Architectural Record 2023-11

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ARCHITECTURAL RECORD (ISSN: Print 0003-858X Digital 2470-1513) November 2023, Vol. 211,
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NOVEMBER 2023
DEPARTMENTS 113 CONTINUING EDUCATION:
BUILDING TYPE STUDY 1,058 From the Ground Up
16 EDITOR’S LETTER COLLEGES & UNIVERSITIES TO HELP MEET AMBITIOUS CLIMATE GOALS,
UNIVERSITIES TURN TO DISTRICT-SCALE GEO-
19 HOUSE OF THE MONTH: Stepped 66 NTU Business School, Singapore
EXCHANGE SYSTEMS.
House, Menorca, Spain NOMO STUDIO TOYO ITO & ASSOCIATES, ARCHITECTS
By Katharine Logan
By Andrew Ayers By Naomi Pollock, FAIA
147 Dates & Events
27 LANDSCAPE: Mirage, Cupertino, 74 The Lindemann Performing Arts
Center, Brown University, 152 SNAPSHOT: Johns Hopkins University
California ZELLER & MOYE By Matt Hickman
Providence REX By Joann Gonchar, FAIA Bloomberg Center at 555 Pennsylvania
32 IN FOCUS: The Refinery at Domino, Avenue, Washington, D.C. ROCKWELL
Brooklyn, New York PRACTICE FOR 82 University of Valle d’Aosta GROUP & ENNEAD ARCHITECTS
ARCHITECTURE AND URBANISM Campus, Aosta, Italy MARIO By Matthew Marani
By Matthew Marani CUCINELLA ARCHITECTS
38 PRODUCTS: Walls & Ceilings By Leopoldo Villardi

By Sheila Kim 90 Associated Students Bike Shop,
42 TRADE SHOW: CERSAIE, Bologna, Italy University of California, Santa
By Linda C. Lentz Barbara JOHN FRIEDMAN ALICE KIMM
ARCHITECTS By Sarah Amelar
45 GUESS THE ARCHITECT
94 D.B. Weldon Library, University of
49 FORUM: Re: Classical By Kyle Dugdale Western Ontario, Canada
55 BOOK REVIEW: The Architecture of Sir PERKINS&WILL By Matthew Marani
Edwin Lutyens, by A.S.G. Butler 100 ETH Zurich GLC Research
Reviewed by Leopoldo Villardi
Building, Switzerland BOLTSHAUSER COVER: THE LINDEMANN PERFORMING ARTS CENTER,
61 BOOK REVIEW: Architecture After God: ARCHITEKTEN By Andrew Ayers BROWN UNIVERSITY. BY REX. PHOTO © IWAN BAAN.
Babel Resurgent, by Kyle Dugdale 106 ETH Zurich Machine Laboratory,

Reviewed by Enrique Ramirez
Switzerland ITTEN+BRECHBÜHL THIS PAGE: UNIVERSITY OF VALLE D’AOSTA CAMPUS, AOSTA, ITALY.
MARIO CUCINELLA ARCHITECTS. PHOTO © DUCCIO MALAGAMBA.
By Andrew Ayers
Expanded coverage at architecturalrecord.com.
11
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From the EDITOR
In Fashion
“STYLE” is not a word we use often at this magazine. But it’s a word
that pops up a bit more frequently when we are putting together our
annual roundup of college and university buildings. After all, college
campuses are often home to an array of architectural styles.
When I studied architecture at Washington University in St. Louis
in the late 1990s, there was only a handful of contemporary buildings
on campus. Top on the list was Fumihiko Maki’s cantilevered con-
crete Steinberg Hall (1960). It was a bold choice of architect at the
time, giving the future Pritzker Prize winner his very first commis-
sion. The rest of the campus was covered with buildings in the
Collegiate Gothic style, the go-to choice among so many educational
institutions in the U.S. wanting to express august historic ties to
PHOTOGRAPHY: © JILLIAN NELSON

academe. That traditional style, unlike Modernism, endured on
WashU’s campus, from the first buildings erected over a century ago
to those built while I was a student there. In fact, my classmates and I
witnessed the construction of several Collegiate Gothic parking ga-
rages, which we all found very amusing.
After I graduated, WashU began to catch up with other colleges and
universities around the country that have, for a long time now, seen
contemporary architecture as a more forward-looking choice for ex-
pressing the innovative thinking that takes place on campus. Almost
half a century after his first building there, Maki completed another for the university in 2006. And
other contemporary buildings followed, including an overhaul of a major portion of the campus by
KieranTimberlake.
The university projects we feature in this issue innovate in a number of ways, pushing aesthetic,
material, and technological limits. At ETH Zurich, glass block reigns supreme. A new building
there by Roger Boltshauser takes inspiration from Pierre Chareau’s Maison de Verre in Paris, as well
as an older building on the ETH campus (recently renovated and also in this issue), though the new
structure incorporates the modular material into a ventilated double facade. In Italy, a swerving pile
by Mario Cucinella reflects its Alpine location—and it too puts its sinuous skin to work. Mass tim-
ber makes a statement in Singapore with a giant new building by Toyo Ito. Stateside, John Friedman
Alice Kimm Architects finds a bespoke solution to a pavilion-like structure for bicycles at UC Santa
Barbara. In Providence, a mysterious metal facade looms over Brown University’s campus.
All of these buildings are thoroughly “of their time,” but in many cases allude to earlier architec-
ture. The distinctive fluting on Brown’s new performing arts building by REX, featured on the
cover, could be seen as a Classical reference. In this issue’s Forum article, Kyle Dugdale, an architect
and historian who teaches the history of architecture at Yale University (where, incidentally,
Collegiate Gothic finds its way in buildings old and new) challenges us to rethink what we know
about Classical architecture—a “style” that’s gone in and out of fashion for centuries.
Josephine Minutillo, Editor in Chief
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HOUSE of the Month
EXPOSED CONCRETE BLOCKS AND TERRA-COTTA VAULTS DEFINE A SERENE ISLAND GETAWAY ON MENORCA. BY ANDREW AYERS
LOCATED 130 MILES from Barcelona in ents’ request for something low-maintenance FROM A HILLTOP site in Coves Noves, the
the middle of the western Mediterranean, the into a rigorous Miesian exercise in the assem- house offers panoramic views of the Port of
island of Menorca is famed for the beauty of blage of unadorned building blocks. Addaia to the east.
its coastline and for being quieter and better Situated in an early-2000s subdivision, the
PHOTOGRAPHY: © JOAN GUILLAMAT
preserved than Mallorca and Ibiza, its higher- 6,500-square-foot plot slopes steeply, de- fairly free rein,” recalls Casals. “One big
profile Balearic sisters. Alicia Casals San scending about 30 feet between the streets discussion concerned where to place the main
Miguel and Karl Johan Nyqvist of NOMO that bookend its shorter sides. With the sea living space,” continues Nyqvist. “Some
Studio have made something of a reputation half a mile to the east, at the lower end, the clients want a connection to the yard, but
on the island for a series of vacation retreats house steps cheerfully down the terrain to there’s a risk that another house gets built,
they’ve designed there. With this one, nick- take advantage of the views. “Our clients, a blocking their view.” In this case, because the
named Stepped House, the Barcelona- and couple with two teenage children, came to us site’s slope and size made the yard difficult to
Stockholm-based architects turned the cli- with a basic program, but otherwise gave us use, NOMO’s clients opted for a top-floor
19
HOUSE of the Month
living area with bedrooms underneath, while

B parking and a swimming pool occupy the
lowest part of the property. Although the
local building code restricts the size of second
stories to just 15 percent of the plot, this
arrangement allowed for generous exterior
4 spaces above the bedrooms, “in a climate
5
where people spend most of their time out-
6
doors,” as Casals points out.
A 8 A
The house has two entrances, one on each
floor. Arriving from above, via a short foot-
4
bridge, one immediately enters the combined
kitchen, living, and dining space, whose
modest size is offset by its tall ceiling, clere-
7
story windows, and sliding glass doors that
dissolve the boundary between inside and out.
B As a result, space flows seamlessly onto the
0 15 FT. shaded veranda, which is followed by a large
LOWER-LEVEL PLAN
5 M. terrace with a built-in barbecue. To appease
the diktats of code, the veranda’s roof floats in
the middle of its concrete frame, so that no
building inspector might think it could be
enclosed to form an extra room. Downstairs,
three bedrooms are shaded by deep loggias,
while mechanical equipment is tucked under
the kitchen at the rear.
“Being small and rather isolated, Menorca
2 has a limited construction culture,” says
1 Casals. “Today the principal way of building
3
is with concrete and cinder block, so we took
that as our starting point.” But, eschewing the
usual rough workmanship hidden under a
thick coat of plaster (a finish that needs con-
stant repair and repainting in Menorca’s
unforgiving salt winds), NOMO selected
UPPER-LEVEL PLAN
1 1
2 3
8 4
SECTION A - A
0 15 FT.
SECTION B - B
5 M.
1 LIVING/KITCHEN 5 PRIMARY SUITE
2 SHADED TERRACE 6 POOL
3 TERRACE 7 PARKING
4 BEDROOM 8 LIGHT WELL
THE HOUSE’S form was dictated by the
dimensions of standard concrete blocks (above
and right).
high-quality weather-resistant concrete

blocks that they left exposed inside and out,
combining them with equally naked ceiling
vaults in terra-cotta. As Nyqvist observes,
these basic choices affected the dimensions of
the entire house, whose room proportions
were dictated by the standardized 20-centi-
meter module of the concrete block and the
60-centimeter module of the terra-cotta
vaults (approximately 7¾ and 23½ inches
respectively).
Indeed, these decisions even determined
how the envelope was built: first, the load-
bearing inner walls were laid; then, plumb-
ing, HVAC, wiring, and a layer of insulation
were installed; and, finally, external walls
were raised to seal the structure. Since no
mistakes could be corrected afterward, the
architects had to detail the entire house
before construction began, from the layout of
the concrete and terra-cotta blocks to the
placement of sockets and switches. “It was
very labor-intensive up front,” recalls Casals,
“but on-site there was no discussion, because
there was nothing left to decide.” Though the
outer walls (which include lintel courses in
local marès sandstone) went up without the
need to cut a single concrete block, the odd
compromise was made when turning corners
inside. The result is an extraordinarily crisp
and clean building, whose sobriety is comple-
mented by matte concrete floors and mill-
21
HOUSE of the Month
CLERESTORY windows flood living areas with

light (left). Concrete blocks, terra-cotta vaults,
and okoumé define interiors (above and below).
work in okoumé, an African hardwood

chosen for its resistance to the marine cli-
mate. NOMO’s mission even extended to
furniture, which they were asked to source
for under $10,000. “This is a beach house,”
Casals explains. “People like tough, inexpen-
sive furniture that can withstand water and
sand.” The clients also seem to enjoy a clut-
ter-free and rather impersonal vacation envi-
ronment, where nothing disturbs the visual
calm—not even a picture on the wall. n
Credits
ARCHITECT: NOMO Studio — Alicia Casals
San Miguel, Karl Johan Nyqvist, principals;
Mira Botseva, Jennifer Méndez, design team
ENGINEERS: Mus&Segui Arquitectos
Técnicos (civil); Windmill Structural
Consultants (structural)
CONSULTANTS: Gabinet Tècnic (survey);
PIMELAB (geotechnical)
GENERAL CONTRACTOR:
Construcciones Alpera
SIZE: 2,260 square feet
COST: $380,265
COMPLETION DATE: June 2022
Sources
MASONRY: Prefabricats Lleida
TERRA-COTTA: Cerámicas Lázaro
WINDOWS: Technal
HARDWARE: dnd (locksets)
FIXTURES: Faro Lantau (ceiling fan); Roca,
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LANDSCAPE
ZELLER & MOYE’S SHIMMERING GLASS MIRAGE SNAKES ITS WAY INTO SILICON VALLEY’S APPLE PARK. BY MATT HICKMAN
“WE SEE IT as an invitation to slow down,” glass-columned walls that stand nearly 7 feet donut-shaped mother ship and adjacent to a
says Zeller & Moye cofounder Ingrid Moye tall and weave sinuously through a grove of visitor center and café where orders are placed
of Mirage, a new public sculpture created by olive trees to create pockets of open space via iPad and lattes are presented with Apple-
the Berlin- and Mexico City–based architec- ideal for both moments of quiet solitude and logo foam art. Mirage, however enigmatic,
tural studio in collaboration with Scottish small group gatherings. From above, the isn’t hidden away on the campus.
artist Katie Paterson. “People will view the snaking shape of Mirage resembles a glazed “This existing part of the campus was a
artwork, but also focus on nature by looking garden maze, albeit far less disorienting. space of transition,” explains Zeller of the
to the sky, into the trees and landscape, and at “There’s always an interconnection be- OLIN-designed landscape. “We wanted to
other people passing by—and even interact tween inside and outside, and you’re never frame the section of the park so that people
with them.” lost” says Christoph Zeller, Moye’s partner in view it not just as a piece of green to walk
These activities—communing with nature life and in practice at the 2023 Design Van- through but as a destination.”
and face-to-face human engagement—typi- guard firm. “But there is one point within the Mirage is ambitious both conceptually and
cally require setting aside one’s handheld artwork where you’re fully surrounded by from sourcing and engineering standpoints.
device for a screen-free interlude to take it all
PHOTOGRAPHY: © IWAN BAAN
glass and immersed in a world of color and The 400 cast-glass columns comprising the
in. This is a tall order when considering that gradient of light.” sculpture were fabricated by the Oakland-
Mirage is situated on the 175-acre Silicon The first permanent public artwork com- based studio of glass artist John Lewis, using
Valley campus of Apple, a company that pleted at Apple’s corporate compound in sand responsibly collected from desert regions
found its fortune in screens, mobile or other- Cupertino, California, Mirage’s ribbonlike across the world with the aid of on-the-
wise. Yet the mesmeric work seems up to the glass partitions span a 2,250-square-foot site, ground partners, including UNESCO. No
task, taking form as a triptych of iridescent just across the way from Foster + Partners’ pigments were employed to create the glass;
27
LANDSCAPE
unique formulas for each desert were con-

ceived by the studio’s glassblowers, with
assistance from material scientists, to give the
pillars innumerable variations in natural color
and texture, contrasting with what Zeller
calls the sophisticated “invisible” glass at the
core of Apple products. (A previous public
artwork by Zeller & Moye in collaboration
with Paterson, Dune at Royal Fort Gardens
in Bristol, England, incorporates samples
from more than 10,000 tree species.)
“The California sun plays a really strong
role, charging the glass and bringing the
colors to life,” says Zeller. At night, Mirage
remains aglow, thanks to integrated lighting
concealed by complex architectural detailing.
And although Mirage’s freestanding glass
columns emerge from the grass “just standing
there like stones” in the words of Zeller, the
project was meticulously engineered with
underground anchoring preventing the heavy
but fragile-looking walls from toppling over,
particularly during earthquakes. Says Zeller:
Twisting through an olive grove near the Apple Park visitors center, Mirage is a beguiling backdrop “It’s a very pure structure that looks like an
for strolls, picnics, and more. The undulating form of the sculpture mimics a wind-shaped dune. artwork, but is also a piece of architecture.” n
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IN FOCUS
Sweet Spot
After nearly two decades dormant, the Domino Sugar Refinery reopens its doors on the Brooklyn waterfront.
BY MATTHEW MARANI
PHOTOGRAPHY BY MAX TOUHEY
IN 2004, Brooklyn’s Domino Sugar refinery east, and Grand Street and the Williamsburg ated the refinery)—enclosed three conjoined
complex shuttered its doors after more than a Bridge, to the north and south. At its peak, facilities, and, at a height of 155 feet, was
century in operation, heralding yet another the refinery housed 14 structures related to once the tallest building in Brooklyn. The
death blow to the formerly industrial aspects of sugar production and transport factory’s gargantuan equipment was housed
Williamsburg waterfront. The main build- and saw nearly 5,000 workers hum daily within their multistory spaces. Repetitive
ing—dubbed the Filter, Pan, and Finishing across the industrial campus. The property rows of punched arched windows across the
House and opened in 1882—loomed over the was acquired by Two Trees in 2012; that four elevations, though misaligned, present-
East River as a ghostly relic of bygone days. company has steadily built up this prime slice ed an orderly appearance that masked the
But now, after five years of design and con- of riverfront real estate with mixed-use confusing mess of machinery and differing
struction, it has finally opened its doors as towers by SHoP Architects, which also led levels within. While the facade was land-
The Refinery at Domino, an all-electric the Domino Sugar master plan, along with marked in 2007 and underwent intensive
commercial office building featuring a dra- COOKFOX Architects and Selldorf restoration, the remainder of the old sugar
matic vertical garden and myriad amenity Architects. The revived site also includes the factory’s interior was not, and it made little
spaces. The project is designed by Practice for lauded Field Operations–designed Domino practical sense to retain any of the existing
Architecture and Urbanism (PAU) for devel- Park, a concession extracted by the city from structure or attempt to align new floor plates
oper Two Trees Management, and retains the the developer to permit the area’s rezoning to the window openings. Instead, PAU opted
structure’s distinctive heavy masonry exterior through the Uniform Land Use Review for an approach that carefully gutted the
walls while inserting an entirely new 15-story Procedure. internal structure, with massive steel braces
glazed tower within the tight 250-by-70-foot As the Filter, Pan, and Finishing House’s keeping the now 141-year-old brick walls in
confines of the historic brick shell. name suggests, the hulking structure—de- check as construction of the office tower
The 11-acre site is roughly bounded by the signed by a team led by Theodore Have- commenced within them.
East River and Kent Avenue, to the west and meyer (of the Havemeyer family that oper- According to PAU founder and creative
The project joins several office and
residential towers within Williamsburg’s
Domino Park (opposite and right).
33
IN FOCUS
torx
14TH FLOOR
+1/2"
-1/2"
-1/2" +1/2"
+1/2"
-1/2"
13TH FLOOR
0 20 FT. FACADE DETAIL

SECTION
6 M.
The glass commercial tower is nestled within the
historic facade (opposite). Multistory interior
spaces formerly housed machinery (right).
Greenery now rings the project (bottom).
director Vishaan Chakrabarti, the width of

that gap between the masonry walls and new
glass curtain wall, which ranges from 10 to
12 feet, results from simulations PAU cre-
ated to determine the degree of light pen-
etration within that cavity. The analysis
ensured sufficient daylighting for occupants
on the lower floors and for the hanging
gardens designed by Field Operations; these
include diverse plantings as well as native
pine and oak trees and American sweet
gums. The brick masonry functions as a sort
of brise soleil for the operable-window-stud-
ded curtain wall within it and, owing to its
thermal mass, helps to passively cool and
heat the building’s interior, though a modern
HVAC system will still do the serious work.
The glazed tower emerges from the ma-
sonry pile as a distinct but complementary
structure. At its summit, the curtain wall
curves into a 30-foot-tall glass barrel vault,
and it was PAU’s intent for that sweeping
movement to reflect the Refinery’s American
round-arch style.
Silman, the structural engineer for the
project, devised a permanent steel-framed
superstructure, paired with a couple of cast-
in-place concrete lateral cores. Clear-
spanning steel girders run from the perim-
eter columns of the steel superstructure to
the building cores to maximize unobstructed
floor space. PAU principal Ruchika Modi
notes that “ring beams” circle the lightwell-
facing side of the masonry walls at multiple
levels and reach back through the curtain
wall to the superstructure with a horizontal
brace—this also required close collaboration
with the curtain wall fabricator to avoid
building-performance issues related to ther-
mal bridging.
The lobby and the first few floors of
office spaces are designed by bonetti/kozer-
ski architecture, with a corporate feel. As a
PHOTOGRAPHY: © TWO TREES MANAGEMENT (TOP)
speculative office tower, the bulk of the

building will be fit out by future tenants;
among the first announced is an Equinox
fitness club. Although the puritans of pres-
ervation politics may criticize the project as
an act of facadism—and while the jury is
out as to whether the market is there for
460,000 square feet of office space—the
Refinery is a clever reimagining of the
Williamsburg waterfront, and a technical
accomplishment to boot. n
35
GUESS THE ARCHITECT
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PHOTOGRAPHY: © WIIII, WIKIMEDIA COMMONS

