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TeAM

YYePG
09 2005

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Date: 2005.09.19 07:19:51 +08'00'

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EDITOR IN CHIEF
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Sarah Amelar, sarah_ amelar@mcgraw-hill.com
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Jane F. Kolleeny, jane_kolleeny@mcgraw-hill.com
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ARCHITECTURAL RECORD: (ISSN 0003-858X) September 2005. Vol. 193, No. 09. Published monthly by The McGraw-Hill Companies, 1221 Avenue of the Americas, New
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THE AMERICAN INSTITUTE OF ARCHITECTS 2005 BOARD OF DIRECTORS OFFICERS: Douglas L Steidl, FAIA, MRAIC, President; Kate Schwennsen, FAIA, First Vice
President; Shannon Kraus, AIA, Vice President; Thomas R. Mathison, FAIA, Vice President; RK Stewart, FAIA, Vice President; John C. Senhauser, FAIA, Secretary; James A. Gatsch,
FAIA, Treasurer; Ana Guerra, Associate AIA, Associate Representative to the AIA Executive Committee; Saundra Stevens, Hon. AIA, CACE Representative to the AIA Executive
Committee; Norman L. Koonce, FAIA, Executive Vice President/CEO. REGIONAL DIRECTORS: Peter J. Arsenault, AIA, NCARB, LEED AP; Douglas E. Ashe, AIA; Michel C. Ashe,
AIA; Ronald J. Battaglia, FAIA; William D. Beyer, FAIA; Michael Broshar, AIA; David J. Brotman, FAIA; Randy Byers, AIA; Tommy Neal Cowan, FAIA; Jacob Day; Jeremy Edmunds,
Associate AIA, LEED AP; Glenn H. Fellows, AIA; Robert D. Fincham, AIA; Jonathan L. Fischel, AIA; Marion L. Fowlkes, FAIA; Saul Gonzalez; The Hon. Jeremy Harris, Hon. AIA;
John J. Hoffmann, FAIA; William E. Holloway, AIA; Clark Llewellyn, AIA; Marvin J. Malecha, FAIA; Clark D. Manus, FAIA; Linda McCracken-Hunt, AIA; Carl F. Meyer, FAIA;
George H. Miller, FAIA; Elizabeth E. Mitchell; Hal P. Munger, AIA; Robin L. Murray, AIA, PP; Celeste A. Novak, AIA, LEED AP; Gordon N. Park, CDS, AIA; David R. Proffitt, AIA;
Marshall E. Purnell, FAIA; Miguel A. Rodriguez, AIA; Jerry K. Roller, AIA, NCARB; Jeffrey Rosenblum, AIA; Robert I. Selby, FAIA; Norman Strong, FAIA; Leslie J. Thomas, AIA; J.
Benjamin Vargas, AIA; Bryce A. Weigand, FAIA. AIA MANAGEMENT COUNCIL: Norman L. Koonce, FAIA, Executive Vice President/CEO; James Dinegar, CAE, Chief Operating
Officer; Richard J. James, CPA, Chief Financial Officer; Jay A. Stephens, Esq., General Counsel; Helene Combs Dreiling, FAIA, Team Vice President, AIA Community; Ronald A.
Faucheux, PhD, Esq., Team Vice President, AIA Government Advocacy; Barbara Sido, CAE, Team Vice President, AIA Knowledge; Elizabeth Stewart, Esq., Team Vice President, AIA
Public Advocacy; David Downey, CAE, Assoc. AIA, Managing Director, AIA Communities by Design; Suzanne Harness, AIA, Esq., Managing Director and Counsel, AIA Contract
Documents; Richard L. Hayes, Ph.D., RAIC, AIA, CAE, Managing Director, AIA Knowledge Resources; Brenda Henderson, Hon. AIA, Managing Director, AIA Component
Relations; Christine M. Klein, Managing Director, AIA Meetings; Carol Madden, Managing Director, AIA Membership Services; Philip D. ONeal, Managing Director, AIA
Technology; C.D. Pangallo, EdD, Managing Director, AIA Continuing Education; Terence J. Poltrack, Managing Director, AIA Communications; Phil Simon, Managing Director,
AIA Marketing and Promotion; Laura Viehmyer, SPHR, CEBS, CAE, Chief Human Resources Officer.

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09.2005
On the Cover: Template House, by Michele Saee. Photograph by Chen Su
Right: Marmo bar at the Hotel Puerta Amrica, by Marc Newson. Photograph by Ricardo Labougle

News
29 Calatrava designing massive tower in Chicago*
32 Moynihan Station finally moving forward*
34 Hotel tower envisioned for Baghdad*

Departments
19 Editorial: The View from Two Penn*
21 Letters*
57 Archrecord2: For the emerging architect by Randi Greenberg*
61 Commentary: Dashed hopes at Ground Zero by Paul Goldberger
67 Critique: Freedom Tower Redux by Robert Campbell, FAIA

124 The Modern, New York City by Suzanne Stephens*

Bentel & Bentel


132 Aoba-tei, Japan by Naomi Pollock*

Atelier Hitoshi Abe


138 Apotheke zum Lwen von Aspern, Austria by Liane Lefaivre*

ARTEC Architekten
144 Template House, China by Clifford A. Pearson*

Michele Saee Studio


152 Bizarre, Omaha by David Dillon*

Randy Brown Architects


For six additional interiors projects, go to Building Types
Study at www.archrecord.com.

69 Exhibitions: Exotic pavilion lands in London by Hugh Pearman


73 Exhibitions: A lesson in the function of forms by Fred Bernstein

Architectural Technology

77 Books: Design, sustainability, and public service

159 Introduction by Deborah Snoonian, P.E.

83 Snapshot: Normandys Maxim Gorki Theatre Ingrid Spencer

161 Commercial Buildings Open Their Windows


by Barbara Knecht and Sara Hart*

217 Dates & Events*


239 Record House: Price House by Beth Broome*

Features
86 The L!brary goes back to school by Jane F. Kolleeny

The Robin Hood Foundations vision for public-school libraries.


96 Overnight Sensations by David Cohn

A global whos who of architects and designers create a Madrid hotel.

Building Types Study 849


107 Record Interiors 2005 by Sarah Amelar
108 Chameleon, Australia by Sarah Amelar*

Cassandra Complex
116 Endeavor Talent Agency, Beverly Hills, Calif. by Joseph Giovannini*

New technologies are helping designers let in some fresh air.


171 Digital Models are Becoming Workhorses
by Ted Smalley Bowen*

Firms are combining digital building models with geospacial data.


176 Zoom-In: Pompidou Center by Deborah Snoonian, P.E.*
179 Tech Briefs*
185 Tech Products by Deborah Snoonian, P.E.*

Products
195 Walls & Ceilings by Rita Catinella Orrell
199 Product Briefs
202 Coverings Show Review by Linda C. Lentz
210 Product Literature

NMDA
224 Reader Service*

AR is the proud recipient of a


National Magazine Award for General Excellence

222 AIA/CES Self-Report Form*

* You can find these stories at www.archrecord.com,


including expanded coverage of Projects, Building Types Studies, and
Web-only special features.

09.05 Architectural Record

13

Its called Techstyle for a reason.


When you're selected by one of the world's leading technology companies, you've got to bring some innovation to
the table. At Cisco Systems' new headquarters, Techstyle Acoustical Ceilings deliver a clean, monolithic look that
enhances the accent lighting, while a 0.85 NRC helps absorb sound throughout the shared space. With this
combination of style and performance, it's no wonder Techstyle ceilings are getting glowing reviews.

For literature and our email newsletter,


call toll-free 866-556-1235
or visit www.hunterdouglascontract.com
Installation: Cisco Systems EBC, San Jose, CA
Interior Design: HOK
4 x 4 panels

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ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/

This month in Continuing Education

September 2005

In This Issue:
Pages 189-193

Low-Slope Commercial Roofing:


Roof Cover Boards Provide Outstanding Performance
Presented by USG
LEARNING OBJECTIVES:
Understand how cover boards enhance the performance of
commercial roofing systems and assemblies.
Identify several distinct cover board product types and their installation advantages.
Evaluate important criteria when specifying cover board for different
environmental conditions.

This month at archrecord.construction.com


Record Interiors
This month we bring you the highly anticipated
Record Interiors. Beyond the seven intriguingly multilayered
projects in the magazine, discover six more engaging
projects available only on our Web site.
Sponsored by

Glass Coatings Paint

Pictured: Karla/Architect: Rene Gonzalez Architect/Photography: Ken Hayden

People & Firms

Residential

One of this months feature


stories is dedicated to the Robin
Hood Foundation and the
service they provide to public
schools. Online, read about
Common Ground and their most
recent housing and community
project for New Yorks homeless
and underprivileged.

As we celebrate 50 years of
Record Houses, we invite you
to visit a vintage Record
House each month in 2005.
This month we take another
look at Bart Princes
Price House.

Pictured: Prince George Ballroom


Architect: Bryer Blinder Belle
Photography: FCharles

connecting people_projects_products

Find us online at www.construction.com

Sponsored by

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The View from Two Penn

Editorial
By Robert Ivy, FAIA

P H OTO G R A P H Y : A N D R S O U R O U J O N

rom the windows of Two Penn Plaza, the offices of architectural


record survey a tough-talking, broad-shouldered scene straight out
of Miracle at 34th Street: Its where the garment district collides with
Macys, animated by the daily headlong rush of thousands of commuters
inclining toward Pennsylvania Station and home. The renovated interiors may
soften our perceptions street odors fade away and the anachronistic perspective
outside seems almost romantic, if franticuntil we return to the street.
The view of Two Penn Plaza presents a different face. This great
gorilla of a building must be one of New Yorks most deplored. Its list of
detractors includes Joseph Giovannini, who, writing in New York magazine
in April 2003, listed Two Penn as one of the eight worst buildings to have
blighted our skyline: We tore down McKim, Mead and Whites Pennsylvania
Station for this? (Yes, ironically record occupies the site of the greatest
architectural travesty of the 20th century.)
Or consider the true tale of two British ladies recently overheard by
one of our staff members. Oh, look, dear, said she, dutifully pointing to her
guidebook. It says this is the ugliest building in New York! At which point,
they shook their heads, clucked their tongues, and marched ona vignette
straight out of a New Yorker cartoon.
While stone throwing comes easy to any critic, this behemoth presents an especially broad target. Designed in 1968 by the offices of Charles
Luckman (deceased architect and former president of the Lever Brothers corporation, Horatio Alger Awardwinner Luckman had commissioned the
serene Lever House and went on to build Bostons Prudential Center and
Cape Canaveral), the building combines many of the worst impulses of the
1960s. Set on a large podium, the 29-story building runs for almost two blocks
along Seventh Avenue, sitting athwart 32nd Street and blocking the view of
Madison Square Garden, itself no picture postcard. Weve learned a lot since
1968. Part of our derision comes from comparison with McKims masterpiece
and the bad karma that inevitably surrounds any structure that would try to
replace the lofty vaults and smoky recesses of the original homage to the Baths
of Caracalla. Yet Two Penn looms within our city with persistence, offering little in compensation for its daily intake and discharge of humanity through its
bowels. While lively commerce occurs inside the pedestrian malls on its lower
levels and at nancial institutions up on the podium, the street offers only a
couple of newsstands and a folding table for hawkers for the homeless.
We are struck by its abruptness. Like other big buildings from the

60s, an open plaza separates Two Penn from the avenue. The wall then bolts
up from a travertine-clad lobby toward an unrelieved facade consisting of
alternating bands of precast panels and tinted glazing. That long, unarticulated, unmodulated wall fares poorly when compared to the massive, though
more ne-grained, buildings that surround it, such as the Pennsylvania
Hotel across the street. Lacking architectural detail, scale-giving elements, or
urban amenity, Two Penn breathes the worst kind of architectural arrogance.
So why beat up on poor old Two Penn at this late date? Because,
throughout the United States, we continue to make similar mistakes. Tour any
major city and you will nd its siblingsboxy towers covered in mirrored or
tinted glazing that detract rather than add to the fabric of our cities, altering
the psychology of passersby and the people who must enter them each day.
And they are not all 37 years old like the New York version! The sad fact is
that we continue to build such soulless, unrooted structures this year, every
year, in downtown San Diego, or San Francisco, or Chicago. Whatever the
era, theyre not good enough.
We architects often blame others, primarily our developer clients,
decrying their stingy budgets and unenlightened civic sensibilities. The real
world, we say, makes real demands and forces compromises that most people
just do not understand. We have to make a living. The zoning laws are punitive; the nancial models control the outcome. However, we architects serve as
guardians not only of health, safety, and welfare, but also of quality of life in
each individual project and for the cities that those buildings add up to. There
is no excuse for a poor design.
Here is an unalterable fact: All of us have to live with the structures
that architects make, whoever the client, whatever the rationalization. Have
you advanced work that you honestly could not defend in a design jury? Did
you ever tell a client No? When your city awakens tomorrow morning, what
will it nd? What do the guidebooks say about your work? Meanwhile, should
you nd yourself in New York, come by Two Penn Plaza for a reminder lesson
and a visit to architectural record. Take a deep breath and plunge on in,
because regardless of the guidebooks, the view is terric from inside.

09.05 Architectural Record

19

F A S H I O N T H A T F I T S.

