip Tidwell, and Kristo Vesikansa, will explore the Puutalo housing model as part of the 2020 event's theme: How will we live together? Based on a design conceived during the 1940 internal refugee crisis in Finland when 11 percent of people were displaced from their homes, the showcase will highlight the Puutalo consortium, made up of the country’s timber manufacturers, which rejected temporary refugee camps in favor of thoughtful, livable housing designed by major mid-century Finnish architects. The Finnish design proved popular enough to be brought to over 50 countries through 1956, totaling 300,000 homes internationally, many of which are still in use today.  The American-Finnish curators, a trio of post-doctoral researchers, lecturers, and architects from Aalto University (located near Helsinki), have linked the pavilion's theme with the biennale's overall focus on confronting the issues of economic and social inequity presented in an unprecedentedly multicultural and interconnected world. With New Standards, they aim to show that the Puutalo housing model is more relevant than ever as many parts of the world look to the Nordic tradition of strong social welfare as global refugee populations continue to increase. “Factory-built timber housing is an area of huge interest for architects looking to solve the question of how we can build quickly and economically, without sacrificing quality or causing further damage to the environment,” said Hanna Harris, director of Archinfo Finland and commissioner of the Finnish Pavilion in a statement.Hashim Sarkis has asked the participants in the Biennale Architettura 2020 to consider how we will live together," she said. "Finland’s experience of Puutalo housing is of a low-impact, long-lasting, sustainable and well-loved solution. It offers the world an example of mass-produced family housing that is an alternative to grand projects, demonstrating how individual identity can be celebrated in the context of standardization, as well as a validation that design can improve people’s lives.”
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Zaha Hadid's long-awaited plan for an all-timber stadium in England approved

Last week, Eco Park Stadium by Zaha Hadid Architects (ZHA) was finally approved for construction in Gloucestershire, England, after years of delays. The new home of the Forest Green Rovers F.C. will bring carbon-neutral facilities to the local community while maintaining the natural qualities of the existing site. It is the first soccer stadium in the world to be built entirely out of wood.  Although ZHA won the competition to design the stadium in 2016, this was the firm’s second attempt in getting the design approved. In June, the same planning committee denied the proposal due to noise, traffic, and impact on the environment. Alterations to win approval included a revised landscape strategy and increased matchday transport.  The 5,000-seat stadium is the world’s first UN-certified, carbon-neutral football club and almost every element is made of sustainably sourced timber which, in the firm’s words, “is highly durable, safe, recyclable, and beautiful.” In a recent press release, ZHA even mentioned the aspiration of the stadium being carbon negative “with the provision of on-site renewable energy generation.”  The club itself will provide every seat with unrestricted sightlines and fans will be as close as 16 feet from the pitch. One of the recent modifications in the application was a swap for one grass pitch to an all-weather pitch that has access to local clubs. The design anticipates the club’s future growth.  The chair of the club and owner of green energy firm Ecotricity, Dale Vince, told The Architects' Journal: “When you bear in mind that around three-quarters of the lifetime carbon impact of any stadium comes from its building materials, you can see why that’s so important, and it’s why our new stadium will have the lowest carbon content of any stadium in the world.”
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WERK Arkitekter and Snøhetta’s maritime center will bridge land and sea

WERK Arkitekter and Snøhetta recently released visuals of a new maritime community center on the coast of Esbjerg, Denmark. Lanternen (or “The Lantern” in English) is described by WERK as a building that will “reflect the forces of the sea and create a connection between the city and the water.”  As its name suggests, like a lighthouse, Lanternen will sit facing the sea, illuminated from within. “Our vision is to create a building where the rational and the poetic meet in a symbiosis. A symbiosis between the movements of the sea, the migration of light, and the low-key and every day,” wrote Thomas Kock, creative director at WERK on their website, “A symbiosis between spatial experiences and practicality. A symbiosis between the fine and the raw, social and sporting.”  The building will create space for multiple water sports clubs, training facilities, and workshop and social spaces which will be broken down into two central areas: The “Hall” and the “Social heart.” The ground-floor Hall has direct contact with water and will provide space for tools and equipment. The Social Heart is located on the floor above and will encourage social activity through a common terrace space.  Lanternen was the winning bid for the building’s design competition and was selected for “combining the desire for a fascinating and innovative architecture with high functionality and the intention to create a framework that supports community.” The structure's circular form creates a “house with no backsides,” according to the design team, and is intended to feel open and inclusive to all members of the community whether they are an experienced diver, a student, or passerby. This feeling is emphasized by the building’s many windows and central open-air terrace arranged around its round massing. Clad in timber, the facility is designed to evoke the “geometry and craftsmanship of boats” not while also setting it apart from other buildings in the seaside town. Of course, Snøhetta is no stranger to designing 360-degree timber community buildings that interface with a body of water. The center is slated to open in 2021.
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Paul Andersen and Paul Preissner selected for 2020 U.S. Pavilion

Paul Andersen and Paul Preissner of the University of Illinois at Chicago (UIC) are slated to co-curate the U.S. Pavilion for the 17th Venice Architecture Biennale next year. The U.S. Department of State announced this weekend that the duo intends to recontextualize the 1930-era U.S. Pavilion building in a new work entitled AMERICAN FRAMING. Ninety years ago, architects William Adams Delano and Chester Holmes Aldrich served as the chosen organizers of the U.S. Pavilion for the 1930 edition of the international festival. Together they designed the now-famous neo-Palladian building that has long-housed the American exhibition, with its signature entry rotunda and two wings holding four galleries.  In response to artistic director Hashim Sarkis’ main theme for the 2020 showcase, How will we live together?, Andersen and Preissner aim to build out a similarly bold inner pavilion that represents the ubiquitous wood-framed domestic architecture across modern America. Their vision for AMERICAN FRAMING will explore the “conditions and consequences” of wood-framed construction in the United States’ building economy. 
 
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Omaha Reservation, Nebraska, 1877. photo by William H Jackson #americanframing

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Both curators have extensive backgrounds in practice as well as teaching and curating. Andersen is the founder of the Denver-based studio Independent Architecture and a clinical associate professor at UIC. He previously served as guest curator at the Museum of Contemporary Art (MCA) Denver and at the Biennial of the Americas. Preissner is currently teaching at Columbia University’s GSAPP this fall but regularly works as an associate professor at UIC as well. In Chicago, Preissner dually operates his eponymous Chicago firm, Paul Preissner Architects. Andersen and Preissner have collaborated together before, most recently on an installation at the 2017 Chicago Architecture Biennale entitled Five Rooms, comprised of freestanding, glazed-tile walls.  The Venice Architecture Biennale will run from May 23, 2020, through November 29, 2020.