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No. 149
FORUM
Re: Classical the nature of caricature, and—to paraphrase a recent descrip-

tion—we learn that, above all else, classical architecture repre-
sents state or capital power, and is associated with historical
Kyle Dugdale argues for a shift in how we recall, retell,
and reimagine the story of classical architecture. European values.
These characterizations—the entanglement with power and
Drawings by Jerome Tryon the history of Eurocentrism—are commonplace today, nowhere
more so than among students of architecture. Whether they are
WHAT COMES TO MIND when we hear the words entirely true is largely beside the point. If they are believed to be
classical architecture? true, they are likely to become true. If, upon hearing the words
The answer to that question is often embarrassingly narrow. “classical architecture,” the imagination supplies images of, say,
The Parthenon and Pantheon are still there, of course, even if perfectly proportioned palazzi for acquisitive Medici financiers,
the distinction between them is less vivid than it used to be. We symmetrical shrines to social superiority, symbols of power
may still acknowledge, in private conversation, the value of a imposed upon victims of colonial despotism, or gargantuan
shared canon, even if we are less sure than we were about what monuments to a new world order centered on the Third Reich,
might legitimately be included. And at certain moments—dur- then subsequent encounters with the classical are interpreted
ing presidential inaugurations, perhaps—we still honor classical accordingly.
commitments to a building culture that scans a longer horizon. And the language is abandoned to its stereotypes. Down-
But, increasingly, our portrait of the classical takes upon itself market demagogues reach for the classical in hopes of reinforc-
49
FORUM
ing the facade of legitimate
authority. The scandalously
wealthy agonize briefly over
the staggering cost of high
modernist austerity before
commissioning the high classi
cism of carefully crafted
Corinthian. Race supremacists
pose for photographs in front
of the nearest available white
marble portico. And, along the
way, thousands of urban public
schools and libraries become
advertisements for exclusion,
millions of modestly detailed
front porches become monu
ments to privilege, and the
entire architecture of Amer
ica’s democracy becomes a
symbol of state and capital
power aligned with historical
European values. carved into the rock of Africa’s continental mass, or lingering
This might be a problem. echoes among the reed houses of the dwindling population of
After all, this country’s classical legacy is unlikely to Iraq’s Marsh Arabs. After all, what we think of as classical
vanish any time soon. What is more, those representatives of can best be understood within a larger family of architectures
the profession who still consider themselves committed that share striking family resemblances. We could note the
classicists, and whose work is (let us admit it) not so fre obvious debt to the ornamental traditions of the Middle East
quently illustrated in mainline architectural magazines, are or sympathies with the surviving polychromy of shophouses
unlikely to deny service to their interested clients. The prac in Singapore’s Little India, arguably offering today’s closest
tice of classical architecture is unlikely to bring to a voluntary approximation to the vivid colors of ancient GrecoRoman
close its long and complex history. On the contrary: it ap practice. We could even observe the striking similarities to
pears to be enjoying a renaissance of sorts among enthusiasts the trabeated forms of what are sometimes described as “clas
who plumb its depths for a welcome contrast to the banality sical Chinese” courtyard homes—not to mention the uncanny
of our more typical forms of practice. They note that classical correspondences to the underlying formal structures of pre
pedagogy may have been banished for much of the past Columbian architectures. These examples argue with striking
century, but that this represents a mere blip on the trajectory eloquence in favor of a common humanity and against an atti
of the tradition. They note also that the modernist pedagogy tude of tribalism.
that replaced it did not always prove immune to the blan Turning into the mainstream of classical form, we might
dishments of state or capital power—or for that matter, quick note that the history of the classical cannot be told without
to diversify its European values. reference to medieval churches carved out of the geology of
Not only may it prove difficult to demolish the nation’s Ethiopia long before classical enthusiasms gripped the eccle
classical heritage; it may not even be possible to stamp out siastical authorities of northern Europe. We might, for that
the lingering inclination, among architects, to reconstruct matter, recall those elements of classical architecture’s most
the strict austerity of Georgian windows, to trace the predictably European canon that are scaled precisely to the
licentious curves of Ionic base profiles, or to foliate orna lives of the defenseless—like the small framed opening at
mental details with the curling leaves of Acanthus mollis (a the very far end of the portico of Brunelleschi’s hospital in
species native to territories including northern Africa and Florence. Drawing on more recent memories, we might pay
Asia Minor, but tolerant of a wide range of soils). On the attention to Kabul’s Darul Aman Palace, which owes a
other hand, it might just be possible to remind ourselves lesser debt to its imported architects than to its region’s
that classical architecture has not always represented state histories, its local builders, and, especially, the restorers who
or capital power, and that it has not always been identified made of it a monument to the shortlived reconstructive
with historical European values. efforts of Afghanistan’s women.
It would be nice, in fact, if somewhere near the top of We could note, with both despair and optimism, that
that list of mental precedents we might recall those ele significance can change over time. We could even note those
ments of classical history that are insistently not Euro places where Nazism’s classical affectations have been reap
centric, that are not obviously aligned with capital, or that propriated by subsequent generations, turning the glorifica
resist the predictable narratives of state power. tion of hatred into a more enduring celebration of exactly that
These could include early precedents on the banks of the which the party sought to eradicate—witness Mel Bochner’s
Nile, where some of the oldest classical forms can be found Joys of Yiddish now permanently inscribed onto the entablature
of what was once Munich’s House of German Art. Or we Trajanic letterforms, just as the statue supported by Trajan’s
could dwell on classical architecture’s capacity to serve the Column was itself supplanted long ago by its antithesis.
interests of the poor, the weak, and the vulnerable: the glori- We could tell the story of the classical as a form of prac-
ously elaborate facades of early 20th-century tenements offer- tice that learned to communicate not only through size but
ing dignity for immigrants to America, the outrageously also through the smallest of details, disposed with infinite
colorful interiors designed by the indigenous populations of care, moulding profiles turning the simplest classical facade
the Andes, the classical confections built by the Roma of into a living tableau of light and shadow, shifting as the sun
eastern Europe—or the hundreds of thousands of lovingly god works his way across the heavens.
crafted funerary monuments dedicated to individual lives, This is an architecture that cannot be constrained by
some of them very small, or irreducibly simple, like the capital or controlled by national borders, and that does not
Malmström and Rettig mausolea by Lewerentz and Asplund. proclaim exclusive allegiance to historical European values.
We could stand to pay attention to some of the earliest It can symbolize not only power but also restraint—the
examples of this country’s African American built legacy, restraint more characteristic of societies that did not aspire
often constructed with limited means but immeasurable to dominate the natural order with the nonchalance that has
grace—a task for which the classical is strikingly well proved so disastrous to our recent history. It is the story of a
equipped. We should recall those monuments that have taken form of practice that can draw on a posture of humility
on significance for their roles in the history of civil rights— toward its past, while still recognizing the need not only to
roles made possible precisely by their classical monumentality: respect but also to repair, to rebuild, and to reimagine. The
the Lincoln Memorial as backdrop to singer Marian Ander- challenge is ultimately one of expanding the public imagina-
son’s performance, or New Haven’s County Courthouse as tion. This is, for all of us, a design challenge. n
backdrop to Black Panther advocacy. We should also note
those relics of colonial-era architecture that have become Kyle Dugdale is an architect, historian, and senior critic at the
landmarks of independence, finding their ways to new identi- Yale School of Architecture. His book, Architecture After God:
ties and new publics—Chinese characters overlaid onto Babel Resurgent, is reviewed on page 61.
51
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BOOKS
The Architecture of Sir Edwin Lutyens: the volumes, initially printed by Country
Volumes I & II, by A.S.G. Butler. First published Life, were a feat of architectural publishing.
1950. ACC Art Books, 300 pages, $150 each. To this day, alongside such works as Le
Corbusier’s eight-volume Œuvre complète,
REVIEWED BY LEOPOLDO VILLARDI
they are among the most thorough contem-
poraneous records of any modern architect.
IN THE early 1980s, searching for out-of- Each volume opens with elucidating
print books to resurrect, publisher John Steel essays by architect A.S.G. Butler, written
walked into the library of the Royal Institute with the editorial assistance of Lutyens
of British Architects in London and asked, biographer Christopher Hussey, followed by
“What is the most requested rare book from photographs and plates, which often com-
your collection?” The librarian quickly shot prise multiple drawings. Importantly, the
back, “The Architecture of Sir Edwin Lutyens.” large trim size (12" by 16") allowed read-
Today, first-edition copies of this three- ers—students and practitioners alike—to
volume memorial monograph from 1950 can carefully examine Lutyens’s approach to
fetch well over a thousand dollars, and the composition and the strict geometries un-
1984 and ’89 reprints from Steel’s publishing The reissued volumes are slightly smaller than dergirding his architecture, just as he had
house, ACC Art Books, have also become the originals or previous reprints (above). studied the works of Christopher Wren.
increasingly difficult to obtain. The Institute The first volume in the series focused on his
of Classical Architecture & Art (ICAA) Lutyens did not live long enough to see the idyllic country houses across the United
recently teamed up with ACC to reissue the original books finished—the idea to catalogue Kingdom and Ireland, while the second
series once again, making newly accessible the his work emerged late in his life, in the 1940s, concentrated on town plans and civic works,
work of the accomplished British architect as he fell ill and the blitz of the Second World including war memorials, the British em-
and 1925 AIA Gold Medal winner. War threatened his buildings in London. But bassy in Washington, D.C., and the
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BOOKS
By sacrificing margins, detailed plates (right)

were reproduced at approximately the same size.
Viceroy’s House in Imperial New Delhi.

The last delved into public buildings as well
as his proposal for the Liverpool Cathedral,
which would have eclipsed St. Peter’s
Basilica in scale had it been built.
Despite their rigor and educational impe
tus, the monographs appeared at a time
when the profession had largely soured on
IMAGES: © COUNTRY LIFE/FUTURE PUBLISHING LIMITED

the Neoclassical and vernacular forms that
defined Lutyens’s career. With architects in
thrall to the International Style, his work
was widely disregarded, until the pendulum
of architectural style began to sway in the
other direction and he was rediscovered.
Robert Venturi’s manifesto Complexity and
Contradiction in Architecture highlighted
several Lutyens buildings, and Postmodern
ists including Robert A.M. Stern and Allan
Greenberg later quoted him in their own
built output. New York’s Museum of Modern
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Art even went so far as to assemble an exhi- The books’ detailed plates, originally
bition of Lutyens’s work in 1978, and delineated by Lutyens associate George
London’s Hayward Gallery followed suit Stewart, were scanned from a first-edition
three years later. ACC’s first reprint of the set. To ensure that distinct lettering, dimen-
series proved timely. sions, and hatching were not too faint or lost
In an effort to remain faithful to the altogether, proofs were carefully studied.
originals, the newest reissues do not include “We compared the original monographs with
added texts or scholarship. However, they are our digital reproductions using a magnifying
far from straightforward facsimiles—years of glass, to spot any identifiable differences,”
meticulous research and legwork went into says Matthew Enquist, chair of the Books
their making. Butler’s essays were typeset Committee at the ICAA. “It took us a few
from scratch, maximizing legibility. Rather tries to get it right.”
than rescanning photographs from printed One obvious difference between the first
editions, which would have resulted in a loss edition and the recently reissued versions is
of image fidelity, the ICAA tracked down the smaller trim size (11¾" by 14⅛"). “Print-
glass-plate negatives from the archives of ing is all about economies of scale,” James
Country Life. As a result, the chalky facade Smith, current publisher of ACC Art Books,
and twisted chimneys of Lutyens’s told record. “We aim to have as little wast-
Marshcourt, and the corbeled brick arches of ed paper as possible, and printing at the size
his Deanery Garden jump off coated matte of the original Lutyens books today is chal-
paper as never before, with astonishing clar- lenging—not only from a cost perspective,
ity. Amazingly, in the seven intervening but also because modern machines have
The entrance to the pool garden at Marshcourt decades since initial publication, only a hand- difficulty binding books that big.” But gen-
(1901), in Stockbridge, England. ful of negatives had been lost or damaged. erous margins in the 1950 version allowed
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BOOKS
ACC to largely maintain the scale of draw-

ings and photographs—in general, they are
only 1 or 2 percent smaller than their original
counterparts.
“There’s a strong appreciation for classical
architecture in the United States. That amaz-
es me as a British person—I’m not sure it’s
quite the same at home,” says Smith. So
strong is that appreciation that several indi-
viduals and architecture firms donated funds
PHOTOGRAPHY: © COUNTRY LIFE/FUTURE PUBLISHING LIMITED

to make the reprint, the largest book-repro-
duction effort the ICAA has undertaken, a
reality. “There is an educational mission
behind all our books,” adds Enquist—who
has now set his sights on republishing John
Russell Pope’s monograph about his work
(which includes the National Gallery in
Washington, D.C.)—“to promote ongoing
scholarship of classical architecture today.”
The first two volumes of The Architecture of
Sir Edwin Lutyens are now available, but read-
ers eager to complete their collection will
need to wait until next spring for the final Deanery Garden in Sonning, England, was designed for Edward Hudson, founder of Country Life and
installment. n longtime advocate of Lutyens’s architecture.
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BOOKS
Architecture After God: Babel Resurgent, by This is not an unfamiliar narrative. Plenty
Kyle Dugdale. Birkhäuser, 440 pages, $92. of historians have considered how colonial-
ism and global war suited the aims of
REVIEWED BY ENRIQUE RAMIREZ
Modernism quite well. Dugdale takes a
different route in that he seeks to find the
THE TOWER OF BABEL looms large literal roots of this misalignment at the very
in the history of art and architecture, beginning, in the spiritual and sacred origins
whether as the subject of Pieter Bruegel the of architecture. In this sense, the book con-
Elder’s 1565 painting or as the main tower sists of two micronarratives, each entwined
at the heart of the hyperindustrial city in with the other like the strands of a double
Fritz Lang’s Metropolis (1927). It also takes helix. The first is a theoretical and architec-
center stage in modern tural account of the
and contemporary litera- Tower of Babel. Dug-
ture: Jorge Luis Borges’s dale’s rigor here is on
enigmatic (and architec- display as he takes readers
tonic) short story “The on a tour of the various
Library of Babel” (1941), stories of the Tower’s
Juan Benet’s The Con origins, from antiquity
struction of the Tower of onward. Lavishly illus- Shayle™ Wall Panels
Babel (1990), as well as trated spreads also show
“Tower of Babylon,” the how early modern archi-
opening story in Ted tectural writers and
Chiang’s anthology Stories chroniclers, from Atha-
of Your Life and Others nasius Kircher to Johann
(2002). In all these ex- Bernhard Fischer von
amples, the architectural Erlach, imagined the
conventions of structure building. The highlight
and form become meta- here, however, is a stun-
phors for the limits of ning and engrossing
language and knowledge. architectural interpreta-
The Tower’s significance tion of the Book of
to contemporary architec- Genesis. This is no mere
tural audiences is implied, perhaps even equating of language and building but a
understood. We may not picture Bruegel’s tourdeforce argument that envisages the Old
or Borges’s monumental and unfathomable Testament as a kind of architectural manual.
buildings whenever we encounter architec- Through Dugdale’s exacting and careful
tural writing that is dense and prolix, but it exposition, the architectonic lessons to be Kahn™ Wall Panels
does make one wonder whether capital-A gleaned from Genesis become clearer—at
Greta™ Wall Panel
architecture is a kind of Babel tower torn one point, even the importance of walls and
apart by conflicting views about who de- partitions to the creation of Adam and Eve is
signs buildings and for whom. demonstrated. This is all precursory, serving
A similar feeling of bemusement and loss as a backdrop for the author’s excursions
lies in the pages of Kyle Dugdale’s Arch around the ways the Tower of Babel has
itecture After God: Babel Resurgent. It is the persisted in the modern imagination.
second book in Birkhäuser’s Exploring Why, then, does Dugdale insist that the
Architecture series, which is dedicated to Tower of Babel was not persistent but, rather
encouraging new directions in architectural (as the book’s subtitle tells us), resurgent?
scholarship. In its pages, readers discover an The answer lies somewhat in his second seamless gypsum for
unwavering sense that architecture has large- micronarrative—a close reading of an over- continuous surfaces of any size
ly failed us spiritually—that it has lost its looked text, The Kaiser and the Architect
moral authority. For Dugdale, the Tower of (1924), by the Austrian painter Uriel
Babel is a powerful architectural metaphor Birnbaum—a figure largely absent from
that embodies the various disaffections and architectural history. Dugdale sees
disenchantments at the heart of architectural Birnbaum’s tale as a spirited response to the
Modernism. If the Modern movement began secularism and paganism he associated with
as a way to weave art and architecture into German Expressionism. The son of Nathan
the fabric of society, it would be compro- Birnbaum, one of the founders of Zionism,
mised during the interwar period thanks to Birnbaum’s own architectural travels read as
the rise of nationalism and militarization. a counterpoint to architect Erich Mendel-
modulararts.com 206.788.4210 Made in the U.S.A.

BOOKS
Pieter Bruegel the Elder’s identifies parallels between architecture and

Tower of Babel, painted religion. The book begins with a vivid de-
IMAGE: STUDIO TROMP, COURTESY COLLECTION MUSEUM BOIJMANS VAN BEUNINGEN, ROTTERDAM
circa 1565 (left). scription of artifacts on display at Yale’s

Beinecke Rare Book and Manuscript
imaginary metropolises, Library, one in which curatorial ambition
all painted by Birnbaum and collection strategies transform a signa-
in a way that mimics ture Modernist building into a reliquary.
stained-glass windows And then there’s Uriel Birnbaum’s own
in Gothic cathedrals. exclusion from the architectural canon.
And, like the Tower of Readers already understand the ecclesiastical
Babel, Birnbaum’s work origins of “the canon” and “canonical,” words
was also subject to used to elevate extraordinary persons to
misinterpretation and immortality, now used to ensconce architects
disaffection. His books and thinkers in a mantle of professional
were mined (and mis- adulation. This is a book for readers of all
read) for ulterior pur- stripes, as Dugdale makes clear, but it is
poses, resulting in the suffused with a kind of conviction rarely seen
humanity-stripped in architectural writing these days. It is also
devotion exhibited a deeply personal book; Dugdale is trying to
sohn’s friendship with future Israeli president by crowds during Albert Speer’s Cathedral understand his own journey in architecture
Chaim Weizmann and fascination with the of Light at the Zeppelin grounds in and wants readers along for the ride. n
writings of the philosopher Martin Buber. Nuremberg.
Much like Italo Calvino’s Invisible Cities, The There are other ways to describe how Enrique Ramirez is a historian of art and archi-
Kaiser and the Architect features a series of Dugdale’s excellent Architecture After God tecture living in Brooklyn.
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COLLEGES & UNIVERSITIES
NTU BUSINESS SCHOOL | SINGAPORE | TOYO ITO & ASSOCIATES, ARCHITECTS
Spruced Up
Nanyang Technological University’s new campus addition—the largest
mass-timber building in Asia—welcomes students, faculty, and nature.
BY NAOMI POLLOCK, FAIA
PHOTOGRAPHY BY KAI NAKAMURA
67
DEFINED BY a gigantic timber frame, the