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A dream of expression
Kudos to ARCHITECTURAL RECORD and
Michael Sorkin for the publication of
Sorkins bold plan for a stadium on
Governors Island [Critique, August
2005, page 51]. Our society has no
accepted venue for visionaries like
Sorkin to propose their solutions to
our building needs. I love the idea of
a Request for Expression column
in newspapers or magazines where
designers can submit proposals for
existing conditions. Developers and
politicians are free to dictate what is
built because there is no venue for
contrarian ideas to be floated into
the public realm. I dream of the day
architects design not only the form
of our built environment but also the
location and function.
Erik Johnson
Milwaukee
The battle of the big box
Sam Lubells polemic on the current
state of big box architecture [Is
There Hope for the Big Box? August
2005, page 68] reveals a strong
negative bias toward both the idea of
large-format retailers and the design
of the buildings. While conceding
that recent attempts to improve the
design of big boxes has produced
some interesting results, the author
disparages retailers, claiming they
impose their soulless lack of identity onto cherished areas.
What the article fails to recognize is that the big box is a highly
evolved design solution that balances function, cost, aesthetics,
brand image, and technology in a
competitive business environment.
The 1960s strip architecture of
Robert Venturi has matured into a
business model that embraces automobile culture, including freeways,
parking lots, and other soulless
infrastructure. Big-box retail is one
element of the modern landscape
that is highly responsive to a variety
of forces. Contrary to the assertions

in the article, community pressure is


not the motivating force behind the
move to improving the design of large
retail developments. The real reason
that retailers are embracing highquality design is that design is a key
element of their business strategies.
This awareness and the widespread
public impact of mass-market retail
design, including both the buildings
and the products sold within, should
be good news to the architectural
community and everyone else as well.
George M. Hutchinson, AIA
Minneapolis
Freedom aint ringing here
Thank you for your continuing
insightful news pieces in ARCHITECTURAL RECORD. As much as you have
commented in the past on the
Freedom Tower, I would appreciate
your more fully addressing the influence the design has, and will have,
on this country, by expanding on the
proposed buildings relation to its
urban context, as well as the impact
that will be felt throughout the country, as the name implies a link to our
fellow citizens.
In the recent piece on the
topic [Redesigned Freedom Tower
will be sleeker, safer, August, 2005,
page 23], I see nothing that relates
to a master work. What I do see is
an overly cautious, extremely conservative skyscraper that appears
more a reflection of the business
and financial world that the Twin
Towers once represented. Now, I
want the moniker of Freedom
Tower removed as an association
to this edifice of power, as I see
nothing in it that relates to me, my
country, or my fellow citizens.
Where is the boldness, the
frontier spirit, the character that is
characterized by the people of this
country? How does this reflect the
tragedy of four years ago? What distinguishes this monolith from any
other skyscraper, except that its size

dwarfs the surrounding buildings of


Wall Street? Why is there not more
vision in the designconsidering the
local, national, and worldwide influence a multitude of architects might
offerin this dumbed-down version?
Vernon Abelsen, AIA
Via e-mail
A memorial makes the grade
Suzanne Stephens did a good job
reviewing this Memorial to the
Murdered Jews of Europe [July
2005, page 120]. We should not
destroy the environment to remember those murdered. Did we not
learn anything from the destruction
of war besides lives lost? Think
about the buildings and environment destroyed.
A park of trees, one for each
person lost, in a repetitive grid pattern would have been more fitting.
Trees would have contributed to
the environment and replaced the
gardens that used to exist in this
area. To remember life, we should
celebrate life and the environment,
not destroy it.
Dan Lawrence, AIA
Via e-mail
Not good enough for all
I was extremely disappointed to see
your inadequate description of
accessibility in Eisenmans new
memorial featured in the July issue.
ARCHITECTURAL RECORD conveniently
downplayed the fact that the memorial is significantly inaccessible for
visitors with a disability. As stated in
David McHughs Associated Press
article titled Germany to Dedicate
Holocaust Memorial, wheelchair
users can use 16 of its many rows.
Considering the abundant pathways
in the project, that number is both
inadequate and deplorable. Your
article heralds the project as one of
abstract remembrance and as a
traverse point for all those in Berlin,
both as inhabitants and visitors.

However, it is not a fully inclusive


project. I realize the codes for accessible design in America are more
stringent than most countries.
However, as an American architect,
Eisenman should have taken into
account the principles of the
Americans with Disabilities Act and
created an urban memorial which
considered the experiential qualities
of all visitors. It seems severely ironic
that a memorial to a time period of
social segregation and demographically selected massacre is exclusive
to many of its visitors.
Danielle S. Willkens
Springfield, Va.
Suzanne Stephens replies:
I am sorry not to have been able
to devote adequate space to the
provisions for accessibility in the
Memorial to the Murdered Jews
of Europe. Peter Eisenman does
indeed provide wheelchair access
in 13 passages, which have a
maximum slope of 8 percent, and
are scored with tracks in the
paving to allow wheelchairs to
comfortably roll through. In addition, a glass pavilion (mentioned
in the text but not shown in the
photos) contains an elevator to
take the disabled down to the
exhibition space. I did not, during
my several visits, find any problems with these means of access.
Corrections
In the August editorial, president of
the U.I.A. Suha Ozkans designation
as Honorary FAIA was not noted. The
Dates & Events listing for the Sheila
C. Johnson Design Center at Parsons
did not specify that the Dia:Beacon
was a project of OpenOffice, in collaboration with artist Robert Irwin.
The image shown is a rendering by
Jessica Stockholder in collaboration
with OpenOffice.
Send letters to rivy@mcgraw-hill.com.
09.05 Architectural Record

21

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Record News

Highlights
p.32 Moynihan Station finally moving forward
p.34 Hotel tower envisioned for Baghdad
p.36 Louvre planning Islamic art wing
p.38 Transportation, energy bills impact designers

I M A G E S : C O U R T E SY T H E K R E I S B E R G G R O U P ( TO P ) ;
LO W E R M A N H AT TA N D E V E LO P M E N T C O R P O R AT I O N / P L A C E B O E F F E CT S , FO R S N H E T TA ( B OT TO M )

Calatrava designing massive tower in Chicago


Spanish architect and 2005 AIA Gold
Medal winner Santiago Calatrava,
FAIA, on July 27 proposed a residential tower design for Chicagos
lakefront that could become the
tallest building in the United States.
The 115-story-tall, glass-and-metalclad design is dubbed Fordham
Spire. It spirals at 2 degrees per
floor, swirling toward its rooftop
mast, which is included in the overall
height of 2,000 feet. Its related to
the skyline, explains Calatrava. A
building in the middle of the skyline
is like a flower in the prairie, he says.
Not counting the mast, the buildings
roof is actually 1,458 feet, a mere 8
feet taller than the current record
holder, nearby Sears Tower.
The tower, part of the citys River
East development, on the north side
of the Chicago River, is much larger
than the structures envisioned in
the areas 1980s master plan. The
towers base will include an undetermined mix of retail and parking uses.
Its 920,000 square feet will include

With its mast, the swirling Fordham Tower would be 115-stories tall, rising above the Sears and Hancock Towers.

200 to 250 condominium units and a


similar number of hotel rooms.
Calatrava, also working on skyscrapers in New York; Valencia, Spain;
and Mlmo, Sweden, is well-regarded
in the Midwest for his addition to the
Milwaukee Art Museum. Several
years ago, he produced a design for a
lakefront pedestrian bridge in Chicago
that the city has shelved. Experts

familiar with the local real estate market question whether the Fordham
Company, the proposed buildings
developers, can successfully market
the high-priced residential units in a
luxury market many consider mature.
Previous schemes to break
the Sears Towers lock on the citystallest-building title have repeatedly
stumbled, most recently when Donald

Trump reduced the height of his


Trump International Hotel & Tower
in the wake of the September 11
attacks. Trumps project is currently
under construction and will be the
citys second-tallest tower at 1,360
feet, including its spire.
Completion of Calatravas tower
is scheduled for 2009, pending city
approval. Edward Keegan

Drawing Center and Freedom Center could both soon be out at Ground Zero
Development Corporation, the
status of Ground Zeros cultural
center tenants is in doubt.
Families and others,
including members of the
World Trade Center (WTC)
Memorial Foundation board,
have assailed The Drawing
Center and International
Rendering of Snhettas cultural complex.
Freedom Center (IFC) for
potentially presenting offensive
After complaints from family groups,
or anti-American exhibitions at
a request for appropriateness from Ground Zero [RECORD, August 2005,
Governor George Pataki, an attack
page 26]. In response, LMDC chairman John C. Whitehead said on
from the Uniformed Firefighters
August 11 that the IFC would have to
Association (UFA), and an ultimatum
present exhibition plans to the LMDC
from the Lower Manhattan

board on September 23 for approval.


On July 27, the UFA sent a letter to
the Memorial Foundation saying the
IFCs presence would strongly diminish firefighters sacrifices on the site.
But some, like the Lower Manhattan
Cultural Council, which supports local
artists, feel that removing the organizations would be censorship.
The two organizations, despite
their stated opposition to limitations
on content, still appear ready to stay
for now. An IFC statement in early
August said, We remain fully and
enthusiastically committed to the
project and location. Fraser Seitel, a
spokesman for The Drawing Center, in

SoHo, acknowledges that its officials


are looking at other options, on the
possibility that The Drawing Center
wont be invited downtown. But he
says the gallery has not decided to
leave Ground Zero, and hopes to
remain welcome. Still, he adds, The
Drawing Center, as a cultural institution, has to stand for artistic freedom.
Snhetta, whose design for the
cultural complex was unveiled in May,
might reduce the buildings size by
about 30 percent. Firm principal Craig
Dykers says the reduction is meant to
meet budget constraints and to maintain enough distance from the voids
of the WTC Memorial. Kevin Lerner
09.05 Architectural Record

29

Record News

natural light entering the underground station, included a soaring,


winglike metal-and-glass entrance
structure rising more than 200 feet
into the air. Its massive, ribbedconcrete interior comprised a grand
entry hall, two mezzanine levels,
Just days after unveiling renderings
meeting. Groundbreaking will occur
and track levels. Those core elefor a Chicago skyscraper, Santiago
on September 6.
ments remain essentially the same.
Calatrava, FAIA, on July 28 revealed
Calatrava presented his first
Exterior changes, largely
plans for his World Trade Center tranplans for the hub, which will be
intended to minimize damage in the
sit hub that are both more refined
located on the eastern side of the
event of a bombing, include twice as
and more security-conscious than
World Trade Center site, in March
many steel columns supporting the
his original design. The new scheme,
2004. Those plans, which maximized
oculus, or entrance canopy. Glass
shown at a presentation to
between those columns has
the Port Authority of New
been removed after they
York and New Jerseys
intersect at the structures
Board of Commissioners,
apex. The oculuss length
slightly reduces the size of
was reduced to 330 feet
the stations exterior,
from 360 feet, and two large,
decreases the amount of
horizontal steel protrusions
glass to be used, and
from the structures ends
includes structural redunhave been added.
dancies such as freestanding
Interior changes
interior columns. The station,
include a hardening of the
expected to cost about $2.2
halls base, removal of a
The oculus will include more steel and less glass.
billion, was approved at the
pedestrian corridor under

Updated plans approved for World Trade


Center transit hub

Church Street, and the addition of


six to eight freestanding support
columns, to be made of a steel-andconcrete composite. These columns,
meant to better support the structure and minimize damage in an
attack, produce a mezzanine roof
that undulates, rather than forming
a single, gentle arc. Concrete ribs
above, notes the architect, will be
rounder and more elegant.
The recent changes help further
develop what was a preliminary plan.
It is the same project, it is just more
mature, notes Calatrava. The project,
expected to be completed by 2009,
will serve PATH and New York City
subway trains and will likely support
rail links to local airports and the
Long Island Railroad. Originally slated
at $2 billion, the stations cost now
includes another $221 million for
slurry-wall improvements and the
hardening of the hubs eastwest corridor under Fulton Street. The hubs
design team also includes STV Group
and DMJM + Harris. Sam Lubell

Judge Michael B. Mukasey of Federal


District Court in Manhattan ruled on
August 10 that Massachusettsbased architect Thomas Shine could
proceed with his lawsuit against
architect David Childs, FAIA. The suit,
originally filed in November 2004,
alleges that, for his original design for
the World Trade Center Freedom
Tower, Childs, a principal at Skidmore,
Owings & Merrill (SOM), copied a
skyscraper design that Shine had
developed while a masters student
at Yale Architecture School. Shine had

presented the idea, a twisting tower


with a faceted facade, called Olympic
Tower, to Childs in the fall of 1999.
In March, SOM had filed a
motion to dismiss the case, claiming
that Childs had not copied Shines
design, and that both Olympic Tower
and an earlier design, called Shine
99, were unoriginal and ineligible for
copyright protection.
In his ruling, Mukasey said that
some might find that the Freedom
Towers twisting shape and undulating diamond-shaped facade make it

substantially similar to Olympic


Tower, and therefore an improper
appropriation of copyrighted artistic
expression. Still, the judge said, It is
possible, even likely, that some ordinary observers might not find the two
towers to be substantially similar.
The Freedom Tower design was
changed on June 29, but according
to the court, because defendants
original design for the Freedom Tower
remains in the public domain, Shines
infringement claim stands.
SOM spokesperson Elizabeth

Kubany says that three of Shines


tower images, thrown out of the case
because they had been doctored,
were clearly an attempt at deception. She calls the appearance in the
suit of Shine 99, also thrown out by
the judge, another attempt by Shine
to make a case where there is none.
Shine says the three pictures
were unintentionally switched, and
that the Shine 99 project was a relatively insignificant part of his case.
Were very pleased that the case is
moving forward, he says. S.L.

Goldman Sachs will move to Ground Zero after all


After months of looking elsewhere for office space, Goldman Sachs has
decided to build its $2 billion headquarters at Ground Zero after all,
according to a report on August 11 in The New York Times.

30

Architects, sits on the last vacant commercial parcel in Battery Park City.
Goldman officials could not be reached for comment, but according
to the Times, the firm had been enticed back to the area with a slew of

On April 4, the financial firm halted the planned construction of its

financial incentives, including at least $150 million in new city and tax

40-story glass building, located just northwest of the 1,776-foot Freedom

credits, as well as $600 million of new Liberty Bonds to add to $1 billion in

Tower. The company had been worried about a now-scrapped plan to sub-

already-issued bonds. The move gives Lower Manhattan, whose viability

merge West Street near the buildings entry. Goldman had also expressed

as an office center has been facing recent scrutiny, a boost. But some

concerns about financial incentives and the state of other projects at

have said the price is too high, pointing to what they call exorbitant tax

Ground Zero. The new tower, which is being designed by Pei Cobb Freed

breaks for the company. S.L.

