Posts tagged with "Timber":
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.
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.
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.
Workmen carry a frame panel for a Puutalo house in northern Colombia, where some 1,500 houses were constructed from 1955 to 1957. These Puutalo homes can still be found throughout the Simón Bolívar neighborhood of Barranquilla today. pic.twitter.com/oIjM1yjU2c— NEW STANDARDS (@VeniceArchFIN) December 20, 2019
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.View this post on Instagram