Nanyang Technological University (NTU)
Business School embodies the elegance of
Toyo Ito’s architecture as well as the know-
how of a cutting-edge engineering school.
This competition-winning scheme is the
Tokyo architect and Pritzker Prize–winner’s
latest addition to the Singapore campus, where
he previously built student dormitories, a
gymnasium, and a small restaurant. While the
new building’s gently arching form embraces
the school’s historic setting, its environmen-
tally sensitive construction points the way to
the future.
The 437,000-square-foot edifice occupies a
key location adjacent to the school’s first
building, the Chinese Heritage Center front-
ing the 22-acre Yunnan Garden—both built
in 1955 when NTU’s predecessor, Nanyang
University, opened. Although the Chinese
Heritage Center informed the height of Ito’s
building (out of respect for this campus land-
mark the new structure could not exceed 98
feet), the garden’s orthogonal layout fixed its
placement. “We don’t usually favor a rigid grid
or sharp lines in the landscape,” comments Ito.
Instead, he anchored his curved building by
aligning its center—marked by a covered main
entrance on one side and an outdoor amphi-
theater on the other—with an octagonal pavil-
ion at the southwestern end of the garden.
As security is not a big concern in
Singapore, the campus is very open to the city.
Similarly, the building can be accessed at
multiple points. In addition to the main en-
trance, secondary doors are located at the
south end, which is easily accessed from a
nearby bus stop, and at the north end, which
connects to a network of campus walkways.
“People move through the building as natu-
rally as the wind,” observes project architect
Julia Li. Inside, the undergraduate department
is concentrated in one half and the graduate
department in the other, with a shared triple-
height event space where the two meet.
The six-story building is further unified by
the interior’s straightforward logic. In cross
section, it consists of three 38-foot-wide layers
with two 16-foot-wide circulation conduits
between them—this organization runs the
entire length of the 689-foot building. The
two outer layers house academic spaces, with
teaching areas—such as seminar rooms, meet-
ing rooms, and lecture halls—on the first
THE FACADE is open to the elements (left and

opposite, right). A central space (opposite, top)
is three-stories tall, while lattice walls curve to
shape smaller study nooks (opposite, left).
69
TIMBER ELEMENTS
carry through to the
auditoria (above) and
classrooms (right).
71
three floors, and faculty offices plus research

facilities on the top three floors. The middle
layer was conceived as an open space that
facilitates communication and binds the
programmatic components. On the lower
three levels, it incorporates lounges, audito-
ria, and enclosed courtyards. Upstairs, this
central spine opens to the sky, becoming a
stepped outdoor roofscape dotted with
planted terraces. Around it, “the faculty area
is kind of like a village,” explains Ito.
Resembling a manmade valley, this forma-
tion enables an exterior exposure for every
office. The amiable coexistence with the
outdoor environment, including daylight,
greenery, and airflow, is a quintessential
feature of Ito’s architecture.
Naturally, Singapore’s tropical heat and
humidity required consideration, yet Ito was
able limit the building’s energy consumption
with a variety of passive strategies. For start-
ers, he aligned the building’s long axis with
prevailing north–south breezes, which elimi-
nated the need for a mechanical HVAC
system in open communal areas. In teaching
spaces, offices, and other enclosed places, a
Passive Displacement Ventilation system
handles the required cooling. Developed at
NTU, this technology relies on hot air’s
propensity to rise toward the top of the room,
where it is cooled by coils filled with cold
water. This method necessitated deeper walls
to hold equipment, but it uses supplemental
energy only to chill the water. Another ener-
gy-saving measure was fronting the east and
west elevations with thick, coffered facades.
Measuring 5 feet deep, the crosshatch of hori-
zontal and vertical fins shields the interior
from direct sunlight, lessening heat gain.
These innovations helped the project land a
Green Mark Platinum designation from
Singapore’s government.
Per the energy-conscious client’s request,
timber construction was utilized wherever
possible—a pioneering move toward reducing
the school’s carbon footprint. “NTU always
wants to do the new, new thing,” explains Li.
Even the custom furnishings that Tokyo-
based Fujimori Atelier designed for the
ground-floor lounges are spruce. Aside from
the concrete emergency stair and elevator
cores, the structure features an enormous
spruce-glulam frame, with wood sheets
instead of beams spanning the short axis, a
strategy that adds stiffness while reducing
floor depth. Produced at an Austrian factory,
the prefab elements were milled by computer,
affixed with aluminum joint plates, and then
shipped to Singapore, where they were as-
VERTICAL SHAFTS bring daylight deep into the
Credits CONTRACTORS: Newcon Builders (general);
building (opposite), while the rooftop features Steel Tech Industries (timber)
ARCHITECT: Toyo Ito & Associates, Architects —
planted terraces (above).
Toyo Ito, president; Takeo Higashi, chief architect; CLIENT: Nanyang Technological University
Yoshitaka Ihara, Mitsuyo Yabuki, senior architects; SIZE: 437,000 square feet
sembled on-site, cutting down on both con- Julia Li Ka Yee, design lead; Yonosuke Fukuda,
Shuichi Kobari, Takayuki Ohara Martinez, Elain COST: $88 million (construction)
struction time and cost. Curving the whole Kwong, Joy Hu, design team COMPLETION DATE: March 2023
assemblage enabled the architect’s goal of ARCHITECT OF RECORD: RSP Architects
softening the rigid frame’s brawny appearance. Planners & Engineers Sources
Currently, the NTU Business School is the ENGINEERS: Aurecon Group (structural); STRUCTURAL SYSTEM: Weihag
largest wooden structure in Asia. “Of course, Takenaka Corporation Timber Innovation
Department (timber); Squire Mech Pte (m/e/p) WINDOWS: Jinyue
creating such a huge building from timber
CONSULTANTS: Lighting Planners Associates CLADDING: Jinyue, Robin Village, Stora Enso
was a great challenge,” comments Li. “But it
(lighting); Higini Arau Acustica, DB Acoustics ACOUSTICAL SURFACES: Rockwool (ceilings);
also opens a lot of doors for timber construc- (acoustics); Maruyama Design (signage); STX Saint-Gobain Gyproc (walls)
tion to come.” n Landscape Architects (landscape)
73
THE LINDEMANN PERFORMING ARTS CENTER I PROVIDENCE I REX
Center Stage
A transformable performance space with a striking fluted skin gives
the arts top billing at Brown University.
BY JOANN GONCHAR, FAIA
PHOTOGRAPHY BY IWAN BAAN
THE ARCHITECTURAL assortment at profile against the sky, announcing the im-
Brown University, in Providence spans portance of the arts at Brown, which prides
Georgian, Richardsonian, Neoclassical, itself on its interdisciplinary approach to
pseudo-Federal, Brutalist, and everything in higher education. “The arts permeate all
between. The latest addition to the College aspects of the curriculum,” explains Christina
Hill campus’s eclectic mix is a nearly indus- Paxson, the university’s president.
trial-looking silvery aluminum-clad box—a In conceiving Lindemann, Brown’s first
mysterious volume that is mostly blind, except priority was establishing a home for its or-
for a glazed ribbon that slices dynamically chestra, since the group had long been per-
through its fluted facades near the ground. forming in Sayles Hall. The late 19th-century
The enigmatic 75-foot-tall volume is The granite-and-brownstone edifice, centrally
Lindemann Performing Arts Center, de- located on the main college green, contains
signed by REX, the New York–based archi- one of the university’s largest assembly spaces,
tecture firm founded by Joshua Ramus. On but has substandard acoustics. The program-
Angell Street—a main artery on the city’s matic requirements for the new building
East Side—the 101,000-square-foot building, didn’t stop there. His brief, says Ramus, was a
striking in its simplicity, creates a scalloped facility that could be intensively used, on a
THE VOLUME enclosing Lindemann is clad in

aluminum that is fluted, in part to disguise
the joints between panels (above and left).
75
10 11 11 10 10
6 6
9 9 6 6
9
4
B2-LEVEL PLAN
SECTION A - A
6
8 7 6 5
3 1
7
8
0 30 FT.
GRADE-LEVEL PLAN SECTION B - B
10 M.
1 LOBBY 7 LOWER LOBBY

3
2 MAIN HALL 8 UNDER STAGE
2 3 ASSEMBLY AREA 9 REHEARSAL ROOM

B B 4 CLERESTORY 10 PRACTICE STUDIO
5 BALCONY LOBBY 11 INSTRUMENT STORAGE
1 6 BALCONY
A
LOBBY-LEVEL PLAN
daily basis—by all the performing arts—rather than a space that would
be mostly dark except for the orchestra’s few concerts each year.
The answer was a building that could serve as several venues in one.
However, designing an exceptional multipurpose performance space
6
can be tricky, points out Ramus: “The classic problem with them is
5
that they are good for all but not great for anything.” At Brown, one of
the many challenges was creating the reverberation times and ensemble
conditions required by orchestral music, which are primarily dependent
on a large interior volume, without sacrificing the intimacy desired for
6
drama or dance.
With these competing desires in mind, the architects designed a
0 30 FT. concert hall with a relatively tight footprint, about 59 by 88 feet, and
FIRST-BALCONY-LEVEL PLAN
10 M. for a correspondingly small audience of 530 people. They then estab-
THE BUILDING, sited on busy Angell Street
(right), has a lobby that cantilevers over the
entry stair and stadium seating (above).
lished the needed acoustical volume by mak-

ing it taller than they otherwise would have
(nearly 67 feet from the theater floor to the
underside of the roof structure). The resulting
space accommodates a stage for Brown’s
100-piece orchestra, along with a loft for its
70-person choir. The shoebox-shaped room,
rendered almost completely in an inky blue-
black, is ringed by four suspended balconies
(two for people and two for lighting and other
equipment). In turn, suspended from those
levels, just above the floor, are a series of
curved glass acoustical reflectors whose pur-
pose is to direct high-frequency sound back
into the room.
In addition to the concert-hall configura-
tion, Lindemann can also be transformed into
four other primary geometries: a large flat-
floor room; a 388-seat recital hall; a 275-seat
end-stage theater; and a “media cube” for
immersive digital and video art. And because
77
EXPERIMENTAL MEDIA
RECITAL
END STAGE
STRUCTURAL DIAGRAM
Credits SIZE: 101,000 square feet

ARCHITECT: REX — Joshua Ramus, principal COST: withheld
ORCHESTRA
in charge; Adam Chizmar, project leader; Maur COMPLETION DATE: September 2023
Dessauvage, Sebastian Hofmeister, Kevin
Thomas, Kelvin Ho, Nicolas Lee, Tim Carey, Davis
Richardson, project team SOURCES
CONSULTANTS: Odeh (structural engineer ALUMINUM RAINSCREEN: Roschmann Group
of record); Magnusson Klemencic (consulting INTERIOR GLAZING: Vitro, Safti First,
structural engineer); Arup (m/e/p); Atelier Ten AGC Interpane
(sustainability); Front (facades); Theatre Projects
(theater design/stage equipment); Threshold METAL DOORS: Assa Abloy
Acoustics (acoustical/AV); Acentech (acoustical MAIN HALL SOUND REFLECTORS: Glenn Rieder
sub-consultant); L’Observatoire International ACOUSTIC ISOLATION PADS: Kinetics
(lighting)
LIGHTING: Reflex Lighting, Lucifer Lighting, USAI,
GENERAL CONTRACTOR: B-K Lighting, XAL USA, BEGA, PureEdge Lighting,
Shawmut Design & Construction Ecosense Lighting
FLAT FLOOR CLIENT: Brown University HIGH-IMPACT WALLBOARD: National Gypsum
BOGIES and winches (opposite, right), located
below the roof, enable the transformation of
the main hall (above). Basement-level rehearsal
spaces (right) double as performance venues.
the building is intended as a teaching facility,

it also has rehearsal spaces, for orchestra,
theater, and dance, in two below-grade levels.
Clad in perforated Douglas fir, equipped with
sprung floors, and constructed as “box in box”
rooms for acoustical isolation, all double as
performance venues.
The main hall’s conversion from one use to
another can be accomplished by eight people—
including riggers and stagehands—in four to
eight hours. The transformation is enabled by
an array of automated and manually operated
equipment, such as adjustable acoustic reflec-
tors and curtains, lighting bridges, stage lifts,
telescoping orchestra risers, and retractable
seating. Even normally stationary building
services, such as power, data, and water (for fire
suppression) have been designed to be moved
along with the other reconfigurable devices.
Lindemann is not Ramus’s first transform-
79
able performing arts building. The Dee and

Charles Wyly Theatre (record, February
2010), in Dallas, designed by him as partner
in charge of the project at REX/OMA, and
Rem Koolhaas, was completed in 2009.
REX’s Perelman Performing Arts Center
(record, October 2023), opened in Lower
Manhattan earlier this fall. Though contem-
poraneous with Perelman, Lindemann is
more akin to the older project—at least in
regard to its facade treatment. While
Perelman is shrouded in Portuguese marble,
Wyly has a glazed base that reveals what is
happening inside. Lindemann takes a similar
approach to transparency, but through an
element that Ramus refers to as a “clerestory.”
This glass-enclosed circulation space wraps
the building on three sides at stage level.
Depending on the time of day, interior con-
figuration, and the lighting arrangement, the
clerestory will showcase the activity within
to passersby and the university community.
The necessarily column-free volume that
houses the reconfigurable performance space
is made possible by Lindemann’s fixed struc-
ture. Underneath the aluminum skin, which is
fluted in part to help disguise the horizontal
joints between panels, steel belt trusses extend
the full height of the two long facades. They
span more than 111 feet between steel-framed
stair towers at each of the shorter ends. From
the eastern tower, the clerestory extends to
form the lobby—a floating glass box that
cantilevers 37 feet, making Lindemann ap-
pear to be reaching out gregariously, across a
campus pedestrian way, toward its neighbor-
ing arts facility, the Perry and Marty Granoff
Center, a 2011 Diller Scofidio + Renfro
project with studio, workshop, and lab space
for the visual and performing arts.
To enter Lindemann, performance-bound
users walk through the sheltered outdoor
area below its low-slung cantilever, which
hovers just 10 feet above the ground—a route
that, on a recent gray day, before the building
had officially opened, seemed uninviting.
However, Avery Willis Hoffman, the artistic
director of the Brown Arts Institute, which
manages the building, promises that the
students will devise installations and events
that will activate the compressed space.
Toward that end, it has infrastructure to
support a variety of activities, including
lighting, as well as stepped seating whose
horizontal surface has been cleverly sculpted
to incorporate the facade’s fluted profile.
If visitors may find the entry path less than
alluring, they will be rewarded once they
ascend the gently sloped flight of stairs to the
AN INSTALLATION by Leo Villareal is mounted
on structural elements in the lobby (above). A
glazed “clerestory” (right and opposite) wraps
the building at stage level.
lobby. The room is only 8 feet 9 inches high

and filled with what appears to be a field of 30
closely spaced columns. Instead, they are the
vertical elements of a two-way Vierendeel
truss supporting the cantilever. But, despite its
modest scale and the number of structural
components, the space feels expansive, due to
its floor-to-ceiling glazing, reflective polished
concrete floor, and, in no small part, to a site-
specific installation by digital artist Leo Villa-
real. The piece, called Infinite Composition,
consists of LED panels mounted on the
column-like struts, displaying flowing and
shifting light patterns that serve to demateri-
alize them.
The shifting, non-repeating nature of
Villareal’s piece provides a fitting foreshadow-
ing for the mutable performance space beyond,
and the creative magic to take place within. n
81
UNIVERSITY OF VALLE D’AOSTA CAMPUS | AOSTA, ITALY | MARIO CUCINELLA ARCHITECTS
Tip of the Iceberg

Glacial forms inspired a classroom building deep in the Italian Alps, where it and a
forthcoming twin will anchor a university with lofty ambitions.
BY LEOPOLDO VILLARDI
PHOTOGRAPHY BY DUCCIO MALAGAMBA
FOR CENTURIES, Forte di Bard has
stood watch over a narrow pass into the Aosta
Valley—a region in northwest Italy surround
ed by Alpine mountain ranges. When Napo
leon marched on the fortress in 1800, a few
hundred soldiers billeted there were able to
stave off the 40,000 at his flank. Today, the
journey into and out of the valley isn’t quite so
perilous—a car or train will do—but the
dramatic, isolating landscape has fostered a
unique culture. Scalloped slate shingles and
timber replace the terracotta roofs and stuc
coed walls commonplace in the Italian coun
tryside. Vineyards, planted in stonewalled
terraces, creep up hillsides. Italian and French
traditions meld, as do the languages (into a
regional dialect known as Valdotèn). The
province enjoys special administrative au
tonomy from the national government, too.
“New York City seems closer to Milan, men
tally, than Aosta does,” Italian architect
Mario Cucinella says with a laugh.
In the 33,000person town for which the
valley is named, Cucinella’s Bologna and
Milanbased studio has been busy reimagin
ing a former military barracks first built for
the Alpini—the Italian army’s specialized
mountain infantry—into a new campus for
the University of Valle d’Aosta. Situated just
outside the town’s historic Roman wall and
straddling its decumanus, the original 7½acre
encampment included four rectangular build
ings that together formed a large courtyard,
Piazza d’Armi. An administration building at
the southern end of the square is being retro
fitted as a library; to the north, a dormitory
for soldiers will soon serve as faculty and
administrative offices. The two longest build
ings, running north–south on either side of
the piazza, were demolished to make way for
a pair of groundup classroom buildings, the
first of which has been completed and will
welcome students next year.
The edifice is compact—a decision in
formed by Cucinella’s inhouse team of build
ingscience specialists, who assist with energy
analysis and modeling. What began as a
rectangular bar with cantilevered classrooms
(and too many thermal breaks) iteratively
morphed into a building reminiscent of an ice
shelf. The horizontally striated facade—
mainly ribbons of insulated aluminum panels
and glass with stepped ledges surfaced in a
stonelike solid acrylic—appears to have been
eroded by wind, or to be melting into the
landscape. The designers fully leaned into the
glacial metaphor, using a palette of white,
light gray, and aquamarine that seems plucked
directly from the nearby snowy mountaintops.
83
THE TOWN-FACING
facade bifurcates to
shelter entrances
and create terraces
(opposite). A campus
plan shows both
classroom buildings
and a pedestrian
plaza (left).
1
3
GROUND-FLOOR PLAN
1 ATRIUM
2 CAFÉ
3 SUNKEN COURT
4 CLASSROOM
0 30 FT.
SECOND-FLOOR PLAN
10 M.
Curvilinear elements soften the entire composition—walls turn corners From the ground floor, an elliptical stair spirals downward, leading
with rounded fillets, as do stair treads and risers. And the facade that to five laboratories and a 200-seat lecture hall (called the aula magna),
faces away from the campus, toward the town, gently bifurcates to which is lined with deep-blue microperforated acoustic panels. The
create covered walkways and upper-story terraces. same stair also swirls upward, providing access to smaller seminar
As solid as the building may seem, four entrances ensure porosity, spaces and classrooms on the higher floors. Here the balconies push
and a publicly accessible café will encourage light foot traffic. Inside, a into, and pull away from, the atrium—in tension with the facade and,
cavernous four-story atrium, running along the entire western edge of every so often, grazing it. As students and faculty walk these floors,
the building, is the architectural highlight. A series of S-shaped steel they will pass framed vignettes of the Mont Blanc group in the dis-
ribs, fixed to the ground with pin connections, structures the sinuous tance, which separates Italy from neighboring France. There are an
outer skin. Although this facade is 70 percent opaque, the space behind impressive 31 classrooms of varied arrangements packed into the vol-
it is astonishingly bright. The solid-surface ledges act as solar shelves, ume—the smallest ones accommodate 20 students; others fit larger
bouncing light and creating a diffuse, atmospheric interior. At the very groups with raked seating. In some cases, they spill out onto terraces
top, operable circular skylights vent warm, rising air. offering panoramic vistas of the surrounding mountains.
85
Using public funds, the facility is a nearly

zero-energy building (NZEB)—today a
requirement in the European Union, but at
the time of construction, only a request by the
client. Although geothermal wells, cold-water
extraction from the ground, graywater collec-
tion, materials with high R values, and photo-
voltaic panels on the roof all help achieve this,
the optimized envelope, which minimizes
heat gain, and the naturally ventilating atrium
do a yeoman’s work. “Architects in general
have become too attached to the idea that
technology can solve all problems. When a
building is designed poorly from the start, no
amount of technology is enough to fix it,”
Cucinella says. “And,” he points out, as a
reason why he founded the postgraduate
School of Sustainability in Milan in 2015,
“there are few university programs in Italy
that help students learn how to design build-
ings in relationship to climate and energy.”
In a country where most universities oc-
cupy disparate spaces in historic buildings
across their home cities, a proper campus with
STEEL RIBS in the atrium support the facade