Architectural Record 09.05

I M A G E : C O U R T E SY P O R T AU T H O R I T Y O F N E W YO R K A N D N E W J E R S E Y

Architects lawsuit over Freedom Tower moves forward

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Plans for New Yorks Moynihan


Station finally moving forward
After years of false starts, it appears
the development of New York Citys
Moynihan Station has finally gotten
under way. On July 19, the Empire
State Development Corporation,
which is responsible for promoting
economic growth in the state,
announced it had selected a team
of developers and unveiled a new
design for the project. It will be
located in the Farley Post Office on
8th Avenue, just across the street
from the present Pennsylvania
Station. That station occupies the site
of McKim, Mead and Whites original
Beaux-Arts Pennsylvania Station,
which was demolished in 1963.
The development team for the
$818 million transportation, office,
commercial, and residential complex
will be The Related Companies and
Vornado Realty Trust. Its architects
will be New Yorkbased James
Carpenter Design Associates, with
Hellmuth, Obata + Kassabaum

(HOK)s New York office. Skidmore,


Owings & Merrill, whose partner
David Childs devised an early scheme
for the project, will be a consultant.
Construction is set to begin next year,
and completion is slated for 2011.
The new station, named for
the late New York Senator Daniel
Patrick Moynihan, a vocal proponent
of the project, will include 300,000
square feet for a soaring, vaulted
glass station space that will respect
the post offices grand Beaux-Arts
architecture. The post office was
built in 1910, and was also designed
by McKim, Mead and White.
This is a second chance to
recapture the extraordinary station
that was once Penn Station, said
Empire State Development chairman
Charles Gargano. The post offices
facade will be renovated, while any
new interior elements will likely be
marked in limestone and terra-cotta,
says James Carpenter, who notes
the team hopes to
receive historic-preservation tax credits for the
project. Eleven boarding
platforms will service
Long Island Railroad,
New Jersey Transit, and
possibly some Amtrak
passengers.
The large, undulating glass-and-steel
canopy will allow daylight into the space.
Carpenter says this will
help recreate the aweinspiring sense of scale
that passengers once
felt when they entered
Penn Station. Natural
light will also be filtered
down to the tracks
via glass moats surrounding the building,
and through light tubes
The Beaux Artsstyle Farley Post Office will
within the spaces large
become a train station. Light moats along sidesteel columns. The
walks will bring natural illumination underground.
space will be lined with
32

Architectural Record 09.05

of the Farley Post Office,


250,000 square feet for
the existing post office,
and air rights for up to
1 million square feet of
housing, likely on the
northeast corner of 8th
Avenue and 32nd Street,
says Carpenter. New York
Governor George Pataki
noted that this teams plan
to locate residential development outside the Farley
Building itself made it more
appealing, so as not to hurt
An undulating glass roof will cover the space.
the buildings character.
Construction will be
ticketing and customer-service
paid for through $105 million in
booths, shops, and restaurants.
Federal Railroad Administration
The new scheme does away
funds, $56.8 million in New York
with David Childss preliminary
State funds, including $35 million
scheme for the station, whose sculpfrom the Metropolitan Transportation
tural steel-and-glass canopy was
Agency (MTA). The Moynihan
dubbed The Potato Chip. It occuDevelopment Corporation, made up
pied the intermodal space between
of representatives from the city and
the current post office and a large
state, will be paying $230 million for
warehouse and sorting facility to its
the building. The developers will
west. Carpenter says that design was
make an up-front payment of $150
removed, in part, because the promillion at closing, with about $124
gram has shifted to retain much more
million coming in successive years.
of the post office than was originally
The city will contribute $133 million in
planned. Entry into the new station
capital funds, plus $25 million already
will take place not via the post offices
committed. The Port Authority of
grand stairs, but through smaller
New York and New Jersey will pay
openings on 8th Avenue, 9th Avenue,
$150 million. The New York
and 31st and 33rd Streets. The interDepartment of Transportation will
modal space will likely now serve as
contribute $64 million in the form
a check-in area for passengers planCongestion, Mitigation, and Airning to travel to local airports.
Quality (CMAQ) funds.
The Moynihan Station was first
New York Mayor Michael
proposed in the early 1990s, and
Bloomberg, who recently lost his
designs were first proposed in 1999.
battle to build a Jets stadium in the
The project has been hampered by
area, now appears to be focusing
numerous delays, caused by, among
on the Moynihan project as a cataother things, funding debates in
lyst to development on the Far West
Congress, indecision on the part of
Side. This is a 60-block zone that
the U.S. Postal Service, and finanextends from the Moynihan Station
cially strapped Amtraks refusal to
site to the Hudson River. He said
move from Penn Station. Amtrak,
the area, recently rezoned to allow
which owns Penn Station but would
significant commercial and residenhave to pay rent at Moynihan, will
tial development, will be teeming
keep its facilities in Penn Station,
with life-energy and activity every
says Amtrak spokesman Clifford
day. Answering concerns that the
Black. He notes no current plans to
Far West Side could draw resources
improve its present facilities.
from Ground Zero, he said, There
The project will also include
is no competition with any other
850,000 square feet of commercial
areas. Enhancement of this neighspace, much of it located in the large
borhood helps the development of
warehouse building on the west side
all neighborhoods. S.L.

I M A G E S : C O U R T E SY H E L L M U T H , O B ATA + K A S S A B AU M
A N D J A M E S C A R P E N T E R D E S I G N A S S O C I AT E S / N E O S C A P E

Record News

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Record News
structures are made of concrete. Now, says
Ashkouri, most businessmen must rent apartments
in order to do business outside the Green Zone.
Inside, the complex will include shopping,
Only a serious optimist could build in Baghdad
informal congregation spaces, and a cinema comthese days. Enter Dr. Hisham Ashkouri, AIA, a
plex that he hopes will host Baghdads first-ever
Baghdad native, who studied architecture at
film festival. Lobbies will include murals of Sinbads
Baghdad University. Ashkouri left Iraq in 1972 to
seven voyages. Rooms will be brightly and colorfully
pursue more opportunities,
decorated, an aesthetic he says
starting his own firm, ARCADD,
may be off-putting to Western
in Newton, Massachusetts, in
tastes, but is necessary in war1986. He didnt return to the
torn Iraq. You cant use a
country until after the war in
minimalist approach here.
2003, when the 57-year-old
Theres been too much sadarchitect saw his old neighborness. Were trying to bring back
hood in shambles. Familiar
life to a city thats experienced
shops and friends homes had
lots of repression.
been destroyed, roads were
Not surprisingly, the
impassible, and sewers overbiggest added costalmost
flowing. Much of the city looked
doubling the price per squarethis way. It was so painful to
footwill be security. Ashkouri
see, says Ashkouri, who vowed
plans to erect a high perimeter
to help rebuild the country and
fence around a large constructake advantage of the opportution site. Armed guards and
nities presented by a free Iraq.
constant video surveillance will
His promise may be close
monitor the area. The final
to reality, or at least thats how
design, like the recently revised
The Sinbad Hotel complex will be
Ashkouri sees it. He has develFreedom Tower in New York,
located outside the Green Zone.
oped three major plans for the
will have a concrete base,
city. One is a mixed-use downalthough it will be ringed by a
town development called Tahrir Square. The second
window-lined pedestrian corridor. Windows near
is a $115 million high-rise hotel and movie project
the base will be bulletproof and blastproof.
called the Sinbad Hotel complex. The largest is a
If we wait to develop here, we will be waiting
$13 billion Central Business District master plan for
forever, says Ashkouri, who believes this to be the
cultural, educational, medical, and tech developfirst major private development outside the Green
ment along the Tigris River.
Zone since the war. We have to rebuild the city
The Sinbad, which will be located downtown or ourselves, with private development, and it has to
south of the city center, is the closest to moving forbe sustainable. The idea of constructing a project
ward, having recently received a promise of funding,
like this is not a pipe dream at all, says Manjiv
says Ashkouri, by the Al-Senussis, the former royal
Vohra, the C.E.O. of a major construction company
family of Libya. The family has approved giving him
working on projects in Iraq. For increased security,
$300,000 to pay for schematics. Local investors
he recommends hiring Iraqi construction workers
approved the plan in July, he says. The local governand keeping a low profile.
ment, though, has not yet approved the building.
Ashkouri is nothing if not ambitious about
The Sinbads design, Ashkouri says, will be a
rebuilding shattered cities. He is also developing a
modern interpretation of ancient, local forms. Its
master plan for Kabul, Afghanistan, called the City
arched colonnades, tentlike roof canopies, eightof Light, a $9 billion, 3-square-mile urban develpoint star patterning, and a protruding, curved
opment just informally approved by the countrys
facade echo vernacular forms, although the building minister of urban development and housing.
still appears cut from the corporate-hotel mold. The
He plans to put part of the proceeds for the
building will also utilize the ancient Badgeer system,
Iraq projects into rebuilding his old neighborhood,
which employs large hollow shafts along the sides
where he also hopes to establish an office.
to allow hot air to escape. He says that, if built, the
People think Im crazy building here, but I dont
32-story tower will be the largest steel tower in the
care, he says. If I didnt think this was possible,
city, where, because of the high cost of steel, most
I would have given up long ago. S.L.

I M A G E : C O U R T E SY A R C A D D / K A R I M E L S A H Y

Inspiration or folly?
Iraqi-born architect planning
Baghdad hotel

Record News
Louvre to build new Islamic art gallery
The French have never been shy about marrying
contemporary architecture to historic monuments.
I.M. Pei proved this when his glass entry pyramid
for the Louvre opened in 1989, and in July, French
President Jacques Chirac announced another modern Louvre additiona Department of Islamic Art.
The Louvre holds one of the most important
Islamic Art collections in the world, and the adjacent Muse des Arts Dcoratifs owns another
3,000 objects that have not been shown in public
for more than 20 years. The two collections will
come together in a two-story, 36,000-square-foot
design by Milanese architect Mario Bellini and
architect Rudy Ricciotti, based in southern France.
Bellini and Ricciotti were chosen in a competition that also included Zaha Hadid and Coop
Himmelb(l)au. Their design will fill most of the
ground floor of the Cour Visconti, a courtyard
within the southernmost wing of the Louvre. A
second underground level will be accessible from
galleries created by Pei. A shimmering, undulating glass roof, made up of glass disks, will allow
diffused sunlight to penetrate into the space.
The scheme also offers visitors glimpses of

The gallerys curving roof will be made of glass disks.

the surrounding Neoclassical facades. It is, say


the designers, architectural integration without
violence. It is also a very open design with no
superfluous circulation space. Instead, linear
benches are used to divide thematic spaces. Set
to open in 2009, the $67 million project benefited
from a $20 million donation from Saudi Prince
Walid bin Talal.
The project has also been helped along by a
chance to mix politics with culture. It will, according
to Chirac, remind the French people and the world
of the important contribution Islamic civilization
has made to Western culture. Claire Downey

L.A.s Ambassador Hotel to be demolished for school


okay to demolish most of the famous Ambassador Hotel (below) on Wilshire Boulevard. The now-vacant
property, which closed in 1988, will be used for a $318.2 million, 4,200-student education complex.
The Spanish Mediterraneanstyle Ambassador, designed in 1921 by Myron Hunt, was a Hollywood
icon. The Oscars were held there several times, and it was used as a location for films like The Graduate,
The Fabulous Baker Boys, The Mask, and A Star is Born.
Robert F. Kennedy was assassinated there in 1968.
A suit filed last November by a coalition of preservation activists, including the Los Angeles Conservancy,
contested an earlier environmental-impact report. The
groups hoped that the district would consider a compromise preservation plan, which would place smaller learning structures around the building and allow the hotel to
be used for offices, teacher housing, and classrooms. LAUSD officials, who called the plan too expensive, argued that schools in the district are seriously overcrowded, with more than 3,800 area children
being bused elsewhere each day. An LAUSD advisory committee met on July 20 to begin discussions
on a Kennedy memorial at the site.
The campus design is being developed by Pasadena-based Gonzalez Goodale Architects, which
was awarded the $11.2 million contract last October. The project will recreate the four-story
Ambassador facade, but with a contemporary look. The 24-acre project will include an 800-seat primary
school, a 1,000-seat middle school, and a 2,440-seat high school. It will preserve the famous Coconut
Grove nightclub, which will be used as an auditorium. The coffee shop will be reused as a faculty lounge,
and the beam ceiling from the Embassy Ballroom will be salvaged and reapplied in the new library.
Construction could begin as early as spring 2006 and be completed by September 2009. J.T. Long

I M A G E S : C O U R T E SY M U S E D U LO U V R E ( TO P ) ; T H E A S S O C I AT E D P R E S S ( B OT TO M )

On July 25, a Los Angeles Superior Court judge gave the Los Angeles Unified School District (LAUSD) the

Record News
Transportation and energy legislation will impact architects
The AIA was pleased the final bill included a
$2 million study, due by September 20, 2007, of
how federal transportation spending affects localities design, health, and safety.

Transportation bill likely to benefit


architects The long-delayed, multiyear federal
Energy bill may boost efficiency stantransportation bill that President Bush signed into
dards Although the newly enacted energy bill,
law on August 10 provides substantial funding
signed by President Bush on August 8, doesnt profor projects involving architects. The new legislavide nearly enough conservation incentives to suit
tion, the Safe, Accountable, Flexible, Efficient
environmental groups, the measure does contain
Transportation Equity Act: A Legacy for Users
provisions aimed at promoting energy efficiency,
(SAFETEA-LU), covers the 2005 through 2009
including $1.3 billion in conservation and energyfiscal years. Authorizations total $295 billion.
efficiency tax-break incentives.
Architects seem pleased that SAFETEA-LU
Among these incentives is a deduction for
retains the program structure set by the 1991
commercial buildings that cut annual energy
Intermodal Surface Transportation Efficiency Act
and power consumption by 50 percent com(ISTEA). One key extended ISTEA feature is the
pared to American Society of Heating,
transportation enhancements program, which
Refrigerating and Air-Conditioning Engineers
sets aside 10 percent of
standards. For building
funding for the Surface
subsystems, the deduction
Transportation Program, a
would be 60 cents per
major federal highway aid
square foot. Energy-efficategory, for things like bicycient equipment includes
cle and pedestrian paths,
interior lighting, heating,
scenic and historic sites,
cooling, ventilation, hot
rehabilitating historic railwater, and the building
road stations, and other
envelope, according to
transportation facilities.
the congressional Joint Tax
President Bush signs the long-delayed
Under SAFETEA-LU, the
Committee. The bill also
transportation bill in August.
enhancements program is
provides tax credits for
guaranteed more than $3.2
contractors that build new
billion over the 20052009 period.
energy-efficient housing, and for homeowners
Its an important bill, says Jason Stanley,
who install solar power and fuel cells.
an associate partner at Skidmore, Owings &
In addition, the energy law requires the
Merrills Chicago office. If the value of the public
Department of Energy to issue energy-efficiency
realm can be raised, that will enhance property
standards for new federal buildings within a year.
values, and it will enhance commercial zones.
The legislation states that energy-use levels in
But Stanley says the impact depends on which
new federal facilities must be at least 30 percent
state the work is in. He says the best potential
less than the ASHRAE standard or International
is in states like Minnesota, which have formally
Energy Conservation Code in effect when the
adopted context-sensitive design.
building is constructed. It also says sustainable
As with past transportation bills, lawmakers
design principles should apply to siting, design,
made sure to include pet projects. Washington,
and construction of all new [federal] buildings.
D.C.based advocacy group Taxpayers for
The AIA applauds new provisions, such as a
Common Sense says funding for all projects and
program to spur commercial use of photovoltaic
earmarks in the law tops $23 billion. Critics
energy, partly through a $250 million authorizaderide those projects as pork-barrel politics, but
tion over five years. In addition, the AIA backed a
some items may be of interest to architects, such
provision calling for the Department of Energy to
as $3 million for renovations to Denver Union
sign an agreement with the National Institute of
Station, $1 million to build a bicycle and pedesBuilding Sciences to study whether the present
trian trail in Californias Contra Costa County, and
voluntary standards and ratings for high-perform$9 million for studies, design, and construction
ance buildings are consistent with the current
of New York Citys High Line Trail project.
technological state of the art. Tom Ichniowski
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P H OTO G R A P H Y : T H E A S S O C I AT E D P R E S S

After long delays, Congress finally passed its


energy and transportation bills in August. The
impact on architects could be significant.

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Record News
Frank Lloyd Wright Foundation slowly
recovering from difficult times

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major decisions. Another change


establishes 80 percent of board seats
for public trustees and 20 percent
for the fellowship, to allow for more
outside board membership. Before,
fellows could hold a majority of seats.
Tony Puttnam, a Wisconsinbased architect who has been
involved with Taliesin for years,
notes, We could use new energy to
restore the school and develop a
nucleus for interesting, creative
work. Effie Casey, a senior
fellow at Taliesin West and
former board member who
attended the June 12 meeting, says the fellowship
recognizes this as an opportunity to open doors for more
participation by the public.
In July, the foundation
Taliesin West, the foundations headquarters.
announced that Victor
Sidy, who in 2000
many years by the Taliesin Fellowship,
received his masters of architeca residential organization of Wright
ture from the Frank Lloyd Wright
disciples formed in 1932, also this
School of Architecture, had been
year ousted C.E.O. James Goulka.
chosen to serve as dean of the
Although the foundation had
school. Sidy, says the foundation,
been operating in the black for more
will work to develop a more defined,
than a decade, more than $80
updated curriculum, and to improve
million is now needed for the maintranscript creation, among other
tenance and restoration of its aging
items. After concerns that the
properties, Taliesin in Spring Green,
National Architectural Accrediting
Wisconsin, and Taliesin West in
Board (NAAB) might revoke the
Scottsdale, Arizona, and tourism and
schools accreditation, in August
donations have been on the decline
the NAAB renewed the schools
since 9/11. Goulkas efforts to impose
accreditation. According to Hart,
fiscal restraint proved unpopular. The
the NAAB will return in a year and
28 senior fellows, who mostly live on
a half for a follow-up.
the Taliesin campuses, were wary of
In addition, the foundation,
his aggressive spending cuts and a
which has a staff of 70, announced
plan for more public participation.
in August that it is streamlining its
But now, according to foundaoperations, and has hired a Chicagotion officials, there is renewed hope
based executive search firm to find
for the organization. On June 12,
a new C.E.O. Beverly Hart, who curafter a year of self-examination, the
rently holds the job, says the new
board of trustees and fellows met at
C.E.O.s goal will be to raise $250
the foundations Spring Green offices
million in the next decade to pay
to work out new language in the
for restoration of the properties,
foundations bylaws. One key change
establish an endowment, and build
redistributes power by removing the
a new archive and visitors center
fellowships veto power over most
in Scottsdale. Allison Milionis

P H OTO G R A P H Y : C O U R T E SY F R A N K L LOY D W R I G H T FO U N DAT I O N

In the past year, the Frank Lloyd


Wright Foundation, a nonprofit
organization established in 1940 to
preserve the contributions and ideas
of Wright, has experienced its share of
upheaval. Hurt by internal conflict and
a lack of direction, the foundations
School of Architecture, which has an
average enrollment of 12 (within a
limit of 24), lost a number of faculty,
students, and its dean. The foundation board of directors, controlled for

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Record News On the Boards

Data center to
resemble microchip
Urbanus, based in Shenzhen and
Beijing, China, has won an international competition to design Digital
Beijing, a key building for the 2008
Beijing Olympics. The structure,
adjacent to Herzog & de Meurons
National Stadium and PTWs
Swimming Center, will be a regional
communications hub and the
games data command center. It
will also house a museum to the
digital age and an exhibition hall. It
is the first landmark Olympic com-

mission for a Chinese firm.


A group of New Yorkbased
Chinese architectsLiu Xiaodu,
Meng Yan, Wang Hui, and Zhu Pei
founded Urbanus in 1999, later
returning to China. The architects
wanted the project to be a built
representation of our time, much as
Walter Gropiuss 1911 Faguswerk
shoe factory was for the industrial
era. If the industrial revolution
impacted Modernism, asks Zhu,
what will happen in the digital age?
The buildings elevations and
shape will allude to the form of a
computer motherboard. Four main
blocks will emulate the structure of a
computer hard drive. A ground-floor
public space, crisscrossed by bridges,
will be emblazoned with electronic
projections. The western facade will
recall a barcode, while an elevation
facing the Olympic Green will include
tentaclelike, image-projecting LED
panels. Construction will begin in late
2005, with completion set for 2007.
Daniel Elsea

Designing for a site that lacks architectural context can produce either
the best or the worst architecture. In
designing for Digital Media City, a
technology park under construction
on the largest open tract of land in
Seoul, South Korea, German-based
Barkow Leibinger Architects created a
building that waits to see what future
neighbors will look like before making
its own architectural statement.
Designated DMC B6/2, the
building will contain three levels of
showrooms for heavy machinery and
six floors of speculative office space.
Frank Barkow, reached via e-mail at
his office in Berlin, describes DMC
B6/2 as self-referential, because
its facade will be composed of mirrored glass that folds in and out
through a depth of 8 inches, producing an effect like a shattered crystal
or kaleidoscope. Even its concreteenclosed stair tower, clad in zinc, will
be highly reflective.
Jan Vermeer, The painter (Vermeer's self-portrait)
and his model as Klio 1665 -1666
Kunsthistorisches Museum, Vienna, Austria

w w w. m o d e r n f a n . c o m
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Any adjacent buildings will


be appropriated visually into fragmented pixels onto our buildings
surfaces, Barkow writes. Even the
worst adjacent building will look
mesmerizing. Presumably the
architects of these adjoining buildings will decide whether this optical
trick is the sincerest form of flattery.
Construction on DMC B6/2 began in
June and should finish in late 2006.
James Murdock

I M A G E S : C O U R T E SY U R B A N U S ( TO P ) ; B A R KO W L E I B I N G E R ( B OT TO M )

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Record News On the Boards


A gambling tower in Europe? Holl designing
casino in Belgium

competition to restore and expand


the Albert Place Casino in KnokkeHeist, a popular resort town on the
North Sea, about 50 miles from
Brussels. A Ren Magritte mural,
The Ship Which Tells the Story to
the Mermaid, provided the inspira-

tion for the tripartite design, centering on a 20-story, sail-like hotel and
apartment tower. The adjoining
early-Modernist casino, built in 1930
by Belgian architect Leon Stynen,
will be restored and modernized. A
convention center resembling a
mermaids tail will extend inland.
The $185 million complex will
include shops, art galleries, restaurants, pools, an auditorium, a spa,
and an observation deck. All rooms
in the thin hotel tower, with a glass
curtain wall, will have sea views. The
convention centers glass exterior
will be covered by a metal wall perforated with hexagonal holes, meant
to create interesting shadow effects.
The complex will interact with
the city through a pedestrian space
called Casino Square. The city and
developers will shortly put the resort
out to bid, and construction will
begin soon after. Gregory Hafkin

Warsaw Jewish museum explores resiliency

In June, the design of the Museum


of the History of Polish Jews in
Warsaw was awarded to Finnish
architects Ilmari Lahdelma and
Rainer Mahlamki. Competing
firms included Studio Daniel
Libeskind, Eisenman Architects,
and Zvi Hecker.
The museum site was the
center of Warsaws Jewish community until 1939. Sitting at the end of
a long plaza opposite the Warsaw

Uprising Memorial, the 138,000square-foot building is a transparent


cube of backlit glass, giving the
impression of broken crystal. Entering
the main hall, visitors are flanked by
limestone masses curving upward
like the walls of a canyon. Mahlamki
explains the contrast as a dialogue
between fragile external walls and
an interior made of more resistant
materials.
The initially constricting passage, which opens to a view of the
greenery outside, is inspired by the
story of the Jews exodus from Egypt
through the parted Red Sea. The
adjacent parks trees, which form an
approach below the main entrance
hall, celebrate Jewish life in Poland
before the Holocaust. The museums
central location will facilitate interaction among diverse groups of
visitors. Museum officials project
between 250,000 and 500,000 will
visit each year. Larissa Babij

I M A G E S : C O U R T E SY S T E V E N H O L L A R C H I T E CT S ( TO P ) ; L A H D E L M A & M A H L A M K I ( B OT TO M )

Art, architecture, and gambling will


soon come together in one of
Europes first casino towers. In
July, New Yorkbased Steven Holl
Architects won a city-sponsored

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News Briefs

I M A G E S : C O U R T E SY Z A H A H A D I D A R C H I T E CT S ( L E F T ) ; C H R I S T I E S ( R I G H T )

covered by what Hadid describes as


a complex pattern of simple overlapping shingles. David Cohn

The bridge will be composed of overlapping space frames.

Hadid designing main pavilion for 2008 Expo Zaha Hadid


was chosen in July to design the main
pavilion of the 2008 International
Exposition in Zaragoza, Spain. The
pavilion will consist of a multilevel
bridge that spans the Ebro River, linking the city to the Expo site.
Hadids pavilions design will
be composed of four overlapping
diamond-section space frames,
which curve and widen as they span
the river, like a gladiola blossom,
one juror commented. They will be

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AIA Compensation Report


shows gains The AIAs 2005
Compensation Report, released in
July, revealed that salaries for U.S.
architects increased at a faster rate
than those of other professions
between 2002 and 2005. Architects
pay grew by about 10 percent over
that time, or at an average yearly rate
of about 3.3 percent. Jobs within the
rest of the economy grew at an average rate of 2.5 percent. Architects
salaries have now reached an average of $62,600, says the report.
Still, salaries for architects
grew less than they have in the
recent past. Between 1999 and
2002, architects salaries grew at
a 5.1 percent yearly rate, and from
1996 to 1999 the rate was 5.3
percent. According to the report,

salaries have grown most at larger


firms. Average compensation for
firms of 250 or more now stands at
$74,200, with figures decreasing in
proportion to firm size. Salaries at
firms under 10 average $59,400.
Architects salaries still pale in
comparison to the most lucrative
professions. According to the U.S.
Bureau of Labor statistics, the mean
yearly income for architects in
2004 was $66,230, compared to
$108,790 for lawyers and $137,610
for physicians and surgeons. At the
other end of the scale, artists mean
annual income was $37,490. S.L.

work artist Robert Smithson, most


famous for the Spiral Jetty in Utah,
the flat-deck barge will hold earth,
shrubs, rocks, and seven specimens
of native trees rising 30 to 35 feet.
Smithson drew the concept for
Floating Island to Travel Around
Manhattan Island in 1970, but
budget and permit issues derailed
the plan, and he died three years
later. The project, budgeted at
around $150,000, is a collaboration
between the Whitney Museum of
American Art and New Yorkbased
arts group Minetta Brook. It will run
from September 17 to 25, after
which the trees will be replanted in
Central Park. G.H.

Floating Island will round


Manhattan Creating a new
island in the middle of New
York City doesnt require a
landfill, just a little ingenuity.
For nine days in September,
a 48-foot tugboat towing an
island on a 30-by-90-foot
barge will partially circumnavigate Manhattan on the
Hudson and East Rivers. The
Smithsons sketch of the Floating Island.
brainchild of the late earth-

Army begins its largest-ever


privatization project The U.S.
Army has begun work on the militarys largest-ever privatization
project, on the island of Oahu, in
Hawaii. The $2.2 billion Army Hawaii
Family Housing complex, developed
by Actus Lend Lease, will include the
construction and renovation of about
8,000 homes on a 1,702-acre plot.

Individual models, not cookie cutters.

Its privately developed, individually


styled homes, enabled by the 1996
Military Housing Privatization Act,
represent a major departure from the
militarys cookie-cutter models devel-

oped since the 1950s, says Chris


Sherwood, Actus senior vice president. The project will include the
worlds largest solar-powered community, providing about 30 percent
of the areas electrical needs through
photovoltaic cells. Other green elements include solar hot water and
electronic energy metering. Families
will begin moving in next summer,
with 5,300 new homes planned for
completion at that time. S.L.
Richard Solomon dies Richard
Jay Solomon, director of the Graham
Foundation for Advanced Studies in
the Fine Arts since 1993, died on July
14 at age 62. The Chicago-based
Graham Foundation has fostered a
public dialogue about architecture
through its grants and programming
since its inception in 1956.
In 2003, Solomon, also a wellrespected architect, expanded the
foundations activities to include an

project, built over existing roadways,


would create a four-block sweeping
pedestrian plaza lined with pools,
flanked by two new glass-and-steel
buildings. One building would house
rehearsal and office space, the other
a performing arts educational center.
The project was counting on $400
million from the reauthorization of the
federal highway and transit bill. But
lawmakers eliminated plaza funds
due to budget constraints. Tony Illia

Violys Kennedy Center Plaza plan.

ideas competition for a 21st-century


Lakefront Park in Chicago. The
resulting exhibition and publication
displayed more than 100 concepts
that challenge and reconsider the
citys premier open space. E.K.
Kennedy Center plaza
derailed Cuts in the recently
passed federal transportation bill
have halted plans for a new John F.
Kennedy Center Plaza, designed by
Rafael Violy, FAIA. The $650 million

ENDNOTES
After six months of almost continual gains, architectural billings in June,
while still up, showed signs of slowing,
according to the AIAs July Work on
the Boards survey. While almost 23
percent of firms reported increased
billings compared to May levels, 14
percent of firms reported a decline.
The National Building Museum is
awarding the U.S. Green Building
Council with the Henry C. Turner
Prize for Innovation in Construction
Technology.
OMA is building a mixed-use tower
in Louisville, Kentucky.