(left and opposite). Classrooms look out at the
historic townscape and Alps (below).
87
1 ATRIUM
2 CAFÉ
4
A 3 AULA MAGNA
4 CLASSROOM
4
5 PARKING
5
3
0 15 FT.
SECTION A - A
5 M.
B
brand-new facilities is a rare and valuable asset—one that administra-

tors of the relatively young University of Valle d’Aosta (classes began in
2001) are seeking to leverage. In recent years, many Italians have in-
creasingly looked elsewhere in Europe for educational opportunities;
the university is also aiming to attract talent from across the border for
its programs in political science and international relations, economics
and management, and languages and communication for business and
tourism, among others. But the school also has local ambitions: the
reimagined campus will double as an urban park for residents, and the
decumanus directly south, now used as a car thoroughfare, will be
rendered into a pedestrian plaza, with two levels of parking relocated
under Piazza d’Armi.
Amid such a traditional townscape, the new building at the
University of Valle d’Aosta markedly stands out—but, as the architect
C
explains, that’s precisely the point. “After all these years, I still think
back on my kindergarten—it left such a strong impression on me,”
Cucinella says of the circular experimental school he attended, de-
D
signed by the daring Bolognese architect Giuseppe Vaccaro. “Archi-
E
tecture, especially educational buildings, should prompt curiosity and
spark imagination, and—hopefully—those memories stick with stu-
dents. That’s why I design buildings like this.” n
Credits CLIENT:
Société Infrastructures Valdôtaines
ARCHITECT: Mario Cucinella
Architects — Mario Cucinella, SIZE: 56,400 square feet
principal; Giulio Desiderio, Donato COST: $36.9 million (construction)
Labella, Julissa Gutarra, Michele
Olivieri, Nada Balestri, David Hirsh, COMPLETION DATE: August 2023
Rigoberto Arambula, Fabrizio
Bonatti, Luca Stramigioli, Giulia Sources
Pentella, Alberto Bruno, design
team; Yuri Costantini, model-maker CURTAIN WALL: Betacryl
WALL SECTION (stonelike acrylic ledge)
COLLABORATING ARCHITECTS:
Studio Pession Associato, FLOORING: Forbo
Tetrastudio Architetti Associati, FURNITURE: Aresline
A SKYLIGHT D INSULATED ALUMINUM PANEL Roberto Rosset Architetto ACOUSTICAL PANELS:
B STRUCTURAL STEEL E GLAZING ENGINEERS: Sintecna (structural); Saint-Gobain
C STONELIKE ACRYLIC LEDGE Maurizio Saggese, Giuseppe Amaro
(m/e/p)
89
UNIVERSITY OF CALIFORNIA, SANTA BARBARA ASSOCIATED STUDENTS BIKE SHOP I JOHN FRIEDMAN ALICE KIMM ARCHITECTS
A Bespoke Solution
A coastal university campus gains a bike-repair hub suited to its strong cycling culture.
BY SARAH AMELAR
PHOTOGRAPHY BY BENNY CHAN/FOTOWORKS
THE UNIVERSITY of California, Santa
Barbara (UCSB) claims the heaviest bicycle
traffic of any campus in the state system, with
7 miles of Class-1, or dedicated, bike paths,
over 20,000 bicycle parking spots, and more
than half of its 26,000 students—by some
estimates, closer to 70 percent of its under-
graduates alone—riding there. “When
school’s in session,” says Adam Jahnke, man-
ager of the campus bike shop, “you’ll see a
river of cyclists rolling down these paths—it’s
such a massive flow that pedestrians often
have to wait for an opening to cross.” UCSB’s
cycling culture goes back decades. In 1974, it
inspired undergrads to establish the Associ-
ated Students Bike Shop, providing repairs in
a modest cracker box of a building, left from
the campus’s days as a military base. Thirty-
two years later, in 2006, the shop upgraded to
a double-wide trailer on the same site. Still, as
generations of students continued to staff it,
the quarters remained cramped and quirky—
and, by 2017, serious conversations with the
university were under way to create a better,
more “bespoke” home for this beloved institu-
tion. Finally, through an RFQ process, Los
Angeles–based architects John Friedman
Alice Kimm (JFAK) won the commission.
Their 3,000-square-foot pavilion opened last
September, launching the school year.
Remarkably, the new $3.66 million build-
ing is wholly student owned and financed—
funded by the Associated Students of UCSB,
a nonprofit that collects (and invests) an
annual fee from all undergrads to provide
services, opportunities, and advocacy not
offered by the university.
Among a dozen potential sites, the one
JFAK chose is a flat, centrally located rect-
angle along a major bike path and roadway.
It’s also beside the Student Affairs and Ser-
vices Building (SAASB), which includes the
campus visitor center and admissions office.
Initially, some pushback came from those
who envisioned an “oil-and-lube shop” with
dirty, broken bikes blighting this prominent
area. But the admissions leadership soon
embraced the clean-lined design, with its
focus on sustainability, wellness, entrepre-
neurship, and community.
The resulting one-story white-stuccoed
building—rising to a flat-roofed drum, with a
spoked, circular canopy—references both
bicycles and the roundabouts throughout cam-
THE SHOP features a walk-up service window

and queuing area (opposite), spacious plazas
with seating areas (top), and access to bike
paths on the west side of the building (right).
91
pus. Decorative patterning on the cylindrical form borrows from wheel- 12-foot-long counter and tri-panel window that slides open, alongside a
tread patterns. Under the canopy is a DIY area with free access to tools, roll-up door to receive bikes for servicing. The queuing area—on the
enabling community members to do their own repairs. Inside, the pavil- building’s west side, paralleling a bike path a few feet away—has shad-
ion, with entry-area storefront glazing, is bright and airy—essentially one ing triangles of stretched fabric overhead. On the pavilion’s east side is
big room with a service counter and open storage space, keeping bikes a 200-foot-long oval test track, allowing customers to check out their
and parts visible to staff and customers. There’s also a small office, con- repairs. Nearby is a bioswale, one of many sustainable features of this
ference area, and bathroom (a precious amenity that the original shop LEED Platinum–certified project.
lacked). The main space is high-ceilinged, with retractable air hoses At the admissions director’s request, JFAK created a sculptural
dangling overhead, providing for up to 11 workstations. Underfoot, freestanding screen, facing the SAASB. With plates of steel set in a
rubberized flooring helps minimize worker muscle fatigue, as well as concrete bench (and inspirational words provided by the university), it
noise levels and oil cleanup challenges. Plywood wall panels—economical has become a popular “selfie wall.”
and befitting a workshop—add visual warmth. “The way the shop forms a gateway, gently framing the administration
“We also wanted a service window with outdoor queuing, a key building, is a great double-use of a small structure,” says campus architect
element of our earlier location,” says Jahnke. “It enabled us to triage Julie Hendricks, who oversaw the project. “Biking is obviously essential
repairs and give advice, and was integral to the culture of the place, to UCSB, and the new pavilion becomes its vortex—a dynamic hub that
creating a real social hub.” JFAK improved on the original with a welcomes prospective students and engages those already here.” n
16
1 WORKSHOP
A 2 PUBLIC COUNTER
3 DIY AREA
2 4 ELECTRICAL ROOM
4 5 BIKE STORAGE
6 OFFICE
5 15
7 JANITORIAL CLOSET
11
8 RESTROOM
9 CONFERENCE ROOM
6
7 10 STAFF PATIO
8 11 QUEUING AREA
14
9 12 PEDESTRIAN SIDEWALK
13 BIKE PATH
14 TEST TRACK
15 EAST PLAZA
13 12 16 NORTH PLAZA/SELFIE WALL
0 30 FT.
SITE PLAN
10 M.
10 1
9 8 7 2
0 10 FT.
SECTION A - A
3 M.
THE MAIN repair space is large enough to
accommodate 11 individual workstations while
the front entry area (below) features a service
counter and open storage space.
Credits
ARCHITECT: John Friedman Alice Kimm
Architects — Alice Kimm, principal in charge;
Alice Kimm, John Friedman, lead designers
ENGINEERS: Nabih Youssef & Associated
Structural Engineers (structural); Introba
Engineers (m/e/p); KPFF (civil)
CONSULTANTS: Studio–MLA (landscape
architecture); Seeking Balance (sustainability
and LEED certification); SGH (building envelope)
GENERAL CONTRACTOR:
Cal-City Construction
CLIENT: Associated Students of UCSB
SIZE: 2,950 square feet (building); 21,473 (site)
COST: $3.66 million (construction)
COMPLETION DATE: August 2023
Sources
STUCCO CLADDING:
Omega Products International
ROOFING: Hunter Panels (built-up roofing);
Sika (elastomeric)
WINDOWS & ENTRANCES: Arcadia
ROLL-UP DOOR: Cookson
INTERIOR RUBBER TILES: Tarkett
GLAZING: Viracon (glass); Velux (skylights)
93
D.B. WELDON LIBRARY | LONDON, ONTARIO | PERKINS&WILL
A New
Chapter
Perkins&Will breathes new life into a Brutalist
campus landmark.
BY MATTHEW MARANI
PHOTOGRAPHY BY SCOTT NORSWORTHY
FOR MUCH of its first 100 years, the University of Western

Ontario, in London, was a relatively small outpost of Canada’s public
university system. Founded in 1878 and situated at the fork of the
Thames and Medway Rivers, the campus consisted almost entirely of
Collegiate Gothic halls of modest scale. But the D.B. Weldon
Library—designed in the Brutalist style by renowned Australian
architect John Andrews, with local practice Murphy, Schuller, Green
and Martin as part of an ambitious expansion of the campus—marked
a dramatic departure from that existing character.
Andrews, born in Sydney and mentored by José Luis Sert at
Harvard’s Graduate School of Design, would go on to design the
GSD’s Gund Hall (1972), Toronto’s CN Tower (1976), and many
other projects in both North America and Australia.
Though the fortresslike edifice, with its monumental central atri-
um, received much acclaim when it opened its doors in 1972, over the
succeeding half century, numerous ill-conceived design interventions,
as well as the evolution of pedagogical demands on academic libraries,
rendered Weldon functionally and aesthetically outdated. That was
until earlier this year, when the Toronto studio of Perkins&Will
wrapped up the first part of a multi-phase revitalization project.
For Perkins&Will, the goal is, when working with such structures,
to, in effect, convince the client that the performance flaws can be
reversed without fundamentally altering the “bones” of the original
design.
The 220,000-square-foot behemoth rises six stories, with a ter-
raced form that reduces the impact of its scale on the otherwise low-
slung campus. The building’s almost entirely poured-in-place con-
crete structure has stairs and mechanical shafts housed within oblong
towers at the exterior corners and post-tensioned floor slabs sup-
ported by precast single tees. Their load, in turn, is transferred to
perimeter beams at the edge of the floor plates, which provide for the
library’s largely column-free interior. The double-height atrium,
which contained a large portion of the library’s collection and later
evolved into a study space, is topped by a waffle slab ceiling.
The finish of the concrete varies across the library; interior spaces
have a smooth wood grain formed by plywood and timber boards, as
do the great exterior horizontal spans that sandwich the library’s
ribbon windows. Other exterior elements, like the towers, are striated
and sandblasted, in a treatment similar to bush-hammered, or “cor-
95
duroy,” concrete. The resulting array of surfaces demarcates the build-

ing program and visually breaks up the otherwise monolithic mass.
Andrews envisioned Weldon as something of a hub within the
university’s campus; however, at the start of the renovation, it resem-
bled anything but. It was, for all intents and purposes, a concrete ware-
house with enfilades of cubicles and partitions, minimal natural light,
and inadequate building climate controls.
The first step for this phase of the project, which focused only on
the interior, was to declutter; those cubicles and other barriers, as well
as a reference desk that had gradually subsumed an ever-larger share of
the atrium’s floor space, were removed. Linoleum flooring was ripped
out and replaced with grayish-white porcelain tiles that harmonize
with both the color and rectilinearity of the existing concrete. Below
4
3
3 7
MEZZANINE-LEVEL PLAN
1 MAIN ENTRANCE 6 ARCHIVES ADMINISTRATION
2 INFORMATION DESK 7 COLLABORATION SPACES
3 STUDY AREA 8 WORKSHOP ROOM
4 CAFÉ 9 CONSULTATION ROOMS
5 COMMUNITY ROOM 10 MOTORIZED HIGH-DENSITY

STORAGE SYSTEM
0 75 FT.
GROUND-FLOOR PLAN
25 M.
10
SECTION
THE LIBRARY bears an imposing presence and is sectionally complex
(opposite). Study spaces were revamped (above and right).
grade, in an existing basement formerly used to warehouse micro-

fiche, the team compressed the library’s collection with a motorized
high-density storage system. The move freed up floor space above
for study rooms, collaborative spaces, and administrative offices.
Perkins&Will also reintroduced a curved stair linking the atrium
to the mezzanine that, at some point, had been demolished. The
stair, formerly exposed concrete, is now clad in white oak, matching
new millwork found throughout the library, which replaces a prior
hodgepodge of dark-stained cherry finishes. Bright upholstered
furniture adds color to the otherwise muted interior.
For lighting, the team suspended an array of orb-shaped pen-
dants, chosen for their soft and diffused light, within the coffers of
the atrium’s ceiling, creating much-needed contrast to the heaviness
of the concrete without detracting from the existing details.
Electrical conduits were painted to match the exact color of the
concrete, and carefully routed, to be as inconspicuous as possible.
Larger fixtures, custom made by the same manufacturer, are located
above key nodes, such as the information desk.
The project included a comprehensive upgrade of the building’s
aging mechanical equipment. The original climate-control system
consisted of four zones, that, considering the scale of the building,
left users overheated or cold, depending on their location within the
library. The architects, in collaboration with local engineer Chor-
97
THE RENOVATION improved circulation and office space (above and Credits Sources
opposite, top). Stacks are consolidated in the basement (opposite, bottom). ARCHITECT: Perkins&Will — Andrew ACOUSTICAL CEILINGS:
Frontini, managing principal; Jon Armstrong Ceilings
ley+Bisset, adopted a more granular approach to provide control within Lowen, associate principal; Martha DEMOUNTABLE PARTITIONS:
del Junco, interior design lead; Alan Kawneer/Glass Canada
smaller zones. Additionally, the architects and engineers threaded a Mortsch, project manager
new service spine through the concrete structure to provide enhanced CABINETWORK AND CUSTOM
ASSOCIATE ARCHITECT: WOODWORK: Archmill House
electrical, IT, and AV services for existing and anticipated needs. All in Cornerstone Architecture
PAINTS AND STAINS: Dulux
all, the infrastructural improvements are expected to reduce energy use ENGINEERS: Vanboxmeer
by 30 percent. & Stranges (structural); INTERIOR SURFACING: Centura,
Chorley+Bisset (m/e/p) Fenix NTM
The architect and client are currently finalizing the scope and
GENERAL CONTRACTOR: RESILIENT FLOORING: Khars,
budget for the second phase of the project, which includes the renova- Upo Flooring
Tonda Construction
tion of study and collection areas, integrating new teaching, learning, CARPET: Tarkett
CLIENT:
and research spaces, and programmatic support for evolving staff University of Western Ontario FURNITURE: Haworth, Keilhauer,
operations. But with the first phase completed, Perkins&Will has SIZE: 80,000 square feet (Phase 1) Teknion
already succeeded in transforming an undervalued and outmoded PENDANTS:
COST: withheld
building into a relevant cornerstone of the University of Western Camman Lighting
COMPLETION DATE: October 2022
Ontario’s campus. n
99
ETH ZURICH GLC RESEARCH BUILDING I SWITZERLAND I BOLTSHAUSER ARCHITEKTEN
Crystal Palace
Glass block forms the outer layer of an innovative double facade for a laboratory building.
BY ANDREW AYERS
PHOTOGRAPHY BY KUSTER FREY
“WHEN I STUDIED architecture at ETH Zurich, my professor, built from soil excavated on-site. Although it might not seem so at
Peter Märkli, took us on a trip to Paris,” recalls 59-year-old Roger first, these two interests intersect at this ETH Zurich research build-
Boltshauser, founder of Zurich-based Boltshauser Architekten, of his ing, whose sleek, high-tech appearance belies its passive approach.
days at Switzerland’s Federal Institute of Technology. “The first thing Shared by the departments of health science, IT, and electrical
we saw was the Maison de Verre.” Pierre Chareau and Bernard Bijvo- engineering, the $220 million Gloriarank Laboratory Center (GLC)
et’s 1932 magnum opus would leave a profound mark on the impres- sits about a quarter mile uphill from ETH Zurich’s Gottfried Semper–
sionable student, sparking a lifelong passion for glass blocks. Bolts- designed main building, next door to Zurich University’s campus. For
hauser’s other obsession is rammed earth, a material he has used on ETH Zurich, which wanted to develop research partnerships with its
numerous occasions and whose low-carbon potential he pushed to the sister institution, the location was so strategic that it was prepared to
limits at Haus Rauch (Schlins, Austria, 2008), a family home largely demolish a 1920s building to squeeze the GLC into a site that was too

A MONUMENTAL stair (opposite)
leads up to the courtyard (this
image). With its red-and-black
columns, the new building freely
quotes the Maison de Verre.
101
NESTLED into a hillside, thanks to a giant
retaining wall (bottom), the GLC features
ingenious HVAC and ventilated glass block
facades (right).
maintain stable indoor temperatures. With its

abundant glass blocks, Boltshauser’s proposed
envelope paid tribute not only to the Maison
de Verre but also to ETH Zurich’s nearby
Maschinenlaboratorium (page 106), a 1930s
building that he greatly admires.
Seduced by the concept, ETH Zurich
awarded Boltshauser Architekten first
prize—ahead of David Chipperfield and
Caruso St. John—on the condition that they
prove their air-circulation concept would
actually work. On the advice of engineers, the
architects dropped the idea of pumping the
retaining-wall air into the envelope, instead
using it to ventilate the building’s interior, and
turned to natural forces to regulate the facade
temperatures: in summer, the envelope cavity
draws up cooling air like a chimney through
external openings at its base, while in winter
electrically operated flaps close it off, floor by
floor, so that it becomes a heat trap (the flaps
also shut in the event of fire). “It may seem
paradoxical, with all that concrete, but if we
hadn’t done Haus Rauch, we couldn’t have
designed the GLC,” says Boltshauser, who
hopes the building will achieve energy sav-
ings of at least 25 percent.
“Our work isn’t just a question of carbon
reduction—it’s always about architecture too,”
he continues. “Jean Nouvel, Chareau, and of
course Le Corbusier—this was my school,”
and the influence of all three is palpable in
the beautifully handled facades, which recall
both Nouvel’s Institut du Monde Arabe and
Corbu’s Immeuble Molitor. “We wanted to
treat these elevations like a palazzo,” he con-
tinues, referring to the combination of narrow
operable windows and square fixed panels
decorated with larger glass blocks at their
center, which together act like phantom
pilasters, bringing a sense of verticality to an
otherwise very horizontal composition.
Inside, a spacious entrance hall leads to an
airy top-lit atrium, at whose center rises a
bravura stair in steel and glass block. As well
as reflecting Boltshauser’s aesthetic obses-
sions, the atrium responds to the client’s
request that the different research teams be
encouraged to mix and meet. To provide
stability for sensitive lab equipment, the
GLC’s basic structure comprises steel col-
umns and concrete floor slabs, with concrete
stair cores for wind bracing. “Foreign archi-
tects always tell us how crazy Swiss regula-
tions are,” laughs Boltshauser. “ ‘All these
103
THE ENTRY leads to a daylit atrium (opposite).