I M A G E S : C O U R T E SY A CT U S L E N D L E A S E ( L E F T ) ; R A FA E L V I O LY A R C H I T E CT S ( R I G H T )

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For and about


the emerging architect

archrecord2
DEPARTMENTS

This month in Design, archrecord2 hops the pond to speak to Surface Architects, a young
London-based firm creating contemporary and vibrant architecture not only in new locations
around the city, but also within existing, older buildings. In Work, we come back to the States
to have a closer look at an amber-colored addition to the streets of Los Angeles. The complex,
vortex-shaped structure is a stunning homage to architecture and film.

Design
Beyond Surfaces bold exteriors
Surface Architects has many things
going for it. One is fortuitous timing.
The firm has been busy during a
period when Englands central govP H OTO G R A P H Y : K I L I A N O ' S U L L I VA N / L I G H T R O O M ( TO P R I G H T T W O A N D O P P O S I T E , R I G H T T W O ) ;
R E N D E R I N G S : C O U R T E SY S U R FA C E A R C H I T E CT S ( B OT TO M A N D O P P O S I T E , TO P L E F T ) )

ernment has sanctioned the funding


of new buildings for university campuses around the country.
Accolades have brought the team into the public eye. It was
recently added to the U.K.s 40 Under 40 list, which is an
awards program for young architects. However, forgoing all
the hype that surrounds graduate-school theory-speak and
appearances in tabloid party pages, this young practice, led
by its directors Richard Scott (above left) and Andy MacFee
(above right), concentrates on creating engaging architecture.
Scott, who studied architecture at both The Bartlett at
University College London and SCI-Arc in Los Angeles, caught
his first big break with Andrew Zago, a professor from his years in Los Angeles.

Lockkeepers Cottage Graduate

At the time, Zago was a visiting professor at Cornell University and asked Scott

Centre for Queen Mary University,

to join him when he was given an in-house commission to build a design studio

London, 2005

for the Aerospace Engineering Department. The project called for a workspace

This renovation and expansion


includes seminar and work spaces,

that emphasized synergy and creativity in mechanical design. Scott recalls, It

and a common room. The project


is a radical departure from other
buildings on campus, and the
architects were pleased that is was
accepted by planning authorities.

was by far the most interesting and groundbreaking project Id been involved
with up to that point.
After returning to London and joining Alsop Architects,

Razorfish Headquarters,

Scott formed a collaborativewhich he called Surfacein

London, 2001

1996 with fellow architect Kristen Whittle. Since both Scott and

The rms competition-winning


scheme for a 50,000-square-foot
office expansion included space for
500 employees. Although the
design was completed, the Silicon
Alley company went bust and the
project was never realized.

Whittle had attended SCI-Arc, they found themselves asking


ever more theoretical questions regarding architecture. The pair
decided to bring on board the services of philosopher Jeremy
Weate. It was pragmatic to engage the services of a philosopher, explains Scott. With all our questions, Whittle and I were
more and more tied in knots. We educated him in architecture
and he educated us in phenomenology. This would prove to
be a wise decisiontheir initial project won first prize in a

09.05 Architectural Record

57

archrecord.construction.com/archrecord2/
Birkbeck College, Center for

The Ambiguous ObjectQueen

Film and Media Studies,

Mary Medical School Library,

London, 2005

London, 2004

In this state-of-the-art auditorium,


the architects explore the limits
of what a cinemas environment
could be. The projected date of
completion is March 2006.

The rms rst commission on this


campus is a dramatic yet not
obvious elevator for wheelchairs to
the basement level in this Gothic
Revival church-turned-library.

Japanese residential design competition.


In 1999, after a year teaching a course on theory and history with Weate and
three years at Alsop, Scott decided to focus on Surface Architects. In the firms
new incarnation, Scott states, I did not want to be a career academic, so I wanted
this to be about opportunities that can be manifested in built architecture. For the

Augustine Road House

first two-and-a-half years, Scott worked on modest projects. He got his first large

Renovation,

commission and attention from the press when he won (with the help of Weates

London, 2002

philosophical counsel) a competition to fit-out the London headquarters of

With a small budget and a client


with no preconceptions, the architects were able to give a three-story
Victorian home a Modern
makeover. Much of the attention
was given to the kitchen renovation, and the result is a bright,
multicolored, and sculpted space.

Razorfish, the once monolithic but now defunct Internet design company.
With this newfound recognition and a growing project list and staff, Scott
approached MacFee, a schoolmate and ex-coworker, to join the firm in 2001.
At Alsop, MacFee had an expertise in turning radical proposals into well-built
buildings, says Scott. Its transformed the opportunities of this practice, by
our being able to offer our clients really crisp service and prove that we can
transform drawings into viable projects. Randi Greenberg
For more images of projects by Surface Architects, go to archrecord.
construction.com/archrecord2/

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It all started with a mutual interest in the work of Frei Otto, a pioneer of lightweight construction. When Jenna
Didier, founder of Materials & Applications (M&A), a Los Angelesbased research center for landscape and
architecture, discovered that architect Benjamin Ball shared her interest in Ottos work, the pair discussed the
possibility of creating an homage to him in the M&A courtyard.
Serendipitously, Ball, whose work also includes film design
and production, had been testing designs using TopSolid Design
software. I was working on what I could do that would be relevant
to contemporary exploration of what Otto was doing, and finding
ways to apply it to tensile structure, says Ball. He worked on a
conceptual design for a year, and in November 2004, he began
collaborating with Gaston Nogues, an architect responsible for

P H OTO G R A P H Y : O L I V E R H E S S ( L E F T ) ;
NEIL COCHRAN (RIGHT)

product development in Frank Gehrys office.


During development, Ball and Nogues realized the form resembled a black hole. They also talked about
what an obsessive process it must be to take several hundred pieces and transform them into a whole. It was
then they made the connection to the classic sci-fi movie The Black Hole and named the project Maximilian
Schell, in honor of the actor who portrayed the tyrannical Dr. Reinhardt. The character is a funny metaphor
for an architectural personality, Ball explains. He was a total control freakcontrol of his visionand that is
exactly what you have to be to get this type of project completed.
The structure is composed of a polygonal matrix of 504 triangles that when combined form a funnel. The

The changing fractal light patterns of Maximilian


Schell add a dramatic element to the courtyard, as
does the framing of the sky from the vortexs apex.

material is constructed of mylar laminated over nylon reinforcing yarn and joined together by clear polycarbonate rivets. Assembled on the roof of M&A, the project was then lowered onto a series of cables. The courtyard beneath hums with an accompanying ambientsound installation by composer James Lumb. The installation will be open to the public until its dismantling at the end of November. R.G.
For more images of the structure and its construction, go to archrecord.construction.com/archrecord2/

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Dashed hopes for a charged site:


What went wrong
at Ground Zero

Commentary

P H OTO G R A P H Y : C O U R T E SY LO W E R M A N H AT TA N D E V E LO P M E N T C O R P O R AT I O N / D B OX

How long ago it now seems, that


frenzied architectural season of
20022003 when the planning
process for Ground Zero was frontpage news and Daniel Libeskinds
name turned up as often on the
gossip pages as in the architectural
columns. Even though Libeskinds
master plan had not been the
first choice of much of the New York
architectural and cultural cognoscenti
(many of whom seemed to have preferred the scheme produced by the
Rafael Violyled team that called
itself THINK), Libeskinds selection
as the planner for Ground Zero still
felt like a triumphant moment in the
architectural culture. One of the
leading architects of his generation,
the man who had produced the
acclaimed Jewish Museum in Berlin,
was being put in charge of planning
the most intensely watched, symbolically resonant building site in the
world. In one gesture, New York
seemed to be throwing off its
reputation as a city that ate architects for lunch, and staking a claim
for the highest aspirations of the
building art.
Its been painfully clear for
quite some time now that this
wasnt happening, and that Ground
Zero was lurching, season by season, toward the one thing that
everybody involved in the project
said it would never become, which
is an ordinary real estate project.
But none of the problems that
Paul Goldberger is the dean of
Parsons The New School for Design
and the author of Up from Zero,
about rebuilding at Ground Zero.

have beset Ground Zero so far,


not even the epic battle between
Libeskind and David Childs during
the summer of 2003 over the
design of the office building that
New York Governor George Pataki
had dubbed the Freedom Tower,
have been as frustrating as the
events of the past few months. In
some ways, Ground Zero has actually turned into something much
worse than a conventional piece of
New York real estate development,
and not only because expectations
started off so high. It is beset not
only by design compromises
Libeskinds master plan has now
been so altered it is barely recognizablebut by a whole new set of
struggles among the families of victims of the September 11 attacks,
cultural groups, Lower Manhattan
residents, and politicians.
The Lower Manhattan
Development Corporation, which
was set up to oversee the rebuilding
process, has tried, ineffectively, to
broker a situation that often seems
out of control. Four years after the
World Trade Center fell, it is still not
clear who is really in charge, and
what is going to happen there.

DEPARTMENTS

By Paul Goldberger

The 16-acre site of Ground Zero includes the Freedom Tower on the north, the
footprints of the World Trade Center towers, and a landscaped memorial.

Public versus private


Of course the project was always
dominated by its commercial
aspects. For all the talk about public
participation in the planning
process, the most important decision was made by Governor Pataki
in private, immediately after
September 11, which was to allow
the Port Authority and the developer to whom it leased the Twin

Towers, Larry Silverstein, to rebuild


all 10.5 million square feet of office
space that they had lost.
In the years since the World
Trade Center was built (Tower One
opened in 1972), Lower Manhattan
has undergone a remarkable
transformation from a dreary office
district to a vibrant, mixed-use
neighborhood. But the program for

Ground Zero was written as if none


of this had ever happened. The program is dominated by offices (for
which there is no real market right
now); its public components of a
memorial and various cultural buildings occupy a clear secondary
position; and it includes none of
what Lower Manhattan needs most,
which is housing.
09.05 Architectural Record

61

Commentary
The Freedom Tower, which in
its earlier iteration was a mediocre
hybrid of Libeskinds and Childss
conflicting notions of what a skyscraper should be, has undergone a
redesign that takes it from bad to
worse. Libeskind is largely out of the

picture, but whats left isnt pure


Childs: His new partner is the New
York City Police Department, which
set such strict parameters in the
name of security that it has become
Childss associate architect in all
but name. The departments secu-

rity experts insisted that the tower


be pulled far back from the street
and that it sit astride a solid base
200 feet high. The Freedom Tower is
now an office building plunked on
top of a bunker, and while that may
satisfy certain officials who believe
that the main purpose of an urban
building is to protect its occupants
from truck bombs, so far as street
life is concerned, it is difficult to

The Freedom Tower will provide a vertical accent to Lower Manhattan, but is being criticized for its impact on urbanism.

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believe that this is going to be


much of an improvement over the
towers of the World Trade Center. It
suggests that we are prepared to
forgo everything we have learned
about urbanism over the past 40
years in the name of security.
The memorial to the people
lost on September 11, by Michael
Arad and Peter Walker, is moving
forward, and with more deliberate
speed than any other part of the
project, though speed is not quite
the word that should be used to
describe the fund-raising effort,
which is reportedly not going well at
all. The foundation that has been set
up to build and pay for the memorial
and the nearby cultural buildings has
a board full of famous people, from
Michael Eisner to Barbara Walters,
but most of them so far seem to
have been more willing to offer their
names than their checkbooks.
The memorial design was chosen through a competitive process
that, miraculously, managed to be
almost entirely free of political influence, unlike anything else at Ground

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Commentary
Zero. But once Arad and Walker
won, their design, too, became
subject to a slew of compromises,
beyond the compromise to the
Libeskind plan itself that their
design, for all its inherent quality,
represented. (It eliminated one of
Libeskinds best ideas, which was
his decision to depress the entire
area around the footprints of the
original Twin Towers.)
As for the other buildings
planned for the sitethe transportation center by Santiago
Calatrava and the cultural buildings
by Frank Gehry and Snhetta, all
three of which had been the object
of great hope, as if Gehry, Calatrava,
and Snhetta could make up for
the failings elsewherethey are
now caught in a web of budgetary,
political, institutional, and even ideological conflict, and their futures
are uncertain.
The Calatrava building, the one

thing proposed for Ground Zero that


seems to have received universal
acclaim, will pull through, since
the only problem there is money.
Calatrava has already completed
one redesign that involved moderate compromise of his original

Center and a new institution called


the International Freedom Center,
have both been under attack from
a small group of family members
who think the organizations arent
sufficiently patriotic, or are too concerned with issues that dont speak
directly to the events of September
11. Governor Pataki, who has bent
over backward so as not to offend
the families, responded by asking

SINCE THE WTC WAS BUILT, LOWER


MANHATTAN HAS BEEN TRANSFORMED.
BUT THE PROGRAM FOR GROUND ZERO WAS
WRITTEN AS IF NONE OF THIS HAPPENED.
plans, which at Ground Zero is
the equivalent of a design sailing
through intact.
Censoring culture
The deepest threat to the Snhetta
building isnt financial or architectural, but political and ideological.
The two cultural organizations
selected to go into it, a distinguished
small museum called The Drawing

The Drawing Center to promise


not to show any art that a family
member might find disturbing.
The Freedom Center, for its part,
promised to define freedom as
not involving questions about the
events of September 11.
The Drawing Center may end up
leaving Ground Zero rather than submitting to the voluntary censorship
inherent in the governors request.