Inside, the architects left concrete ceilings, core
walls, and floors exposed (left and bottom).
layers you’re forced to add,’ they say. Here, we

tried to strip away as much as possible.” As a
result, everything is exposed for what it is,
with ceilings and core walls proudly bearing
their board marks, floors in honed concrete,
and columns that are painted red and black
like those at the Maison de Verre. Hardly a
sack of plaster entered the building site, since
the architects used either glass block or sand
wich partitions faced in perforated metal
(another nod to Chareau) to divide up the
interior.
“A laboratory is a machine, and we wanted
the architecture to reflect that,” says Boltshaus
er. “But if you’re too ‘chatty,’ it’s not so interest
ing.” After the classical calm of the courtyard,
and the equally quiet entrance hall, HVAC and
plumbing begin to be revealed as you progress
through the building, with full exposure on the
lab ceilings. Indeed, Boltshauser Architekten
obsessively designed every square inch of the
GLC, from the restaurant furniture to the
Chareau and Le Corbusierinspired lighting,
which integrates smoke and movement detec
tors to free up the ceiling. A classic totaldesign
Gesamtkunstwerk, this was a true labor(atory)
of love. n
Credits
ARCHITECT: Boltshauser Architekten —
Roger Boltshauser, principal; Armin Baumann
(project manager); Fabio Tammaro, Stephan
Schülecke, Angela Tsang, Simon Spring, Adrian
Zimmermann, Erica Pasetti, Sascha Laue,
Emanuel Stieger, design team
ENGINEERS: IBG Engineering (electrical);
Waldhauser + Hermann (HVAC); Basler +
Hofmann (civil); Balzer (sanitary); SSE (building
automation)
CONSULTANTS: Feroplan Engineering (facade);
Mettler (landscape); Tonelli (laboratory);
Reflexion (lighting); Gruner (fire protection);
Durable (sustainability); Urs B. Roth (geometry);
Muehlebach Parter (acoustics); Hydraulik
(drainage)
GENERAL CONTRACTOR: Steiner
CLIENT: ETH Zurich, Real Estate Management
OWNER: Swiss Confederation
SIZE: 243,000 square feet
COST: $220 million (total)
COMPLETION DATE: March 2023
Sources
BUILDING ENVELOPE: AEPLI Metallbau,
Semadeni Gasbeton, Ruch Metallbau, Gilgen
INTERIOR FINISHES: Artigo, Forbo (flooring);
Lindner (modular walls); Inventron, se
Lightmanagement (lighting)

105
PHOTOGRAPHY: © FRANZ RINDLISBACHER; LUCA ZANIER (OPPOSITE, 2)

Itten+Brechbühl restores a landmark of
Swiss Modernism on the ETH Zurich campus
BY ANDREW AYERS
When Roger Boltshauser began designing rooms and lecture halls on Sonneggstrasse to $127 million first phase of work has finally
ETH Zurich’s GLC research building (page the east; a glass-roofed hall for testing motors reached completion.
100), one of his contextual references was and other machinery at the center; a glass- “We did so much, and yet you don’t see
the school’s nearby Maschinenlaboratorium, fronted block of textile laboratories on Clau- anything,” laughs architect Marcus Klink of
an early 20th-century complex now recog- siusstrasse to the west; and, just next to it, a Itten+Brechbühl, the Swiss firm that carried
nized as a key landmark in Swiss Modernism. district heating plant, whose concrete chim- out the renovation and whose cofounder, in
Begun in 1895, just a stone’s throw from ney and cooling tower have been a distinctive 1922, was none other than Salvisberg (origi-
ETH’s main building, the ensemble was radi- presence on the Zurich skyline ever since. In nally called Salvisberg Brechbühl, the office
cally overhauled in 1929 by Otto Rudolf 2013, when the heating plant’s aging boilers changed its name after his death). ETH’s brief
Salvisberg (1882–1940), a professor of archi- were definitively decommissioned, ETH laid out three main objectives: restoring the
tecture at the school. Completed in 1935, and embarked on a major adaptive-reuse and machine hall and converting it for use as a
admired by both Picasso and Le Corbusier, the overhaul program entailing everything but space for exhibitions, receptions, and experi-
closely packed group of buildings comprised the former textile laboratory (which will be ments in robotics; converting the heating
four main parts: a long, sleek wing of class- renovated at a later date). A decade later, this plant’s glass-fronted boiler house into a
The chimney, cooling tower, and boiler house of the former district heating plant has been
converted into a Student Project House (opposite). Its concrete stair core was added (right) and the
interior of the machine hall restored (above).
107
The machine hall (above, left) and workers in

1933 creating the Luxfer glass and concrete
roof over the hall (above). The same roof now
refurbished (opposite), and a classroom with a
new fire exit and resized seating (left).
Student Project House (SPH); and ensuring

that all three buildings conform to today’s fire
and safety regulations. For Itten+Brechbühl,
the biggest challenge was preserving the
Maschinenlaboratorium’s interwar character,
since the entire complex is landmarked, and
the Denkmalpflege Abteilung—Zurich’s
historic-monument commission—was watch-
ing closely.
Despite the difficulty of carrying out work
above continuously operating infrastruc-
ture—the heating plant’s basement now
contains the district steam converter, with
Salvisberg’s chimney serving to evacuate
excess heat—conversion of the former boiler
house was probably the most straightforward
of the three tasks. Conceived as a place to
encourage individual startup initiatives (such
COURTESY ETH LIBRARY ZURICH, IMAGE ARCHIVE (TOP, LEFT AND RIGHT)
as recycling waste plastic from Lake Zurich),
PHOTOGRAPHY: © FRANZ RINDLISBACHER (OPPOSITE AND BOTTOM);

the SPH required meeting and seminar rooms
and makerspaces, which Itten+Brechbühl
supplied by adding a simple stack of open
concrete floors within the boiler house’s
volume. A new concrete fire stair ensures
emergency evacuation, while energy-con-
sumption targets are met by way of a modern
glass skin built just inside the historic original.
Though it’s the one building that’s still used
for its original purpose, the Sonneggstrasse
classroom wing proved far trickier to reno-
vate, largely because of changes in code with
respect to fire safety and accessibility.
Original doors had to be made flame resistant
and/or widened for wheelchair access; class-

rooms and lecture halls supplied with an extra whose cavity contains inert gas to ensure space between the classroom wing and the
exit for emergency evacuation; and airy cor- thermal insulation, with the prism pattern heating plant.
ridors that once flowed seamlessly into stair- replicated in the sandwich. Since the new As interwar buildings approach their
wells divided with fire breaks. Employing all covering is far heavier and more voluminous centenary, complex heritage issues like these
sorts of ingenious subterfuges, and reusing than the old, Itten+Brechbühl had to make arise. Conceived for an age of abundant fossil
as much original material as possible, sure the supporting structure could bear its fuels, early Modernist landmarks can prove
Itten+Brechbühl have largely succeeded in weight, as well as that of the 4 inches of snow particularly difficult to adapt. Unlike older
rendering these substantial interventions stipulated by code. Building regulations also buildings, which hide their obsolete equip-
invisible to the uninitiated eye. complicated the addition of HVAC: machinery ment behind a layer of decoration, these
Conversion of the majestic machine hall had to be installed on the roof at one end, but reveal everything for what it is and make their
posed its own particular challenges, not least without its being considered an extra story— mechanics an integral part of their design.
the restoration of its glass block roof, one of otherwise, the hall’s capacity would be re- Updating them is a delicate trade-off be-
the first in Switzerland. Too damaged to be duced from 300 people to just 50. To ap- tween preservation and use, a negotiation
retained, the original Luxfer glass prisms pease the building inspectors, a giant steel that Itten+Brechbühl have brokered here with
have been replaced by a double-skin system truss, invisible from below, now bridges the admirable dedication and tact. n
109
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CEU CAMPUS GEO-EXCHANGE SYSTEMS
EXPANSES of glazing allow passersby to see

the colorful infrastructure housed within the
TIGER facility on Princeton’s main campus.
From the Ground Up

To help meet ambitious climate goals, universities turn to district-scale geo-exchange systems.
BY KATHARINE LOGAN
ANYONE WHOSE university residence fairly steady temperature. (In the northern indoor temperatures. Returning three to four
was heated by steam probably remembers well United States, it’s about 45 to 50 degrees units of energy for each unit of electricity used
the nighttime clanging and banging of pipes. Fahrenheit, and in the southern U.S., it’s to operate them, geo-exchange systems are
But in addition to those noisy nights, steam about 50 to 70.) Because heat wants to move widely considered to be the most efficient,
systems depend on combustible fuel, making from warmer molecules to cooler ones, sur- environmentally clean, and cost-effective
them one of the biggest obstacles to reducing plus building heat can be conducted into the space conditioning available today.
carbon emissions that universities with ambi- ground during hot weather, and ground heat At its simplest, a geo-exchange system
tious climate goals typically face. Now, how- can be extracted when it’s colder up top. And consists of buried pipe loops, a heat pump,
ever, the days of fossil fuel-based heating and if you’re thinking 50 degrees in winter is no and distribution pipes. The buried pipes can
IMAGE: COURTESY ZGF
cooling may be numbered—a growing cohort good to anyone, here’s the kicker: the magic be laid horizontally, in a shallow configura-
of schools is pioneering district energy sys- of heat pumps and compressors is that they tion, or, where more capacity is needed within
tems based on geo-exchange instead. amplify the base temperature, producing a constrained footprint, vertically, hundreds
Geo-exchange takes advantage of the fact levels of heat (or, in summer, cooling) that are of feet deep. (In vertical installations, bore-
that, below the frost line, the ground holds a all that’s needed to maintain comfortable hole thermal energy storage [BTES] can bank
113
THE UTILITY building for the geo-exchange

system on Princeton’s new campus responds to
its more pastoral setting with gabled roofs.
summer’s heat for months in supplementary track to become the first all-geo campus in ning, our approach was that Princeton is at the
thermal masses installed in the ground.) The the U.S., is serving as a living lab for re- forefront of this technology, and we need to
heat pump circulates a fluid—often water, searchers and advocates seeking to improve use these buildings as showcases,” Katouzian
sometimes a refrigerant—through the buried the understanding and uptake of this emis- says. “It was an architectural strategy.”
pipes to stash or retrieve heat, amplifying the sions-free energy. The form of each building differs in re-
differentials. The distribution pipes deliver “It’s not a new technology. What’s new is sponse to its context. The one on the main
heating and cooling where they’re needed. the infrastructure overhaul at this scale,” says campus—known by the acronym TIGER
IMAGES: COURTESY ZGF/ATCHAIN; INTROBA (OPPOSITE, TOP); ZGF (OPPOSITE, BOTTOM)

Assuming clean electricity operates the pump, Mar yam Katouzian, a principal at ZGF (thermally integrated geo-exchange resource)
it’s a zero-carbon setup. Architects. Building on its success with geo- in a reference to Princeton’s mascot—takes a
record recently checked in on three uni- exchange for individual buildings, Princeton’s long, horizontal form, and is wrapped in box
versity projects that are integrating geo- new 1,200-bore district-energy system con- rib metal panels and capped with a glazed
exchange into their campus energy infrastruc- sists of two drill fields with bores up to 850 clerestory. The new campus’s facility—known
ture. Princeton University, whose system feet deep, one on the university’s main cam- as TIGER CUB (central utility building)—
features prominent new utility buildings pus and the other on its new campus across responds to its more pastoral setting with
completed this year by ZGF Architects, is Carnegie Lake, in West Windsor, New Jersey. gabled, barnlike roofs and terra-cotta clad-
aiming to become carbon neutral in time for Each drill field has an associated utility ding. The storage tanks have been half-sunken
the institution’s 300th anniversary, in 2046. building that houses heat pumps, chillers, and to bring them into scale with their surround-
The University of Toronto—taking advantage electrical equipment, and two tanks that store ings. At both buildings, the landscape archi-
of a major upgrade designed by KPMB heated and chilled water ready for circulation. tecture directs passersby along the facades,
Architects and Michael Van Valkenburgh On Princeton’s densely built main campus, where expanses of glazing invite the curious to
Associates (MVVA) to the landscape of its locating these facilities presented both a chal- peer in and discover colorful, annotated pipes
historic central campus—is installing a geo- lenge and an opportunity. The drill fields explaining the system at work. Inviting and
exchange system (now under construction) to themselves are sited beneath playing fields and rewarding curiosity was a key goal for the
advance its goal of becoming carbon positive a parking garage. The utility buildings, in- design, says Katouzian: “These facilities need
by 2050. Colorado Mesa University, which stead of being tucked away, are prominently to serve as teaching opportunities and help to
first installed geo-exchange in 2007 and is on located at campus gateways. “From the begin- put this technology out there.”

PRINCETON’S LAKE CAMPUS GEO-EXCHANGE DIAGRAM
With this project complete, Princeton master plan, all of the university’s more than major upgrade to this landscape to become a
plans to convert its natural gas–powered, 180 buildings will convert to geo-exchange more completely walkable realm of granite
steam-based cogeneration plant (chilled water and other renewables, offering what ZGF pathways, gardens, and trees. Cars, which for
and combined heat and electricity) to geo- describes as “a compelling example of how decades have been jamming up the heritage
powered hot water, linking it to TIGER so infrastructure projects can advance missions, precinct of King’s College Circle, will be
the two can partially back each other up. The embody values, and create distinct identity for relegated to a below-grade parking garage.
conversion will also include the installation of the institutions they serve.” And, under the garage, 800 feet deep and
more than 13 miles of new underground Central to the identity of the University of more, a new 370-bore drill field will supply
distribution pipes suitable for the lower tem- Toronto, both literally and figuratively, are 20 energy to replace steam heating for the new
peratures of geo-exchange. (These will re- acres of linked landmark green spaces defin- and existing buildings of the central campus.
place the thermally inefficient steam-compat- ing its historic downtown campus. A consor- One of architects’ most vital yet unsung
ible ones.) By 2046, according to Princeton’s tium of KPMB and MVVA has designed a roles is coordination, and that was especially
HYBRID COOLER
ROOF UNITS
THERMAL ENERGY THERMAL ENERGY
STORAGE STORAGE
CHILLER CHILLER CHILLER BOILER BOILER

PUMP PUMP PUMP
HOT & COLD

WATER DISTRIBUTED
TO CAMPUS
PRINCETON TIGER CUB SYSTEM DIAGRAM

GEO-EXCHANGE FIELD
115
stairs have been discreetly located around the

periphery. From the stairs of the entry pavil-
ion, large windows into the geo-exchange
mechanical room will showcase the equipment
it takes to run the system. The space is also
designed for teaching and demonstrations.
Geo-exchange is expected to reduce the
university’s emissions by the equivalent of
15,000 metric tons of carbon dioxide per year,
making it the single biggest contributor to the
institution’s annual reduction target of 44,567
metric tons. At the same time, the project is
demonstrating the viability of the technology
for retrofitting existing and historic buildings
at scale in a tight urban context. “That’s the
relevance of this,” says Blumberg. “There’s a
massive urgency as the climate crisis speeds
up, and one hopes that in the not-too-distant
future, all buildings will be built with renew-
WHILE REVAMPING King’s College Circle (top), the University of Toronto is building new below- able energy.”
grade parking entered via a transparent pavilion (above). A 370-bore drill field is under the garage. The experience of Colorado Mesa Uni-
versity (CMU), an early adopter of geo-
true for KPMB on this project, says Shirley interesting surprises,” says Blumberg. exchange, suggests that the hope is not unre-
Blumberg, a founding partner of the firm. From a design perspective, the most chal- alistic. A 125-acre campus in Grand Junction,
Close coordination of the geotechnical and lenging decisions revolved around how pedes- Colorado, CMU completed its first bore field
structural engineers’ designs was needed to trians enter and exit the underground garage, in 2007, in response to a state requirement for
ensure that bore holes were drilled in compli- given its location beneath a central green. all new publicly funded buildings to achieve
ance with the garage’s final grade and clear of (Cars will come and go via one of the circle’s LEED Gold certification. The subsequently
IMAGES: COURTESY KPMB ARCHITECTS
future footings. Intensifying the challenge, original access routes, sloped for the change in expanded system now provides heating and
value engineering reduced the structural level.) With so many significant heritage cooling for 16 academic and auxiliary build-
interval to the point where, in order to steer buildings framing the lawn, the architect ings totaling 1.2 million square feet. It sup-
clear of the increased number of footings located a glazed entrance pavilion in front of a plies 90 percent of the energy the campus
while still accommodating the required num- Brutalist medical-sciences building set back needs to operate, saves the university some
ber of boreholes, some along the perimeter from the circle. Highly transparent, with $1.5 million in heating and cooling costs each
had to be drilled at an angle. Complicating slender steel columns, the pavilion is designed year, and has reduced the carbon footprint
the job even further, existing underground to preserve views for pedestrians approaching of the campus by about 17,750 metric tons of
infrastructure and tunnels presented “a lot of the circle from the building. Similarly, exit CO₂ annually. Some of the nearly $12 million

ished next summer, with building connections
to be completed in the following two to three
years. Beyond that, Marsh wonders what the
potential is for expanding the campus system
to the broader community—to serve a new
high school now being built across the street,
for example, or a municipal swimming pool a
quarter mile away. “When you think about this
in the broader context of decarbonization,” he
asks, “could, one day, a municipality that
provides sewer and water services, or an energy
utility that provides gas and electricity, provide
a geo-resource in the same way?”
Taking notice of the potential that CMU’s
system represents, the governor of Colorado
has become an advocate for what he has
tagged “the heat beneath our feet” across
Colorado and among the Western states. In
Canada, even before its system is complete,
the University of Toronto has already exposed
thousands of students of multiple disciplines
to the potential of geo-exchange—a form of
advocacy that may well have greater impact
COLORADO MESA UNIVERSITY’s geo-exchange system uses its swimming pool as a heat sink.
than the system itself. In New Jersey, the
architectural treatment and prominence that
that CMU has saved since 2008 has been efficiently. That’s because the rate of heat Princeton has given its system is a similarly
shared with students in the form of reduced transfer is highest when temperature differ- powerful form of advocacy. As a growing
tuition increases. ence, known as ∆T (delta T), is greatest. If a number of campuses convert their systems, it’s
“The most basic principle of our system is loop is pulling heat from building after build- not unreasonable to hope that geo-exchange-
that it allows us to move heat energy across ing, there comes a point when there isn’t based district energy will gather steam—and
campus,” says Kent Marsh, CMU’s vice enough ∆T between the water in the loop and eventually replace it too. n
president of capital planning, sustainability, the next overheated building for heat to trans-
and campus operations. For example, at the fer effectively. Better instead to have a smaller
beginning of November, single-occupancy number of buildings on a smaller loop, collect CONTINUING EDUCATION
offices on the north side of a classroom build- the heat, dump it in a nearby sink or drill To earn one AIA learning unit (LU), including one hour
ing will be calling for heat, while a full lec- field, and send the cooled water around again of health, safety, and welfare (HSW) credit, read “From
ture hall with ample glazing on the south side (or, in winter, the reverse). the Ground Up,” review the supplemental material found
of the building will still need cooling. “Our The other discovery has been that a thor- at architecturalrecord.com, and complete the quiz at
system allows us to grab that excess heat ough understanding of how heat is translated continuingeducation.bnpmedia.com. Upon passing the
from the lecture hall and simply move it to among various uses doesn’t necessarily exist test, you will receive a certificate of completion, and
the offices on the north side,” says Marsh. yet, says Marsh. “As I connect a new building, your credit will be automatically reported to the AIA.
“That’s the basic transfer, what we call ‘least- I monitor the temperature of our loop pipe,” Additional information regarding credit-reporting and
energy path.’ ” he explains. “When the water in that loop continuing-education requirements can be found at
The system can also transfer surplus heat to gets too warm, then I know that we’ve con- continuingeducation.bnpmedia.com.
another floor, or pipe it to another building nected too much load to the system, and I Learning Objectives
altogether via a central loop 5 feet below grade. need another drill field or another sink to
1 Describe how district-scale geo-exchange
PHOTOGRAPHY: COURTESY COLORADO MESA UNIVERSITY
If heat isn’t needed in any of those places, it’s dump some of that waste heat.” CMU is now
systems work to efficiently deliver building-space
sent to a heat sink, such as the university’s collaborating with researchers to make this
conditioning.
800,000 gallon swimming pool or the domes- process operate less through trial and error by
tic hot-water preheating system. If there’s developing ways to quantify how much heat 2 Explain how such systems can be operationally
energy left over after those uses—and with from a building of a certain occupancy type, zero-carbon.
Grand Junction’s summer temperatures hitting size, and heating or cooling load can be trans- 3 Describe how geo-exchange infrastructure can
100 degrees-plus for weeks on end, there often ferred to meet other needs. be integrated into campus architecture and
is—it gets stashed in one of eight bore fields Continuing to expand what is already one of landscapes.
for retrieval when the seasons change. the largest geo-exchange systems in North 4 Discuss geo-exchange design and operating best
Over the course of the system’s 15 or America, CMU has recently secured funding practices.
so years of operation, some lessons have to complete the connection of the campus’s
AIA/CES Course #K2311A
emerged. One is that smaller loops within the remaining 14 buildings. The drilling and
larger system help distribute energy more infrastructure are expected to be largely fin-
117
Academy of Digital Learning
8 AIA LU/HSW
3 IDCEC CEU/HSW
1 GBCI CE Hour
EARNED 2022
Become an expert on a specific area of interest through our Academies of Digital Learning.
These academies allow you to focus on specific areas of design interest while earning some or
all of your annual CE requirements. Check out all our Academies at:
CONTI NUI NGEDUCATION.BNPM EDIA.COM/ACADEMI ES