But whether it leaves or stays, the


damage this event has caused may
be irreparable. The irony of censoring
the contents of a museum to be
constructed in the shadow of the
so-called Freedom Tower appears to
have escaped Governor Pataki and
the Lower Manhattan Development
Corporation. If the bunker base of the
Freedom Towera symbol not of
freedom but of its absencedoesnt
do enough to contradict the aims of
an open society, limiting the cultural
organizations to sanitized, preapproved programs certainly completes
the job.
It is a remarkable message to
send the worldyes, we rebuild,
but we do it by barricading ourselves behind bollards and solid
concrete walls, and if that is not
enough, then we make sure that
any culture we show the public here
is fully prechecked for controversy.
Its a dismal vision of what freedom
means on the fourth anniversary of
September 11. Then again, it isnt
much of a vision of what architecture means, either.

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GLASS

Freedom Tower redux:


sending all the wrong messages

Critique

D R AW I N G : C O U R T E SY S K I D M O R E , O W I N G S & M E R R I L L

David Childs should have resigned


the commission rather than submit
to the embarrassment of publicly
presenting the latest and worst version of the idiotically named Freedom
Tower, as he did at the end of June.
If architects would take a
standif theyd just say, sometimes,
this far and no farthermaybe
our profession would begin to have
some slight influence on the shape
of the world that gets built.
Instead, were happy to be the
handmaidens of single-issue masters: an ambitious governor with a
hurry-up timetable, a nervous police
department, a self-interested developer, whomever. These players all
have their merits, but those merits
dont include an understanding of
good design or urbanism.
You dont know whether to
burst out laughing or sobbing at the
sight of this most recent monstrosity
in the revolting saga of the World
Trade Center site. To be fair to Childs,
the SOM architect in charge of the
Freedom Tower design, many of the
problems predate his involvement.
For starters, do we really wish
to choose, for our countrys new
national symbol, a box of leasable
office space? Is that the height of
American aspiration? I dont care
how tall or shapely or elegantly
detailed the box may be. Its still just
a vertical crate with a P.R. label
Freedom Towerthat sounds as if it
came out of a childrens book.
The tower is also supposed to
Contributing editor Robert Campbell
is the Pulitzer Prizewinning architecture critic of The Boston Globe.

be a symbol of the nations resolve


asking to be blown away. Thats why
in the first place. There was no marnot to be cowed by terrorism. A modit has to be so heavily defended.
ket in the 1970s for all those millions
est ambition, to say the least. But in
Equally foolishly, we were told
of square feet of office space, and
fact, Childss new design sends the
that the Freedom Tower would
theres none today. Development isnt
opposite message. It says that we
reassert American primacy by being
my game, so I tried some of these
are hopelessly cowed by the threat of the worlds tallest building. Its a losquestions out on a developer friend
terrorism, and that we expect to stay
ing game. Not that anyone should
who long taught at a prominent busicowed. Pulled far back from the
care, but taller towers are already
ness school. Not much attention
urban street because the city police
proposed for Chicago and Dubai.
has been given to the deep subsidies
fear truck bombs, built of nearly winThen theres the matter of
that will be required to cover costs,
dowless solid concrete for its first
aesthetic design. To this observer,
he says. Rents would likely have to
200 feet of height, the Freedom
Childss sleek tower with its elegant
be $20 over the market [to cover the
Tower is a billboard to the world that
facets looks like nothing so much as
huge costs of construction]. But in
states: Were afraid of everyone and
a vial for expensive perfume. Nothing
fact, rents may have to be held below
everything, so weve decided to hole
about its form responds to anything
market, in order to attract tenants
up in our citadel. During design
we were taught in school: not to cliinto a building that will be perceived
development, SOM will surely wish to
mate, not to orientation, not to energy as a target for terrorists. Someone
include tiny openings in the concrete
concerns, and certainly not to the fact will have to subsidize the difference,
facade for archers to shoot arrows
that good cities are made of sociable
unless the property is going to be
and pour boiling oil on the enemy.
streetscapes. The Empire State and
filled up by government agencies,
We accept the fact of tens of
the Chrysler are tall, too, but each is
who will bury the extra costs in their
thousands of traffic deaths every
a lively presence at the sidewalk.
operating budgets.
year, in exchange for the freedom to
Then theres the program. The
I think back to the days of
drive. We must learn to accept the
concept for the WTC site is a 352001 and 2002. Many thousands of
risk of deaths by terrorism, in
year-old program that never worked
hours were devoted by the design
exchange for the freedom to live in
community to generating ideas for
The new tower will overlook the WTC memorial.
cities and not in a world of isothe WTC site. Volunteers
lated fortresses. The fortresses
worked to establish goals and
wont provide security, anyway.
standards that would make
And why one huge tower,
the site a proud model for the
instead of a gradual, less specurban community of the 21st
tacularly egotistical kind of
century. They held symposia.
development, growing slowly
They issued reports. None of it
over time as the market grows,
had any effect. Probably, the
at lower heights on both the
people who mattered never
WTC site and its underdevelread the reports. The result is
oped neighboring blocks? When
an egotistical office tower that
you pile everything into a single
doesnt know what a city is.
super-tower, you create a buildI hope the Freedom Tower
ing so attractive to terrorists, it
is never built. I hope its site lies
might as well be decorated
fallow for years, a symbol of the
with a bulls-eye. Like a foolish
wreckage of the democratic
infantryman, it sticks up its head
process and the nations underabove its surroundings, virtually
standing of urbanism.
09.05 Architectural Record

67

DEPARTMENTS

By Robert Campbell, FAIA

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It came from sunny Portugal:


exotic pavilion lands in London

Exhibitions
By Hugh Pearman

P H OTO G R A P H Y : R O L A N D H A L B E

It is early summer in the pastoral


setting of Londons Kensington
Gardens. I am one of a dense
crowd at the opening of this years
Serpentine Gallery Pavilion,
designed by the Portuguese power
duo of lvaro Siza and Eduardo
Souto de Moura. It is a large, lumbering, but rather awesome timber
beast of a building, the biggest of
these annual commissions to date.
It has been built quickly and without
compromise, the hallmark of this
remarkable series of temporary
structures. But this is far from the
sunny olive-belt home of its designers. Being late June in England, the
sky darkens, lightning flickers, and
soon the heavens open into an
almighty downpour.
Everyone who was strolling
around the lawns is now suddenly
inside, packed like fish in a barrel.
Water starts to cascade in at one
corner. But nobody minds much.
That is because these pavilion
launchesand the after-party that
is already traditional at Richard and
Ruthie Rogerss house in nearby
Chelseaare now as much a part
of the English Season as the tennis at Wimbledon or the rowing at
Henley, the gardens of the Chelsea
flower show or the picnic hampers
Hugh Pearman is the architecture and
design critic for The Sunday Times,
London.

DEPARTMENTS

Serpentine Gallery Pavilion.


Designed by lvaro Siza and
Eduardo Souto de Moura with
Cecil Balmond. Hyde Park,
London, through October 2.

Interlocking timbers of 427 different lengths (above) create a column-free interior 56 feet wide (below).

at the Glyndebourne summer opera


festival. And those events are always
being washed out.
As it rains, we have time to
examine the structure. It shares DNA
with the lamella timber barrel-vault
roofs of Germany in the 1920s, but
distorted into an undulating, organic
shape. Four hundred twenty-seven
unique lengths of timber interlock (via
simple mortise-and-tenon joints) to
support each other and provide a 56foot, column-free span. Construction
had to start at one corner and radiate out to the opposite corner. Roof
and walls are a single continuous
structure, though the beams crank
to express the change from the one
condition to the other.
If it seems somewhat ungainly
from the outside, the pavilion is lofty
and beautiful on the inside. Part of its
fascination lies in the deliberate jux-

taposition between its computer-generated structure


and its rough, knockedtogether appearance. This is
high tech that looks anything
but high tech. The lengths of
timber are laminated sections of dark-stained Finnish
spruce. They are quite crudely
slotted together. For Siza in
particular, this was important:
He wanted a rough-and-ready
feel. He rejoices, so he tells
me, in its impermanence.
The building is sealed by 248
individually shaped transparent polycarbonate panels, each sprouting a
cylindrical ventilation funnel in the
same material (these little spikes
are like the hairs on the animals
back, says Siza). Each funnel incorporates a small solar-powered light
so that the building glows gently at

night. With its several entrances, the


building opens to the footpaths that
cross the site, acting as a surprising
incident on a pedestrian journey.
Getting onto the English social
calendar in this way is some achievement for Julia Peyton-Jones, the
gallerys director. Because while all
those other seasonal events are
09.05 Architectural Record

69

Exhibitions
steeped in history, radical modern
architecture has neveruntil
recentlybeen much of a topic in
the upper echelons of English society. Now, nobody blinks at a tradition
that Peyton-Jones began in 2000
involving a series of structures by
in chronological orderZaha Hadid,
Daniel Libeskind, Toyo Ito, Oscar
Niemeyer, and now Siza/Souto de
Moura. Last year was a gap, because

plans by the Dutch firm MVRDV to


bury the existing Serpentine Gallery
beneath a man-made hill proved
overambitious.
The first four designs were all
exercises in lightness of one kind or
another. After Hadids relatively modest angular steel-framed tent came
Libeskinds jagged-metal horizontal
twisting spiral. Then Itos audaciously
complex dissolution of the white

The pavilion sits in Hyde Park in front of the 1934 Serpentine Gallery.

4,554

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rectangular box was followed by


Niemeyers swooping-roofed, hovering aerie. This years model, in
contrast, is a dark, earthbound
creature. Its imagery, for Siza, is of
a hungry animal poised to consume
the bourgeois architecture of the
Serpentine Gallery itself. Named
for the nearby Serpentine Lake in
adjoining Hyde Park, it started life in
1934 as a park tearoom by architect
Henry Tanner, Jr. Its utterly conservative tall-chimneyed late Queen Anne
Revival style, plainly influenced by
Lutyens, is a marvelous foil for its
avant-garde arts programs. The new
pavilion may challenge it architecturally, but simultaneously provides a
generous 4,305 square feet of space
for very bourgeois summer events,
such as improving lectures and the
taking of tea.
Apart from Peyton-Jones, the
other constant in this series is structural engineer Cecil Balmond, deputy
chairman of Arup, codesigner of Itos
pavilion, and an important muse for
Rem Koolhaas (who must surely be
in line to try his hand here). Balmond

describes the exercise thus: The


Serpentine Gallery each year gives
the opportunity for experiment and
the pushing of boundaries. Structure,
form, and architecture become the
same thing in these projects.
So an idea born in the smokefilled, sun-dappled studios of the
architects on the River Douro became
reality in the computers of Balmonds
Advanced Geometry Unit at Arup.
It is certainly unlike the Modern,
rational, white masonry buildings for
which Siza is known (such as the
Serralves Museum in Oporto), but has
more to do with the bold structural
experiments of Souto de Moura, as
evinced by his Braga soccer stadium.
The critical reception for this
years effort has been appreciative
but muted: It is a far subtler piece
than any of its look-at-me predecessors. Perhaps Koolhaas will be
along to reintroduce high drama to
the series sometime soon. But in
2005, Siza, Souta de Mouro, and
Balmond have produced what is for
me the most enigmatic and thoughtprovoking pavilion to date.

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A timely lesson in the life and


function of forms

Exhibitions
By Fred Bernstein

P H OTO G R A P H Y : R O B E R T M E Z Q U I T I

On June 26, P.S. 1 Contemporary Art


Center in Queens unveiled its sixth
annual summer installation aimed
at making its courtyard a place to
hang outand ponder architectures future. SUR (South) by Los
Angelesbased Xefirotarch consists
of a series of bright red, free-form
benches that appear to be fiberglass, a second series of benches
that look like concrete, and a series
of canopies made of beige fabric
stretched over frames of undulating
metal pipe.
Four weeks later, the installation
was in disarray. The smooth benches
were blistered in some places. The
rough benches were disintegrating,
revealing that what appeared to be
concrete was actually Styrofoam
covered in a thick layer of paint. The
canopies Lycra was so badly puckered that countless folds and
shadows overwhelmed the onceclean lines. The ends of the pipes
were filling up with, among other
things, litter and wads of gum.
Reached for comment in Los
Angeles, Hernan Diaz Alonso, principal of Xefirotarch, said he was
aware that some of it is broken.
He mentioned the tight budget
($60,000, provided by P.S. 1 and its
affiliate, the Museum of Modern
Art), inclement weather the week
Fred Bernstein is a New Yorkbased
journalist who writes for The New
York Times and design publications.

before the installation opened,


and high humidity that caused the
Lycra to distend. But, he said,
There are no excuses. If this were
a permanent building, it would be
a problem. But for a pavilion, its a
valuable experience. He added,
Im pleased with the resultin
terms of what we learned.
Cinematic design
In that sense, Diaz Alonso, a 36year-old Argentinean who has
worked for Enric Miralles and Peter
Eisenman, has fulfilled the promise
of the competition: By experimenting with materials and methods at
an early stage of his career, he has
learned lessons that may inform
future commissions. The installation, he said, is like a person. When
you are 60, you have more wrinkles
than when you are 20. His concept,
he added, is cinematicit has to
do with the grotesque.
Each spring, a jury
that includes MoMA
curator Terence Riley
and P.S. 1 founder
Alanna Heiss narrows
a list of up-and-coming
architects to five, who
are then invited to
submit proposals for
turning the stark, concrete-walled courtyard
(designed by Frederick
Fisher) into a gathering place. The
programor lack of oneleaves
plenty of room for improvisation.
Some past winners, such as SHoP
(2000) and Lindy Roy (2001), have
created delightful, yet thoughtprovoking, installations with witty

DEPARTMENTS

Young Architects Program:


SUR. Installation by Xefirotarch,
in the courtyard at P.S. 1, Queens,
New York, through September.