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NOVEMBER 15, 2023 @ 2:00 PM EST NOVEMBER 16, 2023 @ 2:00 PM EST NOVEMBER 28, 2023 @ 2:00 PM EST
Built to Protect: Durable Wall Envelope Performance Requirements Demystifying Terrazzo: Questions &
Protection for Durable Buildings for Low-Carbon Buildings Answers for the Architect
EARN: 1 AIA LU/ELECTIVE; 0.1 ICC CEU EARN: 1 AIA LU/HSW; 0.1 ICC CEU EARN: 1 AIA LU/HSW; 0.1 ICC CEU
Science teaches us that matter moves from Dylan Martello, Senior Building This course addresses the questions that
order to disorder. Amazingly, the same thing can Systems Consultant, Passive frequently arise in the design community
happen to buildings! What once was sparkling House Services - CPHD, will review regarding terrazzo. We will dive into terrazzo
and new can eventually slide into disrepair. the envelope characteristics and history, sustainability, and maintenance while
Building owners could simply surrender to it requirements to support a low- This webinar reviewing real project examples. Gary French,
or proactively take a stand and fight for their carbon building operationally. is part of Technical Director of the National Terrazzo and
the Thermal
buildings. They can choose products that Bridging Mosaic Association, will also walk us through
protect the interior from damage in the first The presentation will be followed Academy terrazzo’s coefficient of friction and address
place. Architects and interior designers can also by a moderated discussion focused how terrazzo restoration, renovation, and
slow the hands of time by thinking long term and on how the project addresses refinishing contribute to the reduction of
specifying door and wall protection products … to several key issues. waste and pollution.
preserve their design and as a service to building
owners long after the ribbon is cut.
NOVEMBER 29, 2023 @ 2:00 PM EST NOVEMBER 30, 2023 @ 2:00 PM EST
Integrated Fire and Smoke Door Systems: Forging the Future: Exploring the
Specifying Your Own Safety Net Dynamic Intersection of Metal and Design
EARN: 1 AIA LU/HSW; 0.1 ICC CEU EARN: 1 AIA LU/HSW; 0.1 ICC CEU
This webinar
In this course we will discuss integrated doors systems, sustainability, Join our expert panelists as they explore cutting-edge is part of
the Metal
compliance, and code. Understand the importance of smoke and fire advancements in metal construction and its role in shaping
Architecture
protection in various applications and vertical markets and how with the the future of building design. Discover how advanced Academy.
proper protection from integrated door systems, you can save lives. We technologies, such as solar-integrated metal panels,
will present benefits of the integrated door system for fire and smoke. As reflective coatings, insulated metal panels, and above
a learner, you will have the opportunity to see real life examples and apply sheathing ventilation (ASV) systems, are revolutionizing sustainability,
those to current buildings. energy efficiency, and aesthetics in modern architecture. Gain valuable
insights into the latest trends and best practices that leverage metal’s
durability, versatility and performance to create progressive and
eco-friendly structures.
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© Osman Rana
Every day, materials that are made
with forced labor make their way into
our buildings, homes, and landscapes.
Design for Freedom is a movement to address this pressing humanitarian
crisis by reimagining architecture, raising awareness, and inspiring responses
to disrupt forced labor in the building materials supply chain.
join the movement to disrupt forced

labor in the building materials supply chain
• Read the Design for Freedom Report to learn how forced labor is embedded into our buildings.
• Utilize the Design for Freedom Toolkit, a practical resource for professionals to incorporate
an anti-slavery ethos into their practices.
• Demonstrate your organization’s commitment to ethical and sustainable sourcing in the
office with Grace Farms’ premium coffees and teas that give back 100% of profits to
support Design For Freedom.
• Sign up for the Design For Freedom monthly newsletter.
Through all our collective efforts, we can transform the construction industry,
compel change, and elevate human dignity.
Visit designforfreedom.org or scan the QR code

to learn more and access our free resources.
In this section, you will find nine compelling courses highlighting creative solutions for tomorrow’s buildings brought to you by industry leaders.
Read a course, and then visit our online Continuing Education Center at ce.architecturalrecord.com to take the quiz free of charge to earn credits.
Photo courtesy of Inpro Photo courtesy of PERC Photo courtesy of Sprung Structures, Inc.
p122 p129 p135
From Survive to Thrive: Buildings Keeping It Neutral–On Carbon Revolutionary, Permanent Tensioned
that Enrich Health and Wellness Sponsored by Propane Education and Research Membrane Aluminum Frame
Sponsored by AMBICO ASI, Inpro Council (PERC) and Sloan Supported Structures
CREDIT: 1 AIA LU/HSW; 0.1 ICC CEU; 1 EDAC CREDIT: 1 AIA LU/HSW; 0.1 ICC CEU; Sponsored by Sprung Structures, Inc.
1 GBCI CE HOUR CREDIT: 1 AIA LU/HSW;
ACC LS PM EM PM SU BE ST SU
0.1 ICC CEU; 1 GBCI CE HOUR
Photo courtesy of Benjamin Moore Photo courtesy of Ben Rahn/A-Frame Photo courtesy of CMP
p136 p138 p140
Universal Design and Aging in Place Designing Spaces for Behavioral Contending with Corrosion
Sponsored by Benjamin Moore and Mental Health Treatment in Metal Exteriors
CREDIT: 1 AIA LU/HSW; 0.1 ICC CEU; Sponsored by Tarkett Sponsored by DuPont
1 IDCEC CEU/HSW CREDIT: 1 AIA LU/HSW; 0.1 ICC CEU; CREDIT: 1 AIA LU/HSW; 0.1 ICC CEU;
IN PM SU 1 IDCEC CEU/HSW; 1 EDAC IN LS PM 1 IDCEC CEU/HSW; 1 IIBEC CEH IN PM SU
Photo courtesy of Armstrong Photo courtesy of Bradley Corporation Photo courtesy of Lawrence Anderson Photography
p141 p142 p145
Five Fundamental Shifts Laying the State-of-the-Art Washroom Design Multifamily, Mid-Rise Wood Buildings
Foundation for the Healthy Buildings Era Sponsored by Bradley Corporation Sponsored by Think Wood
Sponsored by Armstrong World Industries CREDIT: 1 AIA LU/HSW; 0.1 ICC CEU CREDIT: 1 AIA LU/HSW; 0.1 ICC CEU
CREDIT: 1 AIA LU/HSW; 0.1 ICC CEU
BE PM SU EM IN PM LS PM SU
CATEGORIES
ACC ACCESSIBILITY IN INTERIORS ST STRUCTURAL
BE BUILDING ENVELOPE DESIGN LS LIFE SAFETY AND CODES SU SUSTAINABILITY
EM ELECTRICAL AND MECHANICAL PM PRODUCTS AND MATERIALS
Courses may qualify for learning hours through most Canadian provincial architectural associations.
121
EDUCATIONAL-ADVERTISEMENT
Enriching the patient experience is a

growing focus for healthcare design.
From Survive to Thrive: CONTINUING EDUCATION
Buildings that Enrich

1 AIA LU/HSW 0.1 ICC CEU
1 EDAC
Health and Wellness Learning Objectives

After reading this article, you should
be able to:
Approaches and products allowing 1. Describe how patient privacy and
comfort are linked and how new
healthcare design to better achieve product ranges, including door
assemblies and curtains, can better
today’s industry expectations enhance patient comfort.
Sponsored by AMBICO, ASI, Inpro | By Amanda Voss, MPP 2. Specify artwork and wall protection
that both enrich the healthcare
environment and add to the durability,
resilience, and sustainability of the
facility.
3. Select specialized door product
T
he COVID-19 pandemic has shifted and construction product industries have assemblies to meet more stringent
the dynamics in the U.S. healthcare responded, allowing healthcare profession- building requirements in the
value chain, reports McKinsey & als to better adapt and accommodate to healthcare sector.
Company.1 Since 2020, the healthcare heightened and changing expectations. 4. Partner with product designers
and developers to secure the best
industry has experienced radical changes
product assembly and materials to
and challenges. The enhanced role of ENHANCING PATIENT COMFORT meet high performance or regulatory
technology and a shift towards value-based WITH INNOVATIVE PRODUCTS requirements, including specifications
care have been transformative. Value-based When it comes to a hospital stay, research for acoustics, radio frequency, and
payment models now reimburse healthcare from the Wexner Medical Center shows security.
providers based on the quality, rather than patients and family members care deeply
the quantity, of care delivered. Therefore, about privacy, accessibility, and comfort To receive AIA credit, you are required to
understanding and evaluating the patient in their rooms, and that these very attri- read the entire article and pass the quiz.
experience is indispensable to improving butes can help patients recover from illness Visit ce.architecturalrecord.com for the
healthcare quality and enabling healthcare or surgery.2 “When we’re sick and feeling complete text and to take the quiz for free.
partners to make the shift toward patient- vulnerable, it’s especially important to feel in
centered care. control of our surroundings—privacy, room
In addition to these changes, today’s temperature, lighting, window blinds, and
healthcare spaces also face increasing having our things within reach,” says Emily AIA COURSE #K2311U
regulations. Despite the challenges, design Patterson, an associate professor at The Ohio

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The Unseen Impacts of Noise in
Healthcare Spaces
Securing a healing environment from

unwanted noise and interruption can be
challenging. In 1859, Florence Nightingale is
credited with focusing attention on the im-
pact of noise, saying “Unnecessary noise, or
noise that creates an expectation in the mind,
is that which hurts a patient.” Unfortunately,
the auditory environment of the 21st century
hospital is substantially louder, more com-
plex, and more difficult to control than that
of Nightingale’s time. While curtains offer
added privacy for patients, their operation
can compound this environment.
The noise generated by privacy curtains
is often overlooked. The opening and
closing of privacy curtains in a patient’s
room contributes to noise levels. Traditional
aluminum track noise ranks somewhere
between the decibels generated by a busy
residential road (80 dBA) and the inside of a
Privacy curtains create a valuable sense of place for patients, however managing their impact
bus (90 dBA). Numerous reports and studies
on auditory loads is an important–and overlooked–design factor. New materials and design
facilitate quieter operation that minimizes noise disturbance. point to the harmful effects of escalating or
sudden noise, which include fractured sleep
and slower healing. Long-term exposure to
Photo courtesy Inpro
noise has been connected to a host of nega-
State University College of Medicine, School tive health impacts, from sleep disturbance
of Health and Rehabilitation Sciences.3 and annoyance to the less-studied impacts
Research findings from Patterson and on cardiovascular health, the metabolic
her colleagues show that patients expect a system, and the cognitive development of
hospital room that provides them with the children, notes Debra Levin.5
core components of comfort to support heal- Sleep interruption caused by noise has
ing, a space that facilitates a strong sense of a significant negative impact on health and
connection to people and the outside world, healing. Intensive care psychosis or delirium
a layout that enables quick and independent has been directly linked to environmental
access to the patient’s things, and design that stressors, including noise, sleep deprivation,
offers suitable levels of control to the patient and social isolation.
throughout their hospital stay.4 However, with innovations in mate-
The team at Wexner analyzed the rial and product technology, the design
comments and data collected during community has more resources to secure
their research to create codes grouped on privacy while also combatting noise in
physical room space or need. From this, the healthcare environments. Advances in
researchers developed a theoretical design curtain track design and materials, which
framework showing the key expectations for allow the track to be bendable, also offer
hospital room elements. much quieter operation. New bendable
To help patients feel more comfort- curtain track operates at the more comfort-
able, the research from Wexner found able level of conversational speech (70 dBA)
that patients need to have control of their or less. Not only does the track minimize
privacy, including avoiding being “on unwanted noise, but it also conforms to
display” to people in the hallway by having unique designs, allowing for better control
a privacy curtain at the room door, which of the space and movement for care.
they can control. Inside the room, patients A bendable curtain track was selected for
want to use the bathroom without being all areas requiring privacy curtains at the
seen or heard by visitors. In the highly St. Joseph Medical Center NICU in Tacoma,
Minimizing disruption to patient rest is criti-
sensitive healthcare environment, the effect Wash. The track uses a recycled aluminum
cal in the healthcare setting. Cubicle cur- of unwanted noise or exposure can be core coated in ABS to significantly reduce
tains also create privacy and can enhance significant, aggravating patients’ health the decibels associated with curtain
the ambiance of the environment. issues and impacting staff performance. operation. The curtain track and carriers

OPENING DOORS TO HEALTHIER SPACES
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proved to be 75% quieter than the carrier-
COMBINING HEALTH AND AESTHETICS style track they replaced. The old curtain
rail and carrier relied on a plastic carrier in

a metal track, which tended to get stuck and
slide, creating rattling. The plastic and metal
together produced excessive noise. Average
curtain noise, pre-renovation, was measured
at 67 dB(A). Average measurement after the
completed renovation, in areas using new,
bendable curtain track, showed a standard
measurement of 48 dB(A).
Securing STC Ratings

As efforts accelerate to improve the patient
experience and generate better IEQ and safe-
ty, the standards applied to healthcare build-
ings across the board are becoming more
stringent. The noise normally occurring
inside rooms is often referred to as “back-
ground noise,” notes a research team headed
by Timothy Hsu. “In hospitals, background
noise can result from a variety of sources
Preserving patient privacy creates a higher level of comfort during hospital stays. including air-conditioning systems, medical
devices such as respirators, and occupant
sounds, such as conversation. Impulsive
In the dynamic world of healthcare, where patient comfort and safety are paramount, noises, or very loud, short duration events,
every element plays a crucial role. Among these elements, cubicle curtains have emerged are also commonly found in hospitals (e.g.,
as an innovative way to create privacy and enhance the overall ambiance of healthcare doors slamming, metal-to-metal contact,
environments. alarms).”6 The World Health Organization
Custom printed cubicle curtain fabric offers a new opportunity to personalize and recommends maximum daytime background
customize these materials, adding a further product to revolutionize the aesthetic noise in hospital patient rooms of 35 decibels
possibilities in healthcare interiors. during the day and 30 decibels at night.
In addition to customized images, new curtain fabric is equipped with built-in Under the weight of research and recom-
antimicrobial technology that actively combats the growth of bacteria, fungi, and viruses. mendations, acoustic requirements for
This feature enhances infection control measures, promoting a cleaner and healthier healthcare spaces have been raised. The Sound
environment for patients and staff. New fabrics can also meet stringent flame resistance Transmission Class (STC) levels have been
standards, ensuring compliance with regulations and contributing to overall safety. In raised by a minimum of 5 points in both
healthcare facilities, fire safety is of utmost importance. patient spaces as well as in examination areas.
Enhanced curtain fabrics are also more effectively managing light transmission, allowing To help design professionals engineer
healthcare professionals to regulate the amount of natural light within a space while better acoustical environments, ASTM
preserving patient privacy. This balance creates a calming and comfortable atmosphere in E90, ASTM E413, and ASTM E2964 assign
which patients can recover. High-performance fabric attributes, such as superior strength products an STC rating, which is an average
and resistance to wear and tear, guarantee extended lifespans and reduce replacement of their acoustic performance across 18 dif-
costs over time. ferent sound frequencies. In a product with
Integrating custom imagery into cubicle curtain environments allows a further an STC rating of 50 or above, even very loud
opportunity to create a therapeutic ambiance. From soothing nature scenes to inspiring sounds such as operating machinery, musical
artwork, these visuals have a positive impact on patient well-being and can even aid in the instruments, and high-volume stereos are
healing process. Additionally, personalized designs on cubicle curtains evoke a sense of reduced to tolerable background sounds.
familiarity and comfort, contributing to a more positive patient experience. The inclusion of
calming and visually engaging elements can alleviate anxiety and promote relaxation.
The integration of custom imagery in healthcare settings not only enhances aesthetics
but also contributes to patient comfort, privacy, and overall well-being. By embracing Amanda Voss, MPP, is an author, editor, and
customization, healthcare facilities can redefine their interiors and elevate the standard of policy analyst. Writing for multiple publications,
care they provide. she has also served as the managing editor for
Energy Design Update.

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From Survive to Thrive: Buildings that Enrich Health and Wellness
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Photo courtesy of ASI Group
ASI Integrated Privacy Partitions

ASI’s proprietary, integrated privacy partitions are engineered with built-in privacy and manufactured as one color-matched unit, offering
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Addressing embodied carbon in construction materials as well as

the operational carbon from energy consumption are both needed
to achieve full carbon neutral results.
Keeping It Neutral– CONTINUING EDUCATION
On Carbon
1 GBCI CE HOUR
Both embodied carbon and operational Learning Objectives

carbon need to be addressed be able to:
Sponsored by Propane Education and Research Council (PERC) and Sloan 1. Identify and recognize the significance
of embodied carbon in buildings
By Peter J. Arsenault, FAIA, NCARB, LEED AP and its short-term and long-term
detriments to the natural environment
and human welfare.
2. Assess the ways that design
C
professionals can discern and specify
arbon dioxide is a natural gas that professionals have been addressing opera-
building products and materials
is present in the atmosphere. It tional energy and carbon for several decades. that contain less embodied carbon,
has been extensively documented, The time is also past due for addressing the improve human wellness for health,
though, that there is currently too much embodied carbon in our buildings as well. and meet green building goals.
of it present in the air due to the extensive, 3. Explain the importance of still
sustained burning of carbon-rich fossil fuels EMBODIED CARBON addressing carbon emissions related
over the past 150 years or so. Buildings are The issue of addressing embodied carbon in to building operations including those
a significant contributor to this problem buildings has received a fair bit of attention coming from energy use, water use,
and related factors.
in two ways. First, is the amount of carbon in recent years. One of the leading sources for
that is burned in the process of acquiring, accurate information on this topic is the not- 4. Determine ways to incorporate
carbon-reducing strategies into
manufacturing, and transporting key build- for-profit organization known as Architecture current building projects by focusing
ing materials such as concrete, steel, and alu- 2030 (https://architecture2030.org/) founded on sustainable products, alternative
minum. This “embodied carbon” has been by AIA Gold Medalist Ed Mazria, FAIA. The energy, and renewable energy sources
shown to be quite significant in terms of en- organization points out, “Embodied carbon that improve safety and welfare for all
vironmental impact. The second contributor represents the carbon emissions associated users.
is the need for buildings to consume energy with making building products and con-
for their operations heating, cooling, light- struction, from raw material extraction to To receive AIA credit, you are required to
ing, ventilation, etc. When such consumed manufacturing, transportation, and end of read the entire article and pass the quiz.
energy comes from fossil fuel sources, life disposal or recycling.” How significant is Visit ce.architecturalrecord.com for the
either on site or at an electricity-generating the role of embodied carbon? Architecture complete text and to take the quiz for free.
power plant, the building becomes a direct 2030 reports, “Annually, embodied carbon is
contributor to the overall problem through responsible for 11% of global GHG emissions
normal building operations. In this course, and 28% of global building sector emissions.
we look at some ways that both problems can It is anticipated that embodied carbon will be AIA COURSE #K2311S
be addressed. Architects and other design responsible for 72% of the carbon emissions
129
KEEPING IT NEUTRAL–ON CARBON EDUCATIONAL-ADVERTISEMENT
Images courtesy of Sloan

meeting sustainability and carbon neutral
goals can use the EPDs for their products
to first assess the carbon footprint of their

products and second, decide how to address
or reduce that carbon footprint.
Architecture 2030 states, “Achieving zero
embodied emissions will require adopting
the principles of reuse, (including renovating
The use of third-party verification programs, such as those represented here, can help
designers explore and understand which products have lower embodied carbon compared
existing buildings, using recycled materials,
to others. and designing for deconstruction); reduce,
(including material optimization and the
specification of low to zero carbon materi-
associated with global new construction through electrification, fossil fuel elimina- als); and sequester, (including the design
between now and 2030.” Recognizing this tion, and on-site and offsite renewables all of carbon sequestering sites and the use of
significance, examples of ways to address leading to carbon neutrality in buildings. carbon sequestering materials.)” (https://
embodied carbon in buildings are discussed in LEED and other rating systems (i.e., Green architecture2030.org/embodied-carbon-
the following sections. Guard, BREAM, WELL, etc.) rely on the actions/ ). Based on this, it is good for design
use of Environmental Product Declarations professionals to look at how reuse and reduce
BUILDING PRODUCTS AND MATERIALS (EPDs) or the human-centered Health principles can be worked into a design. The
Architects and designers routinely select and Product Declarations (HPDs). All of these third stated approach to addressing carbon
specify the materials and products that are tools are based on third-party verified data is to consider sequestration of carbon and
used in building projects. Therefore, we also related to the makeup and quantity of the carbon dioxide, either as part of the project
have an incredible opportunity to reduce the different components or ingredients of a or through the efforts of manufacturers.
amount of embodied carbon in buildings building material or product. By using this Sequestration involves using materials
through well-informed material selection, information, different products can be re- that can absorb carbon as part of a normal
sustainability-focused specification writing, viewed and compared to make an informed process. The best example of this comes
and, of course, through design. The result decision on which ones are closer to carbon from nature where vegetation, and trees
can be significant since embodied emissions neutral, and environmentally preferable in particular, use the normal process of
are locked in once the building is constructed overall, than others. photosynthesis to absorb carbon dioxide
and cannot be taken back or reduced at that out of the air, split the molecules to store or
point. It is not uncommon for that embodied Carbon Offset by Manufacturers sequester carbon in the wood, and release
carbon to be the equivalent of over 20 years’ As architects and designers become more the freed oxygen back to the atmosphere.
worth of the carbon produced by building aware of the breadth of sustainable commer- It is recognized that by planting new
operations – concentrated in the few years of cial products, the construction industry is trees, companies can effectively offset the
manufacture and construction. meeting the demand for further growth. This amount of carbon dioxide released into the
Architecture 2030 points out that the use is particularly true among manufacturers of atmosphere from other sources, such as the
of just three materials–concrete, steel, and products for restrooms. In this case, there manufacturing of building products.
aluminum–are responsible for 23% of total are fewer material choices that work well for For example, at least one manufacturer
global emissions. Note that it is not 23% of things like plumbing fixtures, sinks, controls, of restroom products and fixtures has
all building materials, it is a staggering 23% etc. Manufacturers that are committed to initiated a process of offsetting the carbon
of all of the emissions from all sources on the
planet. Beginning with designs and specifica- Photo courtesy of Sloan
tions that reduce or minimize the use of these
three materials is a good start in all cases.
While there are alternative materials that can
be considered for some things (see https://
materialspalette.org/ ), some amount of
aluminum and steel will certainly be needed
and used in most buildings.
Based on the above, the first step in
specifying more carbon-neutral products is to
understand how manufacturers measure and
then reduce or offset their carbon footprint
with sustainable manufacturing processes.
Many tools are now available to assist in this
process, including requirements for meeting
green building certification standards such The use of carbon-sequestering trees to offset the carbon dioxide emitted during the
as LEED which is anticipating updates to manufacture of products is one of several strategies to help drive the world to a more
address the ongoing push for decarbonization carbon-neutral state.

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KEEPING IT NEUTRAL–ON CARBON EDUCATIONAL-ADVERTISEMENT

produced from their production process.
They utilized data from their EPDs to
identify exactly how much carbon is

generated per product produced. Then they
partnered with the not-for-profit Arbor Day
Foundation to purchase an equal number
of reforestation credits in order to offset the
carbon generated. In their case, it worked
out to 2-1/2 trees for each flushometer pro-
duced and similarly for other products. All
of their current and future forestry carbon
credits are listed with the American Carbon
Registry, which oversees the registration and
verification of carbon offsets. It also meets
the strict guidelines of the British Standards
Institute (BSI) PAS 2060 standard. This
standard sets the requirements for achiev-
ing and demonstrating carbon neutrality. Site-generated renewable energy has the potential to provide as much energy from a
This approach is certainly a positive step, carbon-free source as is consumed by a building.
especially when combined with other carbon
neutral initiatives.
connect to the electric power grid. This These realities provide some insight into
CARBON IN ENERGY SOURCES means they are actually shedding or even alternative strategies to pursue to achieve
The popular view of how to reach carbon “selling” electricity to the grid during carbon-neutral building design. The strategy
neutral buildings is to avoid fossil fuels peak sunlight periods and then buying of 100 percent onsite renewable energy
altogether by using all-electric techniques the electricity they need during times production completely separate from the
and strategies. This is logical – as long as without adequate sunlight, including grid may be an option in some instances and
the source of the electric power does not evenings, night-time, and early morning. should be pursued where feasible, but that is
require fossil fuels to generate that electric- While some systems are “stand-alone” not currently a widespread solution. The next
ity. Currently, that is not yet the reality since and not connected to the grid, those best thing is to have a grid-connected onsite
about 60 percent of electrical generation in require significant additional invest- renewable energy system that can meet all of
the United States is powered by natural gas ments in batteries and control equipment the energy needs of the building by using and
and oil, although progress is being made to to work properly. selling to the grid the equivalent amount be-
reduce that usage. In general, there are two • Grid-Generated Renewable Energy: ing consumed (i.e., a net difference of zero).
approaches to achieving increased carbon- Virtually all buildings are connected to This, of course, is only fully carbon neutral
free electricity generation: either a public or private utility company currently if the building owner subscribes
in order to meet their electricity needs, to purchasing only renewable energy-based
• Site-Generated Renewable Energy: whether that building has any on-site electricity (i.e., non-fossil fuel-based
This is appealing to design profession- generation or not. The electricity being energy) where that is available or practical.
als because it is something that we can delivered by that utility originates at any Otherwise, the grid-supplied electricity may
control as part of a total project design. It number of power generating plants and still be a majority of fossil fuel-based energy.
has also become financially appealing for is controlled by a grid system that can
building owners of all types (commercial, pull electricity from various sources and A Hybrid Approach
residential, institutional) due to signifi- route it to where it is needed. While the There is another approach for bridging the
cant cost reductions and the availability hope is that grid-supplied electricity will gap between current energy production pro-
of income tax credits. In particular, this one day be 100 percent free of fossil fuels, cesses and the goal of full net zero emissions
has caused a boom in the installation of the current reality (as of 2020) is that that has been implemented in some places
solar-electric (i.e., photovoltaic (PV)) approximately 60 percent of all electrical around the country.
systems on buildings. Each building that power generation in the United States
has such a PV system incorporated into still comes from burning fossil fuels.
it then has its own carbon-free source of Advocates of full electrification using
power generation to supply some, if not non-polluting renewable energy predict Peter J. Arsenault, FAIA, NCARB, LEED AP is
all, of the electricity needed. While this that it will likely take over 20 years to a nationally known architect and a prolific author
sounds ideal, the reality is that well over realistically reach carbon-neutral goals advancing carbon neutrality by design.
90 percent of all such solar installations based on current conditions. www.pjaarch.com www.linkedin.com/in/pjaarch

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Photo courtesy of Sprung Structures, Inc.
The 270,000-square-
foot head office for
Blue Origin in Kent,
Washington, erected
from ground breaking
to completion in just
eleven months.
Revolutionary, Permanent CONTINUING EDUCATION
Tensioned Membrane
1 GBCI CE HOUR
Aluminum Frame Learning Objectives

be able to:
1. Describe the architect’s role in
Supported Structures managing the installation of rapidly
constructed tensioned membrane
aluminum frame supported structures.
A permanent solution for architects 2. List performance standards, including
improved daylight, acoustic, and
seeking rapid, cost-effective, sustainable, fire-safety measures, engineered into
and energy-efficient construction these high-performance buildings to
enhance the physical environment and
provide emotional and social well-
Sponsored by Sprung Structures, Inc. | By Celeste Allen Novak, FAIA, LEED AP being to occupants.
3. Identify strict code-compliance
F
regulations for these buildings that
ast tracking, value engineering, sus- trade-off between two of three choices: cost, benefit the physical environment
tainability, and integrative design schedule or quality. Design and technological through increased energy efficiency
are driving the delivery of most 21st advances in tensioned membrane aluminum and recyclability.
century buildings. These initiatives are frame supported structures may provide an 4. Discuss project management and
supported and encouraged by architects alternative for owners and architects who design of these buildings from pre-
design to post-occupant evaluations
and owners racing toward ever-tightening want it all. From TESLA to SpaceX, Harvard
that allow for a wide range of
project-delivery schedules, budgets, and to Blue Origin, homeless navigation centers to configurations, including multistory
energy-efficient mandates. ice arenas, clients are choosing to fast-forward interiors, various surface colors, and
It takes a remarkable structure to meet into the 21st century with sustainable build- massing alternatives.
the goals of a remarkable company. When ings that deliver on cost, quality, and schedule
constructing their headquarters in Kent, without sacrificing permanence and beauty.
To receive AIA credit, you are required to
Washington, Blue Origin opted for a read the entire article and pass the quiz.
solution that incorporates energy efficiency, Visit ce.architecturalrecord.com for the
sustainability, and speed: a tensioned mem- Celeste Allen Novak, FAIA, LEED AP, is a complete text and to take the quiz for free.
brane aluminum supported structure. Michigan architect, author, and advocate for
Design teams often confront owners sustainability and universal design.
AIA COURSE #K2303W
with a “devil’s bargain.” There is too often a www.linkedin.com/in/celestenovak
Sprung is the world leader in the design and manufacture of engineered frame supported tension membrane structures.
Significant advantages over conventional construction include speed to market, energy efficiency, long-term flexibility, and
lower overall project costs.
135
In this image, the light

color of the moulding
and baseboard contrast

with the darker tone of
the wall to provide easy
visual definition of the
room's layout.
Universal Design CONTINUING EDUCATION
and Aging in Place

1 IDCEC CEU/HSW
Addressing color and finishes to improve Learning Objectives

the quality of life of an aging population After reading this article, you should
be able to:
Sponsored by Benjamin Moore | By Erika Fredrickson 1. Discuss how color design impacts
mental health and well-being in an
aging population.
2. Explain how the appropriate selection
I
of colors and finishes can help
mproved medical care, diet, and healthy AGING IN PLACE AND THE support safe navigation within the
living have benefitted our human spe- SCIENCE OF LOW-VISION DESIGN built environment.
cies by steadily increasing our collective According to the World Health Organization, 3. Describe the importance of selecting
life expectancy. We are living longer, more by 2050, the global population aged 60 and durable finishes that provide easy-to-
active lives, with more independence and a over is expected to total two billion, nearly clean, hygienic surfaces and support
greater opportunity to age in place. How- double what it was in 2015. healthy living spaces.
ever, with a growing population, new chal- In fact, the 74 million Baby Boomers 4. List the benefits of specifying low- or
lenges and considerations must be addressed living in the U.S. will be 65 or older in less no-VOC paints and finishes to secure
to provide a supportive and healthy living than 10 years. The most senior among them a healthy indoor living environment
for an aging population with
space. Older adults often suffer from declin- will be on the cusp of 85. Even sooner, by
environmental sensitivities.
ing vision and an increased respiratory 2025, the number of seniors (65 million) is
sensitivity to environmental influences like expected to surpass that of children aged
pollen, dust, and VOC’s. These vulnerabili- 13 and under (58 million) for the first time. To receive AIA credit, you are required to
ties can be addressed through the thoughtful What does this have to do with architecture read the entire article and pass the quiz.
Visit ce.architecturalrecord.com for the
specification of paints and finishes that and design? As it turns out: A lot.
complete text and to take the quiz for free.
leverage appropriate colors, are durable, easy This demographic shift will impact
to clean, and contain low to no VOC’s. obvious systems, such as health care. But it AIA COURSE #K2311T
also presents a unique set of challenges and

EDUCATIONAL-ADVERTISEMENT UNIVERSAL DESIGN AND AGING IN PLACE

opportunities for architects, designers, and conceive a design that supports their health
policymakers. The current number of skilled and well-being. Designers will be able to
nursing facilities don’t have the capacity to specify color and finishes for contrast,
handle the shift, which means there will be a wayfinding, safety, and emotional well-
need for more space. But the Baby Boomers being. Just as important is the discussion
also represent a culture shift: For many of of universal design and the ways in which
them, how they age—and where—has become creating age-friendly environments—not
a big topic of conversation. Many of them just in the home, but in health care,
want to stay where they are and age in place. hospitality, and commercial spaces—cre-
"Aging in place," as defined by the U.S. ates community, and offers accessible space
Centers for Disease Control and Prevention for all ages and abilities.
(CDC), is a term that describes the ability
of individuals to live in their own homes How Our Eyes and Brains See Color
and communities safely, independently, Color is a fundamental aspect of our visual
and comfortably, regardless of age or ability experience, and it plays a crucial role in our
level. The demographic shift has given rise perception of the world around us. Whether
to a strong desire among older adults to it's the vibrant hues of a sunset or the subtle-
continue living independently in their own ties of a painting, our ability to see and
homes and communities. In March 2023, process color is a remarkable feat of biology.
U.S. News & World Report conducted a There is also a fascinating relationship be-
survey of 2,000 U.S. adults aged 55 and older tween color and light, which we can explore
to explore how they are embracing aging by examining the basic biology of the human
in place. The survey revealed a resound- eye and the brain's role in interpreting the
ing consensus among older adults, with a information it receives.
striking 93% of respondents expressing their The human eye can be likened to a
belief that aging in place is an essential goal. sophisticated camera. It all begins with the The darker color of a cabinet sink helps cre-
The overwhelming support for aging transparent cornea, which allows light to ate definition in a light and airy bathroom,
in place highlights a deep-rooted desire of enter. The iris acts as the eye’s aperture, offering an element of wayfinding for the
people to maintain their autonomy and stay controlling the amount of light that passes occupant.
connected to their familiar surroundings. through the pupil. Working in tandem,
This trend has led to a focus on home auto- the cornea and lens focus the incoming of night vision, cones are the champions of
mation, medical monitoring, telehealth, and light onto the retina, situated at the rear color vision. The human eye houses three
other in-home technologies. But aging in of the eye. Comparable to the film in a types of cones, each sensitive to different
place also requires elements of design suited camera, the retina is the critical component ranges of wavelengths: red, green, and blue.
to the aging process – and that is something responsible for converting light into signals These cones are concentrated in a small pit
architects and interior designers can help that our brain can comprehend. The at the back of the eye known as the fovea,
occupants imagine and implement. retina is lined with two types of light- where we perceive sharpness and detail.
In this article, we'll explore how the choice sensitive receptors: rods and cones. These The colors of the objects we see are
of colors and finishes in architectural design photoreceptors are akin to the pixels in a intricately linked to how these objects
can significantly impact the quality of life digital camera sensor, capturing the visual interact with light. When light illuminates
for an aging population. We will hear from information we perceive. an object, it may absorb certain wavelengths
experts working on the cutting edge of this Rods and cones are not created equal while reflecting or transmitting others.
field, including Eunice Noell-Waggoner from when it comes to vision. The human eye
the Center of Design for an Aging Society, boasts approximately 125 million rods and
Ramesh Gulatee of LifeCare Design Studio, 7 million cones, with each type playing a
and Brian J. Pape of the American Institute of distinct role. Rods are photoreceptors that
Architects NY Design for Aging Committee. excel at perceiving light and dark, making Erika Fredrickson is a writer and editor focusing on
Designers who understand the science of them particularly crucial for night vision. technology, environment, and history. She frequently
color and light—and how aging eyes respond Their sensitivity to dim light and ability contributes to continuing education courses and
to their surroundings – can communicate to detect motion make them our allies in publications through Confluence Communications.
these concepts to their clients and help them low-light conditions. If rods are the heroes http://www.confluencec.com
Founded in 1883, Benjamin Moore is North America’s favorite paint, color and coatings brand. A leading manufacturer of
premium quality residential and commercial coatings, Benjamin Moore maintains a relentless commitment to innovation and
sustainable manufacturing practices. The portfolio spans the brand’s flagship paint lines including Aura®, Regal® Select,
Ultra Spec®, ben®, Advance® and more. Benjamin Moore is renowned for its expansive color collection of more than 3,500
colors, and its design tools for consumers and professionals alike, including the Benjamin Moore Color Portfolio® app. Ben-
jamin Moore paints are available exclusively from 7,500 locally owned and operated paint, decorating and hardware retailers
throughout the United States and Canada as well as 75 countries globally.
137
To enhance healing, settings for behavioral and mental

healthcare need to balance safety with a warm, comfortable
atmosphere. That includes plants, views of nature, natural
wood, places to socialize, resilient flooring, and soft colors.
Project: Michael Garron Hospital, inpatient mental health
units designed by B+H Architects, Toronto, Canada.

Designing spaces for CONTINUING EDUCATION
behavioral and mental

1 IDCEC CEU/HSW 1 EDAC
health treatment Learning Objectives

be able to:
From the ground up, a balance of care 1. Identify key flooring decision drivers
and how making informed decisions
and safety is why the floor matters supports evidence-based design
principles for behavioral and mental
Sponsored by Tarkett healthcare environments.
By Sandra Soraci, EDAC, LEED AP, NCIDQ, and Kathy Price-Robinson 2. Discuss the primary resources and
research related to behavioral and
mental healthcare environments as a
tool for the architecture and design
community and health systems or
A
centers.
2023 study by Mental Health of physical and population health.” There 3. Define the impact of interior
America identified that 5.44 is a growing demand for centers to support finishes on the cognitive, emotional,
percent of adults experience severe behavioral and mental health issues, yet psychosocial, and physical needs
mental illness. More than 12.1 million adults access to reliable behavioral health services is of patients, residents, staff, and
(4.8 percent) have reported serious thoughts challenging. When the opportunity to design caregivers.
of suicide. This is why “place” matters. new construction or renovation presents 4. Describe why the floor matters,
The Advisory Board, which focuses on itself, this educational unit will provide health, wellness, and safety from the
subfloor to the surface finish.
healthcare research,1 states “Behavioral oversight and baseline considerations. There
health encompasses people’s psycho- is an overarching need for centers to provide
logical well-being and ability to function effective, specialized residential, inpatient, To receive AIA credit, you are required to
in everyday life. Behavioral health condi- and outpatient treatment. Demand facilitates read the entire article and pass the quiz.
tions include mental illness disorders and that architects and designers will be tasked Visit ce.architecturalrecord.com for the
substance abuse disorders.” They also note, with planning and constructing care centers
“Health systems are increasingly recognizing in various geographic settings. While these AIA COURSE #K2311K
that behavioral health is an essential part facilities fall into the healthcare category,

EDUCATIONAL-ADVERTISEMENT DESIGNING SPACES FOR BEHAVIORAL AND MENTAL HEALTH TREATMENT

aesthetically and functionally they require
a different design approach. Evidence-based
research shows that behavioral and mental
health patients heal better in a warm and
welcoming environment. There is concern
patients may self-harm or harm others, which
requires a unique level of detail for safety
with interior finishes. There is a defining
need for a calming, homelike aesthetic bal-
ance. The floor is the foundation; it supports
all activities and can have an actionable
impact on fostering safety and outcomes.
This educational course demonstrates the
design guidelines and needs of behavioral
and mental healthcare center facilities. The
Advisory Board shares that “Treating patients
with behavioral health diagnoses costs about
$900 more per month than patients without
such diagnoses.” This is why the floor mat-
ters, from the subfloor to the finish, to have
an actionable impact on outcomes.
THE NEED FOR EVIDENCE-BASED In behavior and mental healthcare facilities, biophilic features, warm colors, and the right
DESIGN FOR BEHAVIORAL AND flooring specification for the right place benefit not only patients but also staff, care providers,
MENTAL HEALTHCARE ENVIRONMENTS and visitors. Project: Michael Garron Hospital, inpatient mental health units designed by B+H
The Advisory Board states that regardless of Architects, Toronto, Canada.
demographic group, patients with behavioral
health conditions experience unique inequi-
ties compared to patients with only physical disorders, post-traumatic stress disorder
health conditions. The pandemic and its (PTSD), substance abuse, and suicide,
ripple effects only exacerbated an existing among others.3 Sandra Soraci EDAC, LEED AP, NCIDQ is the
crisis in the U.S. The behavioral health- Behavioral health treatment has under- Director of Healthcare and Senior Living Segment
care sector struggles with a unique "meta" gone a shift, as have the means of delivery, Strategy, for Tarkett NA. Sandra’s diverse and deep
inequity. So, when given the opportunity to which enables new centers that support a career-specific focus on healthcare and commercial-
design a BMH center, apply evidence-based normalizing environment to ensure a return ization efforts fully informs the customer decision-
design principles. to a productive life within the community. making journey. Flooring is no longer a design
According to the National Institute of Treating people who have mental illness feature, it is an investment in health and safety, and
Mental Health, the spectrum of behav- is critically important. However, how and we all have a stake in improving outcomes for our
ioral and mental health (BMH) conditions where to do so is not always clear. Some customers. Healthy environments support the healing
includes anxiety, attention deficit disorders, emergency rooms are not well equipped with process, and that begins at the ground level, with
autism spectrum disorders, bipolar dis- crisis intervention spaces to treat patients of the floor. Through an evidence-based design lens,
orders, depression, obsessive-compulsive varying acuity levels. Tarkett Flooring continually seeks to create flooring
solutions that contribute to greater connection, safety,
and overall well-being. Healthcare is ever-changing;
According to the National Alliance on Mental Illness (NAMI)2, more people are affected by my passion is to educate, elevate and transform sales
mental illness each year than many of us realize: enablement to fully support what our healthcare
customers tell us they need the floor to do.
• One in five U.S. adults experience mental illness each year. Kathy Price-Robinson is a nationally known
• One in 20 U.S. adults experience serious mental illness each year. writer focusing on building and architecture. Her
• One in six U.S. youth aged 6 to 17 experience a mental health disorder each year. award-winning remodeling series ran 13 years in
• Fifty percent of all lifetime mental illness begins by age 14, and 75 percent by age 24. the Los Angeles Times. She has written for dozens of
• Suicide is the second leading cause of death among people aged 10 to 14. publications in the design and building industry and
developed more than 100 continuing education.
With a history of 140 years, Tarkett is a worldwide leader in innovative flooring and sports surface solutions, with net sales
of 2.6 billion in 2020. Offering a wide range of products including vinyl, linoleum, rubber, carpet, wood, laminate, artificial
turf, and athletics tracks, the Group serves customers in over 100 countries across the globe. Tarkett has more than 12,000
employees and 33 industrial sites, and sells 1.3 million square meters of flooring every day, for hospitals, schools, housing,
hotels, offices, stores, and sports fields.
139
A new 6,700-square-foot metal roof, protected by highly

durable PVF film, was installed at the Sea Crest Condos
in Hilton Head, S.C., replacing the previous PVDF-coated
roof which had become corroded over time due to the
high salt spray environment of its coastal setting.