The installation, shown when it


opened (above and left), occupies the
courtyard of what had been a school.

urban beach references, such as


shallow pools for splashing, intriguing places for lounging, and unusual
devices for shading.
This year, the finalists proposals included a curving bench by WW
Architects of Boston (cutely named

Spiral Settee) and a foam grotto by


Aranda/Lasch of New York, both of
which had the potential to seduce
P.S. 1s summer crowds.
Xefirotarchs proposal, by contrast, promised an extraordinary
dynamism, enough to make a Frank
Gehry or Zaha Hadid building seem
static. In drawings, the installation
looked almost scary, like a high-tech
skeleton stalking the courtyard. The
drawings are similar to those of an
unbuilt plaza Diaz Alonso designed
09.05 Architectural Record

73

Exhibitions
for Lexington, Kentucky (included in
the show Tools of the Imagination
at the National Building Museum in
Washington, D.C., through October
10). There too, he created tense,
muscular forms meant to serve as
benches, sunshades, and dividers.
The description of the projectprovided by Diaz Alonsospeaks of
defying gravity while offering flexible arrangements within which the
narrative of the city can unfold.
The laws of physics kick in
But at P.S. 1, gravity and inflexibility
rear their ugly heads. Diaz Alonsos
benches are so close to the ground
that people feel uncomfortable sitting on them. The canopies provide
only a modicum of shade, and
they rarely converge in ways that
create spaces where people want
to gather. And when the shades
stretch to the ground, there is a
confusion of purpose: Are the

canopies suddenly perches? (One


couple let their baby use the end
of a canopy as a hammock.)
The architectonic language is
also disappointing. The most ambitious elementthe sunshades
lack an organizational coherence.
Frames are inelegantly welded, and
some Lycra covers are too short for
the poles, while others are too long.
Some pieces are supported at both
ends; others cantilever, for no
apparent reason.
Clearly, this scheme falls in
the category of biomorphica.k.a.
blobbyarchitecture. But the challenge of blobby architecture is to
create new paradigms for design
development and construction,
while avoiding the usual repetition
of rectilinear forms. Diaz Alonso
hasnt done that.
Its true that, of the five finalists,
Xefirotarchs proposal was by far the
most ambitious. Perhaps the judges

sition to three dimensions.


Then, too, Diaz
Alonsos installation
suffers by juxtaposition with Greater New
York 2005, the summer survey show that
fills P.S. 1s indoor galleries through October.
That show includes
dozens of artworks
that architects will find
compelling. In one corner room, Tobias Putrih
(born in Slovenia 33
years ago) has created
The piece looks like a high-tech skeleton.
an installation of stacks
of corrugated cardshould have prevailed upon MoMA to
board carved into oversize vessels.
increase the construction budget.
The thinly sliced corrugated material
Indeed, once fabrication began, Diaz
is almost gauzy; the view through
Alonso said, he knew that he would
multiple layers hypnoticthink
either have to shrink the project or
cardboard moir! Putrihs art,
turn to less expensive materials than unlike Diaz Alonsos architecture,
he had planned. He chose the latter,
isnt subject to rain, high heels,
and the built work did not hold up.
and chewing gum. Still, he has
The sense of movement evident in
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Design, sustainability
and public service

Designing for the Homeless:


Architecture That Works, by
Sam Davis. Berkeley: The
University of California Press,
2004, 176 pages, $34.95 (cloth).
This important new book is, above
all, a call to action for architects.
Sam Davis, an architect of affordable housing and a professor at
Berkeley, presents homelessness as
a complex problem that architects
can and should help ameliorate.
Davis goes beyond design and
planning, discussing the societal
costs of homelessness and the concerns of the afflicted. He tells how
unforeseen events can catapult
someone from financial solvency
into living on the streets, and argues
that a continuum of housing types is
needed, including emergency shelters, assisted living centers, and
independent units. Needed too, he
writes, are servicessocial, psychological, financial, educationalto lift
the afflicted out of their plight.
The author also discusses the
challenges of fitting projects into
existing communities and compares
various plans and interior layouts,
questioning how such housing
should look and feel. In evaluating
costs, he says, affordable housing
should be indistinguishable from
nearby housing so that residents will
not feel stigmatized and will feel a
part of the surrounding community.
He goes on to examine case
studies, including the St. Vincent de
Paul Village in San Diego (1987), a
facility that offers customized care
and helps people earn GEDs, get
computer training, find jobs, and

receive health care. In New York, he


cites the Family Transitional Shelter
and the First Step Housing project. In
San Francisco, he discusses Donald
MacDonalds plywood City Sleepers
that stand 18 inches off the ground
on inverted carjacks; and contractor,
homebuilder, and former mayoral
candidate Jim Reids 100-square-foot
structures that include a bathroom
and space for laundry. Davis notes
that in Atlanta alone, home of the
nonprofit Mad Housers, there are
more than 10,000 homeless people
at peak times and fewer than 1,000
available beds.
The illustrations in Designing
for the Homeless arent of the best
quality, and Davis hasnt brought
all his facts up-to-date. But he has
given us a significant book that
packs a considerable punch within
a small number of pages. William J.
Carpenter
Proceed and Be Bold: Rural
Studio Af ter Samuel Mockbee,
by Andrea Oppenheimer Dean.
New York: Princeton Architectural
Press, 2005, 176 pages, $30.
Alabamas Rural Studio, where
Samuel Mockbee inspired a generation of architecture students to build
houses for the poor, has often been
called Taliesin South. The nickname
is meant to suggest an apprenticeship program, where students learn
by doing. But given Mockbees
death in 2001, it could have been
a portent of disaster. At Taliesin,
Wrights disciples carried on by
creating a series of posthumous
buildings so bad they threatened to

destroy the masters reputation.


So how are Mockbees followers faring? Three years ago, Andrea
Oppenheimer Dean and Timothy
Hursley, as writer and photographer,
collaborated on a book about Rural
Studios accomplishments under its
founder. Now they are back with a
second volume, about its work since
Andrew Freear and Bruce Lindsey
assumed leadership of the program.
The book describes 17 buildings, all of them in southwest
Alabama, the territory that Sambo
chose for its heartbreaking
beautyand squalor. The buildings
are in most cases less fanciful
than the ones completed under
Mockbees supervision, including
the Masons Bend Community
Center, glazed with 80 surplus
Chevy Caprice windshields. Dean
writes not as a cheerleader (though
there is very much to cheer), but as
a critic, noting that one house, conceived by Mockbee but completed
by his students, became overly
dramatic when built, and that, as
the Studios projects have grown
increasingly complex, more and
more design work has been done
off-site, precluding the improvisational flourishes for which Sambo
became famous. She also points to
the discrepancies between how
buildings are intended and how they
are received: For a farmers market
in Thomaston, the students used
unfinished steelto them, rust
may be beautiful, but to residents,
it suggested decay.
Still, unlike Taliesin, Rural
Studio was never about carrying out
one persons designs, just his ideas.

DEPARTMENTS

Books

And his greatest ideathat architecture students could learn while


creating shelters for some of
Americas poorest citizenshas
taken root, as documented in this
thorough and thoughtful volume.
Fred A. Bernstein
The Green House: New
Directions in Sustainable
Architecture, by Alanna Stang
and Christopher Hawthorne. New
York: Princeton Architectural
Press, 2005, 196 pages, $45.
For this compact, stylish volume
of 39 green residences, authors
09.05 Architectural Record

77

Books

Alanna Stang, until recently the


executive editor of I.D. Magazine,
and Christopher Hawthorne, currently the architecture critic for the
Los Angeles Times, scoured the
globe for striking examples of ecofriendly houses and apartment
buildings. In the books introduction,
they say that new connections
have been forged between highdesign architecture and the public,
adding that, given a culture that is
increasingly image- and style-con-

scious, only green buildings that are


beautiful will entice owners (in this
case, homeowners) to demand
them, and therefore raise the profile
and impact of sustainable design.
The eclectic collection
presentedfrom a sleek woodand-glass home with high-tech
sunshades in the Swiss Alps to a
steel town house in Manhattan
that uses a geothermal heating and
cooling systemmakes the case
that green houses have not only
shed their maligned aesthetic roots
(think sagging sod roofs) but have
also embraced modern technologies and materials. Stang and
Hawthorne group the homes by setting (city, waterside, desert, suburb,
mountainside, tropics), which both
underscores how each houses
green features are tailored to local
conditions and (on a more personal
note) helps readers envision the
ideal settings for their own green

habitats. Notably, only 14 of the 39


homes are located in the U.S., evidence of how much ground we have
to make up in this area.
With its crisp photos and illustrations and detailed write-ups of
each project, The Green House will
serve as a handsome resource
guide and inspiration for designers
and their clients. A companion
exhibition, which will
open in May 2006 at
the National Building
Museum, will go even
further to bring sustainable housing into
the public eye.
Deborah Snoonian,
P.E.
The HOME House
Project: The Future of
Af fordable Housing, edited by
David J. Brown. Cambridge: The MIT
Press, 2005, 128 pages, $24.95.
This book arose as a result of a
2003 competition that solicited
projects on the future of affordable

housing. The competition called for


designs of three- and four-bedroom
sustainable dwellings modeled on
Habit for Humanitys housing program. Though the competitions
intentions were noble, the books
production elegant, the essays eloquent, and the designs energetic,
many of the winning projects belie
some basic tenets for affordable
housing, and others use
flawed assumptions.
Most would
agree that making
housing more sustainable and affordable
will require increased
density. Michael Sorkin
says so in an introductory essay, as does
Steve Badanes, one of
the original Jersey
Devils, in an interview. But of the 25
designs selected by the jury from a
pool of more than 440 entries, only
one, by Steve Raike, proposed a
high-density solution.
The majority of projects equate
affordability with some degree of

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Books
prefabrication, and their approach
assumes that dwellings are commodities, like cars or appliances.
They are not. They must be fitted
into a physical and social context
and meet local regulatory and
cultural expectations. Furthermore,
housings major cost is not construction, but rather land, infrastructure,
and maintenance.
A number of designers converted products from other
industries, notably shipping containers, in their entries. A compelling
case can be made for recycling
when these products are surplus,
but this is not always the case. And
much of the imagery is strikingly
similar to that in the 1972 Museum
of Modern Art exhibition Italy: The
New Domestic Landscape, which
included houses made from containers and molded utility cores.
The HOME House Project competition and book dont live up to

their lofty claim of representing the


future of affordable housing, and
most of the ideas have appeared in
previous competitions. But this
beautifully produced book serves
to keep the necessary dialogue alive.
Sam Davis
Studio at Large:
Architecture in
Service of Global
Communities, by
Sergio Palleroni,
with Christina
Eichbaum Merkelbach. Seattle:
The University of Washington
Press, 2004, 191 pages, $19.90.
Since the 1960s, architecture
schools have attempted to make
education less self-referential and
more socially relevant. One outgrowth of this effort is the rise of
community design centers (CDCs),

which have faculty, staff, and students designing real projects


together, such as Samuel Mockbees
Rural Studio and Yales first-year
building program, which has existed
for 35 years.
None of these endeavors is
easy. The problems include inexperienced students whose stays at
school are brief and
sporadic; academic
institutions that
often question the
educational efficacy
of the work; and
management issues
like identifying projects, avoiding liability,
providing on-site student housing during projects, and
forming compatible teams.
Studio at Large is a portfolio
of the University of Washingtons
ambitious Building Sustainable
Communities Initiative, which has
worked in Mexico, Cuba, India, and
various rural U.S. communities.
Each project is presented as a story
focusing on the needs of the com-

munity and the political context.


The program and book emphasize
construction, not aesthetics.
Among the possible reasons
for the lack of exceptional design
are that students sometimes
stayed only long enough to start
the basic building for each project,
leaving details and finishes to
locals. Often there was little infrastructure or access to materials in
places where they were building, so
procurement and construction left
little time for design. The program
had no consistent vernacular to
draw from, as they built in so many
different locations. Finally, in this
program, an entire studio works on
a project, making collaboration and
coordination very complex.
The authors make their case
that the projects are about service,
education, and architecture, but they
make less of a case for the pedagogy.
Further, the book would have been
stronger had it included students
evaluations about what they learned
or how the experiences guided their
professional aspirations. S.D.

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Snapshot

P H OTO G R A P H Y : J E A N M A R I E M O N T H I E R S

By Ingrid Spencer

A theater in Normandy
opens wide for drama

Like the gaping crimson maw of a giant hungry beast, the Maxim Gorki Theatre,
in Rouen, France, swallows visitors into a theatrical spectacle even before the
curtain rises. Designed by the Paris-based architecture firm Jakob+MacFarlane,
the theater adds to the cultural landscape of the former capital of the duchy of
Normandy, now known as the Ville dArt et dHistoire (the city of art and history).
Sited in a former early-20th-century meeting-hall-turned-cinema, inserted
among 19th-century row houses, the theater occupies a region where, according to architect Brendan
MacFarlane, Communists had a strong political presence (hence the name Maxim Gorki, after the Russian
revolutionary writer). The 5,249-square-foot auditorium belongs to a national circuit of drama-only (no music or
dance) theaters throughout France. Other than convincing the town that their theater should be red, recalls
Macfarlane, the two major problems we faced were that the space had never worked acoustically and had bad
site lines throughout. To celebrate the venues history and solve the technical problems, the architects distorted
the shed-roofed volume to create what they call a new stomach within the skin. They introduced stepped seating, a wood floor, and sliced wood paneling for walls and ceiling. The volumetric deformation and ceiling pleats
deftly hide the mechanicals. And the red? That was tough, says Macfarlane, but eventually they understood.

09.05 Architectural Record

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The

L!BRARY

goes back
to school

The Robin Hood


Foundation
prompts
architects to
re-envision
the public
school library

PHOTOGRAPHY: PETER MAUSS/ESTO, EXCEPT AS NOTED;


JEFF GOLDBERG/ESTO (THIS PAGE, TOP AND MIDDLE RIGHT)

had a dream of reinventing the library for


elementary students,
says Lonni Tanner, who
headed special projects at the
Robin Hood Foundation for 11
years. In 1998, she and Henry
Myerberg, AIA, a partner at
Rockwell Group in New York,
visited a school in Brooklyn and
saw what passed for a library: a
room with a few dusty books
and out-of-date computers.
Soon they discovered that many
of the public schools in New
York City had similarly dispirited spaces posing as libraries.
The kids deserved better, Tanner
felt. Essential to their thinking is
that librariesat the heart of
learning and educationcan have a lasting effect on poverty.
You cant change all the classrooms in a school, but you can
make a librarywhich takes only 5 percent of the physical
space of a school, but has a 100 percent inuence, says
Myerberg. Thats a great rate of return.
So began the Robin Hood Foundations library initiative, which has evolved into a unique collaboration with
New York Citys Board of Education to create, fund, and maintain school libraries in some of the most impoverished areas of
the citys ve boroughs. Myerberg worked closely with Tanner
to jump-start the project, asking other architects to volunteer
their services. He was amazed at how easy it was to get help; it
took 10 phone calls to get nine New York architects (plus himself) to design the initial 10 projects, which were completed in
2002. Since then, on the second round, he designed seven of
the next 21 libraries, which opened in 2004. For the third
round, he will undertake about ve of a total of 25 libraries,
which will be also be designed by seven other local architects,
four of whom created prior libraries for the project.
09.05 Architectural Record

87

FEATURES

By Jane F. Kolleeny

P.S. 184
Richard H. Lewis
Architect
Postindustrial-style
light fixtures, designed
by Fabulux, a local
Brooklyn firm, and
stackable benches
called Kin-der-link,
designed by Skool,
complement photomurals by photographer
Dorothy Kresz, who
used images of the
actual star pupils of
the school.