Photo courtesy of CMP (Construction Metal Products) and Metal Alliance LLC
Contending with Corrosion CONTINUING EDUCATION
in Metal Exteriors 1 IDCEC CEU/HSW
High-performing, long-lasting, and resilient, PVF film 1 IIBEC CEH
is the technology of choice for corrosive environments Learning Objectives

Sponsored by DuPont | By Barbara Horwitz-Bennett be able to:
1. Identify the unique performance
properties of PVF film including
C
durability, longevity, UV protection,
ausing the country more than a Defined as a chemical or electrochemical
formability, adhesion, cleanability,
trillion dollars in damages each year, reaction between a material and its environ- weathering, and chemical and stain
corrosion is a major issue to contend ment, corrosion causes deterioration of build- resistance.
with. Occurring as a natural process, oxides ing materials and its properties over time. 2. Discuss key case studies establishing
develop over time, weakening materials As the protective layer, typically a paint or the high-performance qualities of PVF
and making them vulnerable to a variety of coating, begins to exhibit cracks and peeling, film for metal exteriors.
performance and protection issues. the exterior is left exposed to reduced 3. Establish the life-cycle cost and
Metal exteriors are particularly vulner- mechanical strength, structural damage, and environmental benefits of PVF film.
able, especially in corrosive environments potentially reduced seismic performance. 4. Compare PVF’s key performance
such as areas of exposure to salt spray metrics and tests with coil coating
(coastal regions) or certain chemicals and alternatives.
off-gassing (manufacturing facilities, chemi- 5. Review other architectural applications
that can benefit from PVF film.
cal plants), where this type of deterioration Barbara Horwitz-Bennett is a veteran architectural
can occur ten times faster than in average journalist who has written hundreds of CEUs and arti-
environmental conditions. cles for various AEC publications. BHBennett.com To receive AIA credit, you are required to
read the entire article and pass the quiz.
DuPont™ Tedlar® PVF films have proven long-lasting protection for interior and
exterior architectural applications. Tedlar® superior durability helps safeguard a AIA COURSE #K2211M
building from corrosion, pollution, or chemical breakdown, and resistance to UV rays.

Allied Universal
Security Services
Corporate
Headquarters in
Irvine, Calif
Photo: Jingxuan Ji;iStock ID: 1272193101/
Five Fundamental CONTINUING EDUCATION
Shifts Laying the Learning Objectives

After viewing this multimedia
Foundation for the presentation, you should be able to:

1. Identify key trends in the healthy
buildings movement and relevant
Healthy Buildings Era

scientific background on the business
case for healthy building investment.
2. Review the current regulatory actions
affecting many goals for building
Sponsored by Armstrong World Industries owners.
3. Explain how green and healthy
buildings do not have to be at odds
with one another.
T
4. Explore relevant case studies
he pandemic highlighted the im- nationwide feel the urgency to incorporate exemplifying the balance of healthy
portance of good indoor air quality. aggressive climate and sustainability goals and green building goals.
Significant regulatory and market into buildings and practices. Consequently,
shifts are reshaping our approach to healthy are healthy and green buildings at odds? We
To receive AIA credit, you are required to
buildings. In addition, recent regulatory need solutions that optimize both health view the entire presentation and pass the
actions are advancing carbon reduction, and climate building benefits. quiz. Visit ce.architecturalrecord.com
electrification, and sustainability goals for the complete text and to take the quiz
for building owners/operators. Build- for free. AIA COURSE #: K2311R
ing designers, architects, and operators
Armstrong World Industries is a leader in the design and manufacture of innovative commercial ceiling and wall systems. At
home, at work, in healthcare facilities, classrooms, stores, and restaurants, Armstrong Ceiling & Wall Solutions offers interior
options that help create healthy, sustainable spaces that protect people and cultivate well-being and comfort so they can be
at their best. Armstrong is committed to developing new and sustainable ceiling solutions, with design and performance pos-
sibilities that empower its customers to create beautiful, high-performance residential and commercial buildings. Armstrong
continues to grow and prosper for the benefit of all its stakeholders. armstrongceilings.com/commercial
141
Well-designed restrooms with functional and

hygienic fixtures and accessories make a notable
difference in the way building users perceive the
quality of the entire building or the operation,
such as a business or institution.
State-of-the-Art CONTINUING EDUCATION
Washroom Design Learning Objectives

Better design, more hygiene, be able to:
and coordinated functionality 1. Identify and recognize the

characteristics of high-performance,
state-of-the-art washrooms designed
Sponsored by Bradley Corporation for beauty, hygiene, health, and safety.
By Peter J. Arsenault, FAIA, NCARB, LEED AP 2. Investigate the design potential and
innovative opportunities to create
washrooms that address welfare by
looking and functioning better.
A
3. Assess the functional contributions
ll commercial, institutional, and restrooms. The aesthetic design of the total of coordinated handwashing fixtures
industrial buildings need wash- space is important but so are the functional and washroom accessories for health,
rooms. Not only are they required and cleanliness characteristics of wash- hygiene, and wellness.
by codes to provide basic health and hy- rooms. This course addresses all of these 4. Specify coordinated washrooms that
giene services, but they are also among the aspects and looks at some of the most cur- achieve higher aesthetic appeal and
most used spaces in the building. If they are rent options to coordinate the total design better functionality for cleanliness,
given little design attention, then it usually and functionality thus creating washrooms accessibility, and hygiene.
shows up in terms of dissatisfied users, that are fully “state-of-the-art” using read-
higher cleaning and maintenance costs, ily available systems and products. To receive AIA credit, you are required to
and unhappy building owners. However, if read the entire article and pass the quiz.
they are designed well, then they can create Visit ce.architecturalrecord.com for the
a much more positive impression of the complete text and to take the quiz for free.
building than many people may realize.
This not only applies to the size, shape, and Peter J. Arsenault, FAIA, NCARB, LEED AP is
materials used in the space, but more no- a nationally known architect and a prolific author
ticeably, to all of the fixtures, components, advancing better buildings through better design.
and accessories that people actually use in www.pjaarch.com www.linkedin.com/in/pjaarch
For 100 years, Bradley has created the most advanced, coordinated commercial
washrooms and comprehensive emergency safety solutions that make public
environments hygienic and safe. Bradley serves commercial, institutional, and AIA COURSE #K2311L
industrial building markets worldwide. www.bradleycorp.com

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Beautiful Alone. Brilliant Together.

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Multifamily, Mid-Rise CONTINUING EDUCATION
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in the overall U.S. construction struction, the cost-effective, code-compliant, protection and seismic requirements
market. The National Multifamily Housing and sustainable attributes of wood construc- while minimizing the carbon footprint
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new apartment homes are needed each year too. This CEU explores the reasons for the 4. Explore innovations in wood framing
design techniques and wood product
to meet demand.1 Multifamily projects increasing popularity of wood in multifamily
technologies that enhance energy
include apartments and condominiums as buildings, reviews code compliance and fire efficiency.
well as other residential uses like affordable safety technical considerations, and discusses
housing, student housing, senior living, techniques for successful wood building
hotels and motels, and vacation timeshare designs. In addition, it addresses trends To receive AIA credit, you are required to
properties.to compare, contrast, and assess expanding the opportunities for wood use in read the entire article and pass the quiz.
materials and determine their suitability. multistory design.
One of the most fundamental decisions
AIA COURSE #K2307F
facing a multifamily design team is choosing
Think Wood provides commercial, multifamily, and single-family home design and build resources to architects, developers,
and contractors, including education, research, design tools, and innovative project profiles. For additional information,
please visit www.thinkwood.com.
145
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DATES & Events
MEEK MIRRORS
Helping you see your project
Upcoming Exhibitions designs clearly.
Building to Heal: New Architecture for Hospitals
Munich CHECK OUT
December 7, 2023–January 21, 2024 OUR COMPLETE
This exhibition at the Architekturmuseum der TUM takes a critical PRODUCT LINE
look at the scientific foundation of “healing architecture,” as health- OF CUSTOM
care architects increasingly reject the rationalization and economy that PRODUCTS
has dominated design for it since the 20th century, instead centering
human needs. Planned and developed in association with TUM visit-
ing professor Dr. Tanja C. Vollmer, the exhibition features 13 interna-
tional case studies that constitute a status report on current efforts
to move from the so-called “sick house” model and also demonstrate
how evidence-based design can lead to a more healing hospital archi- • CUSTOM DESIGNS
tecture. For more information, see • CUSTOM FINISHES
pinakothek-der-moderne.de/en. • LED LIGHTED
• STAINLESS STEEL
Ongoing Exhibitions •
•
WOOD
POWDER COAT
JEMS Architekci: The Matter of Layers
Berlin
Through December 9, 2023 A Reflection of Quality since 1961
For this exhibition at the Architektur Galerie Berlin, Warsaw-based www.meekmirrors.com
JEMS Arkitekci presents six projects centered on reconciling the major 479-646-3466
themes of contemporary architectural discourse, in terms of both
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147
DATES & Events
global economic and social shifts, as well as of From Within: The Architecture of Helena ner’s eponymous Los Angeles–based firm,
environmental concerns. Founded in 1988, Arahuete Aruhete is best known for her contributions
JEMS is one of Poland’s most successful Santa Barbara, California to organic architecture. For more information,
firms, best known for its design of Hoover Through December 17, 2023 see museum.ucsb.edu.
Square (2012) and the Academy of Fine Arts On view at the University of California-Santa
(2014) in Warsaw, the Polish Embassy (2012) Barbara is the first retrospective of Helena Balkrishna Doshi: Architecture for All
in Berlin, and the Raczyński Library (2014) Arahuete, an architect, born in Belgium in Madrid
in Poznań, Poland. For more information, see 1944, who was brought up in Argentina and Through January 14, 2024
en.architekturgalerieberlin.de. starting working with John Lautner (1911–94) The Museo ICO presents the first interna-
in 1970s California. Now principal of Laut- tional retrospective dedicated to 2018 Pritzker
Prize laureate Balkrishna Doshi—also the
first major exhibition of his work to be shown
Statement of Ownership, Management, and Circulation (Requester Publications Only)
in Spain. The first Indian architect to win the
Publication Detail
Pritzker, Doshi was a pioneer of Modernist
1 Publication Name BNP MEDIA II, LLC/ARCHITECTURAL RECORD
1 Publication Number 132650 architecture in his home country and is
2 ISSN 0003858X
3
4
Filing Date
Issue Frequency
10/01/2023
MONTHLY
known for adapting Modernist principles to
5
6
Number of Issues Published Annually
Annual Subscription Price
12
44.99
local culture, traditions, and materials.
Complete Mailing Address of Known Office of
7 Publication 2401 W. BIG BEAVER 700 Composed of photographs, drawings, models,
7 TROY, OAKLAND, MI 48084
7
7
Contact Person
Telephone
WAFAA KASHAT
(248) 786-1631
and installations, the exhibition highlights
8
Complete Mailing Address of Headquarter or
General Business Office of Publisher 2401 W BIG BEAVER RD
numerous projects realized between 1958 and
8 STE 700
9 Publisher (Name and complete mailing address) ALEX BACHRACH 2014, among them the Indian Institute of
9 350 5TH AVE
9
9 Editor (Name and complete mailing address)
NEW YORK, NY 10118-0110
JOSEPHINE MINUTILLO
Management (1977, 1992), Doshi’s architec-
9
9
350 5TH AVE
NEW YORK, NY 10118-0110
tural studio, Sangath (1980), and the Aranya
Managing Editor (Name and complete mailing
9 address) LINDA LENTZ housing project (1989). For more information,
9 350 5TH AVE
9 NEW YORK, NY 10118-0110 see fundacionico.es/exposicion-actual.
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BNP MEDIA, II, LLC 2401 W BIG BEAVER RD STE 700 TROY MI 48084-3333
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Barricades, Camps, Superglue
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Frankfurt
Through January 14, 2024
13 Publication Title BNP MEDIA II, LLC/ARCHITECTURAL RECORD
14 Issue Date for Circulation Data Below 09/01/2023 This exhibition at the Deutches Architektur-
15
15a
Extend and Nature of Circulation
Total Number of Copies (net press run)
Average No. Copies Each Issu No. Copies of Single Issue Published Nearest to Filing Date
25036 22421
museum considers the history of protest
Outside County Paid/Requested Mail
Subscriptions stated on PS Form 3541. (Include movements from an architectural perspective,
direct written request from recipient, telemarketing
and Internet requests from recipient, paid
subscriptions including nominal rate subscriptions,
centering on 13, from 1848 to the present day.
15b1 employer requests, advertiser's proof copies, and 16922 15883
In-County Paid/Requested Mail Subscriptions
Highlights include a series of detailed models
stated on PS Form 3541. (Include direct written
request from recipient, telemarketing and Internet made at the Technical University of Munich
requests from recipient, paid subscriptions
including nominal rate subscriptions, employer
requests, advertiser's proof copies, and exchange
and the Stuttgart University of Applied
15b2 copies.) 0 0
Sales through Dealers and Carriers, Street Sciences depicting a broad range of protest
Vendors, Counter Sales, and Other Paid or
15b3 Requested Distribution Outside USPS 1788 1644 camps, from the 1968 Resurrection City in
15b4
Requested Copies Distributed by Other Mail
Classes Through the USPS (e.g. First-Class Mail) 0 0
Washington, D.C., to Austria’s Lobau-bleibt
15c Total Paid and/or Requested Circulation 18710 17527
movement of 2021–22. The exhibition also
Outside County Nonrequested Copies stated on
PS Form 3541 (include Sample copies, Requests features a film installation by Oliver Hardt
Over 3 years old, Requests induced by a
Premium, Bulk Sales and Requests including
Association Requests, Names obtained from
and a hanging model of Barrio Beechtown by
15d1 Business Directories, Lists, and other soruces)
In-County Nonrequested Copies stated on PS
3181 2899
artist Stephan Mörsch that shows the Ham-
Form 3541 (include Sample copies, Requests
Over 3 years old, Requests induced by a
Premium, Bulk Sales and Requests including
bach Forest occupation. For more informa-
15d2
Association Requests, Names obtained from
Business Directories, Lists, and other soruces) 0 0 tion, see dam-online.de/en.
Nonrequested Copies Distributed Through the
USPS by Other Classes of Mail (e.g. First-Class
Mail, Nonrequestor Copies mailed in excess of
10% Limit mailed at Standard Mail or Package
15d3 Services Rates) 0 0 Constructed Geographies: Paulo Mendes
Nonrequested Copies Distributed Outside the Mail
15d4
(include Pickup Stands, Trade Shows,
Showrooms and Other Sources) 241 49
da Rocha
15e
15f
Total Nonrequested Distribution
Total Distribution
3422
22132
2948
20475
Matosinhos, Portugal
15g
15h
Copies not Distributed
Total
2904
25036
1946
22421 Through February 1, 2024
15i Percent Paid and/or Requested Circulation 84.54 85.6
16 If total circulation includes electronic copies, report that circulation on lines below
An exhibition on view at the Casa da Arqui-
16a Requested and Paid Electronic Copies
Total Requested and Paid Print Copies (Line
0 0
tectura, Portugal’s center for architecture, is
16b 15c) + Requested/Paid Electronic Copies 0 0
Total Requested Copy Distribution (Line 15F) + dedicated to the life and work of the Brazilian
16c Requested/Paid Electronic Copies 0 0
16d
Percent Paid and/or Requested Circulation (Both
print & Electronic Copies) 0 0
Pritzker laureate, a founding member of the
17 Publication of Statement of Ownership Publication of this statement will be printed in the 11/01/2023 issue of this publication
center, who died in 2021. Curated by Jean-
Signature and Title of Editor, Publisher, Business Louis Cohen and Vanessa Grossman, the
18 Manager, or Owner CATHERINE M. RONAN
18
18
Title
Date
DATA QUALITY MANAGER
10/01/2023 08:12:23 PM
show spans seven decades of architectural
Version PS Form 3526, September 2007
production. Partnered with a smaller, more

intimate exhibition in a nearby gallery, the
exhibition will also be complemented by a
SKY MARKS
LANDMARKS
program of debates, conferences, and site
visits. For more, see casadaarquitectura.pt/en/.
As Found: Experiments in Preservation

Antwerp, Belgium
Through March 17, 2024
Focusing on the new relationship between
contemporary design and heritage, this exhi
bition at the Flanders Architecture Institute
explores the different positions that architects
and designers can adopt in relation to existing
buildings. On display are seven innovative
approaches to intervening in existing build
ings and spaces, realized by architects from
Flanders and Brussels. See vai.be/en.
Events
Sharjah Architecture Triennial
Sharjah, United Arab Emirates
November 11, 2023–March 10, 2024
The second edition of the Triennial focuses
on design solutions that arise from conditions
of scarcity. Curated by the Nigerian architect
Tosin Oshinowo and titled The Beauty of
Impermanence: An Architecture of Adapt
ability, the fourmonth architecture event will
bring together architects, designers, artists,
planners, and researchers working in the
Global South and its diasporas to illuminate a
new path toward sustainability. For more, see
sharjaharchitecture.org.
INSTANT DOCK
Competitions
AIANY Design Awards
Deadline: December 1, 2023
This annual awards program recognizes
architectural projects that exemplify design
excellence, demonstrating exceptional skill
and creativity in the resolution of formal,
functional, and technical requirements.
Considered projects range widely in scale and
budget, but judges will consider how ecologi
cal and social impact are addressed in the
built design. Eligible projects must have been
completed after January 1, 2019, and must be
either in New York City or designed by an LAG IT DOWN & PLUG IT IN YOU HAVE AN INSTANT DOCK!
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ects will be featured in a special exhibition at
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E-mail information two months in advance to
[email protected].
1-800-THE-DOCK
149
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with CE Podcasts!
continuingeducation.bnpmedia.com/podcasts
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151
SNAPSHOT
Washington, D.C.’s Newseum was, when opened

in 2008, not long for this world—it shuttered in
2019, when Johns Hopkins University purchased
the building. A comprehensive rehabilitation
followed, led by Rockwell Group and Ennead, the
original architect. The 420,000-square-foot
Bloomberg Center at 555 Pennsylvania Avenue is
PHOTOGRAPHY: © ERIC STAUDENMAIER
anchored by the School of Advanced International
Studies and includes 38 classrooms—no two the
same size—and myriad group and individual
spaces. For Rockwell Group, openness was key to
the project—the firm took advantage of the
existing six-story atrium to introduce a cascading
series of gathering areas and put glazing on the
interior face of each classroom. At the entrance,
redbrick paving, the same found on the school’s
historic Baltimore campus, welcomes students to
the capital. Matthew Marani

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MINDS OF STEEL
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Sustainable building design and development is an increasingly important topic for engineers and
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