The inspiration becomes reality

P.S. 145,
Rockwell Group
This 1,800-square-foot
space has a perimeter
of fixed bookcases,
storage, and a librarians workstation, all of
which allows for maximum interior area. An
overhead translucent
scroll, which depicts
poetry written by the
schools children, forms
an arena for storytelling and an inspiring
wave for inquiry, says
Henry Myerberg, AIA.

P.S. 192,
Gluckman Mayner
Architects
From a ceiling,
designed to look like
a sky with clouds,
suspended light fixtures resemble books
with flapping wings.
Bamboo floors,
formaldehyde-free
wheat-straw board for
the casework, and recycled plastic are among
the materials used for
their low-cost and sustainable properties.

88

Architectural Record 09.05

The goal of the rst round was to create a model


that might be applicable to other school districts in the U.S.
Its not about creating a box or a room or putting books on
the shelf, says Tanner. I wanted the library to do its duty
with the rest of the building and the schools program.
The library initiative ts perfectly into the mission
of the Robin Hood Foundation, a nonprot organization
founded in 1988 by commodities broker Paul Tudor Jones
and two friends in an effort to give something back to the
less fortunate in a society that made them wealthy. The foundation has become a favorite of New Yorks high-ying
hedge-fund managers, many of whom have given to it generously in recent years as their own fortunes soared. The
group funds soup kitchens, education, job training, and programs for the homeless, supporting about 140 organizations
in the greater New York City area. Executive director David
Saltzman says, The library initiative is a model of what public/private partnerships can and should be. Generations of
poor children in New York City will benet.

The architects involved in the library initiative knew they needed to understand the
students before they could design for them.
Calvin Tsao, AIA, a partner at Tsao and
McKown Architects, who has completed ve
libraries to date, says: We examined what the
word library means today, technologically
and sociologically, and then sought to dene
the word for this particular group of people.
We deconstructed and reevaluated the purpose of the library specifically for the
students, to reinsert learning into there in a
way that would be relevant to them.
From the beginning, a stream of
donationselicited by Tannersprang forth,
including one million books each from
Scholastic and HarperCollins, paint from
Benjamin Moore, computers from Apple,
advanced education (Master of Library
Science degree programs) for the librarians from Syracuse
University, graphics from Pentagram, and other gifts in kind.
Even with donations and modest spending, the budget for
the design of each library typically runs $400,000 to
$500,000, a hefty commitment for schools with limited
resources. But the Board of Education has committed its
ongoing supportessentially in the form of a two-to-one
matching grantputting in two dollars for every dollar contributed by Robin Hood.
The architects learned that the old-fashioned definition of libraries as quiet, private places to read has
morphed over time into a notion of settings for collaborative learning. They serve as gathering spots, where kids can
work together on computers and watch or deliver presentations. Libraries have become media centers where
technology and the Internet provides access to the world at
large. Public performance and interactive learning appear
to help the kids develop condence. For that reason, the
libraries feature theater areas or town halls, as Tsao refers to

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P.S. 137,
Rockwell Group
In this library, customdesigned tables move
like wheelbarrows, and
seats are made from
colorful recycled seat
belts. An overhead
frieze features a weave
of wishes written by the
school children. The
library is a welcoming,
colorful, and playful
setting for learning and
teaching, says Henry
Myerberg, AIA.

P.S. 256,
Tsao & McKown
Architects
Calvin Tsao, AIA,
remarked that the
architects paid specific
attention to the
concepts of communal
learning versus private
learning, which can
be harmonized through
design. This is evident
in the separate work
areas shown in this
library, where several
activities occur
simultaneously.

P.S. 151,
Dean Wolf
Architects
Conceived as a reading
playground, bookshelves intertwine with
both the space of the
library and the furniture
for the children. Shallow
ramps wrap the area,
establishing a dynamic
relief that engages children in an exploration
of the perimeter bookshelves from varied
points of view.

90

Architectural Record 09.05

them, a deliberate attempt to center the space in a traditional way and use design as a learning device.
The team of architects from the rst round of
libraries established parameters to guide later designs. They
agreed on the need to accommodate librarians/teachers leading an active class, students giving performances, and
individuals studying alone. Since each space comprises no
more than 2,000 square feet, exibility became a key design
component. Many areas have multiple uses facilitated by
custom-made movable furniture and shelving. Each library
required a minimum of four computer stations, wireless
access, and storage for 10,000 books. While the design in each
instance is unique, the aim has been to standardize the program and develop an economy of means.
The designs themselves

Architect Richard Lewis has designed ve of these projects to


date and is slated to do ve more. He has enjoyed the sense of
common purpose that Robin Hood encourages among the
architects. It is so satisfying to see the positive
effect of these libraries. Thats why the issue of
professional fees has been so unimportant, he
comments. The architects speak glowingly of
their experience with Robin Hood, despite
modest fees, which offset a portion of their
direct costs. Michael Beirut, a partner at
Pentagram who serves as graphic designer for
the libraries, reiterated this experience. He
described this work as the most fullling of his
career. Perhaps the look on the kids faces as
they use the places explains the motivation of
everybody involved in the initiative.
Looking at tight budgets and existing
spaces, the architects found that some of their
best tools for enlivening the libraries included
customizing portable furniture, applying bright
colors, and bringing in lots of daylight, original
graphics, and whimsical light xtures. While the
libraries are ambitious for this context, they are
often conservative for the architects themselves,
many of whom have established reputations for innovative
design. Marion Weiss, a partner at Weiss/Manfredi
Architects, who designed a library at P.S. 42 in the rst
round, made a big impact simply by changing the librarys
location. Moving it from the fourth oorwhere, in isolation from the center, it seemed to imply that reading belongs
at the periphery of educationshe placed it on the rst
oor, where it is visible from the street and makes clear the
schools commitment to books and learning.
One of the challenges the architects faced was combining public and private areas in limited space. Some
designs use bookcases, often on wheels, to dene zones.
Multifunctional furniture such as ip-op desks and
stools also help, along with curtains that can be drawn or
opened as needed, and areas that can morph into proscenium seating, a stage, or work area.
Tod Williams Billie Tsien Architects completed one
library in the rst round and three more in the second. Partner
Billie Tsien, AIA, said they learned that a great cabinetmaker is

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P.S. 1,
Marpillero Pollak
Architects
Sitting on poofs,
says Linda Pollak, AIA,
the younger children
are raised on a platform that doubles as a
stage for the older students. These young

not only your friend but potentially the primary builder of the
library, since he/she can produce the space-dening bookcases
that can make a room feel good.
Beirut unied the projects with an identity built
around the word l!brary, with an exclamation point in place
of the i. Throughout the interiors, this iconic branding crops
up in a variety of materials and formsin signage, carpets,
ooring, and the glazing of doors. Since the kids typically can
only reach 5 to 6 feet up to the top shelf, most architects kept
the shelves low but took advantage of generous ceiling heights
by putting murals on the walls above the shelving.

children have their own


tiny stage, which is not

Moving ahead

visible in this image.

So far, the libraries have been big hitsnot just with the design
community, but more important, with the administrators,
teachers, principals, and children who use them. Principal
Robert Flores of P.S. 106 in Brooklyn says, You cant fathom
what this library has done for this community and the 650
students served by the school. When the program began, few
of the teachers believed they would see much
outcome from the initiative; they had long
become accustomed to unfullled promises and
cuts in school funding. Yet after the completion
of the third cycle, there will be more than 55
new libraries built with 595 more to go, to fulll
the Robin Hood Foundations goal of completing a school library for each of the 650 public
schools in New York City.
The projects have won eight AIA
awards for excellence in design, and this year,
Tanner received a special citation by the New
York City AIA for the work, along with Christo
and Jean-Claude for their Gates in Central
Parkthe only recipients of this award in
2005. The good will, strong design, and civil
virtue of these projects are hard to quantify.
And now the initiative is having an
impact beyond New York. Baltimore launched a
similar program in its public schools in 2001.
The rst library, Southeast Middle School,
should open this fall. Designed by Alexander Design Studio,
it won a Baltimore Chapter AIA award as an unbuilt project.
With funding from grants raised by Baltimores Board of
Education, the city is preparing to expand the program. We
enlisted the help of 12 architects to do 12 more libraries for
the schools, says Alexander. While Robin Hoods library
initiative is 100 percent in New York City, the idea of public/private partnerships to effect change in student
performance and schools nationwide is both its promise and
example. This remarkable project has drawn people together
in creative and meaningful ways, bringing attention to communities that sorely need it.

Childrens art lines the


wall above the windows
and shelves in this funloving design.

P.S. 16,
1100 Architects
This library features a
freestanding, serpentine
bookcase, which serves
both as a unique visual
element and a divider to
make the small space
into three distinct areas.
Says Juergen Riehm,
FAIA, The shape [of the
bookcase] is echoed in
giant Barrisol light fixtures that effectively
illuminate, anchor,
and further define the
work areas.

P.S. 32,
Tod Williams Billie
Tsien & Associates
Here, the architect
takes advantage of the
ceiling both through
recessed lighting and
tubes of light that
extend into air, joining
the ceiling to the floor
and warming up the
space. The ceiling of a
library has great potential as an important
elevation, says Billie
Tsien, AIA.

92

Architectural Record 09.05

While the Robin Hood Foundation makes libraries happen,


Common Ground creates housing and community development projects for New Yorks homeless and underprivileged.
Visit www.archrecord.construction.com/people/ to read about
its most recent undertakingrestoration of the Prince George
Ballroom, a unique public/private endeavor.

2005 Johns Manville

More and more architects are


specifying formaldehyde-free insulation.
Must be something in the air.

Only Johns Manville makes a complete line of formaldehyde-free fiber glass insulation.

JM is the only ber glass insulation that passes Environmental Specication 1350 with

non-detect for all pollutants. Its the nations toughest indoor air quality
test, and its the standard California architects and public school ofcials
rely on to protect 6.2 million children. And JM leads the industry with
more than twice the post-consumer recycled content of any other ber
glass insulation manufacturer. Thats why more architects
see JM as not just the best insulation, but the right insulation.
For more information, visit our Web site, specJM.com.

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DIETRICH METAL FRAMING UNVEILS NEW METAL FRAMING


CLIP, CONNECTOR AND FRAMING HARDWARE CATALOG
144-Page Guide Contains Design Data for Architects, Engineers
Dietrich Metal Framing, a Worthington Industries
Company has unveiled a new Metal Framing Clip,
Connector and Framing Hardware catalog. The
144-page guide details the companys complete
line of light gauge framing clips and connectors.
Most significantly, for architects, engineers and
others involved in the specification of building
products, the catalog contains:
Comprehensive load tables and engineering
data for every clip and connector Dietrich
Metal Framing offers.

In addition, Dietrich Metal


Framing ensures product
performance and reliability
through rigorous testing in the
companys own ICC-ESapproved in-house laboratory.
The new catalog is divided
into seven major product
categories: deflection clips
and connectors; head of wall
deflection systems; rigid
connectors; floor joist framing
connectors; bridging, bracing
and backing systems; truss
framing; fire-rated connectors;
and specialty clips.
Most clips and connectors
are available for next day
delivery through Dietrich Clip
Express. Clips are shipped in
convenient small package
quantities and most are shipped in resealable, waterproof buckets for easy handling
on the job site.

Load table data for multiple fastening


options, including welding, power-driven fastening, and screw connections to assist in
determining the most efficient fastening
method.
Detailed fastening instructions including
fastening patterns to achieve various levels
of performance based on condition requirements. Product illustrations and application
drawings also are provided.
An overview and highlight of each product,
including full-color renderings and a review
of each products features and benefits.
A comprehensive index and quick
reference guide.
Downloadable CAD details available in .dwg,
.dxf, and .pdf file types on
www.dietrichmetalframing.com.
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To order a copy of the new Metal Framing


Clip, Connector and Framing Hardware
catalog, visit www.dietrichmetalframing.com
or contact any facility in the Dietrich Metal
Framing nationwide network. The catalog is
also available in CD-ROM format.
For more information, contact
your Dietrich Metal
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representative.

About Dietrich Metal Framing


Dietrich Metal Framing, a Worthington
Industries Company, is the leading
manufacturer of light-gauge framing and
finishing products, systems and services
for commercial and residential construction.
Dietrich offers the largest selection of
light-gauge framing and finishing products
including drywall and structural framing,
floor joists, roof trusses, metal lath, fire-rated
assemblies, numerous deflection systems
and an extensive line of metal, vinyl,
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People will think youre a genius for putting art on the ceiling.

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Overnight Sensations
A global Whos Who of architects
and designers teams up to
create a hotel in Madrid
FEATURES

By David Cohn

ommissioning
15 star architects
and designers
to collaborate on a
new boutique hotel in
Madrid required a big
leap of faith; the results
could have veered toward
either an inspired design
destination or the aesthetic equivalent of acid
rain in Spain. Were
happy to report, however, that the Hotel
Puerta Amrica, which
debuted in July, is not an
exercise in marketing
buzz trumping true
design. Though off-kilter
David Cohn is records international correspondent based in Madrid.
96

Architectural Record 09.05

Zaha Hadid
In the Hotel Puerta
Amrica, Hadid
designed a floor of
guestrooms as amoeboid environments in
solid-surface acrylic.
Rooms come in white
(this spread), black, or
crimson, with custom
linens (opposite, top)
and streamlined storage (opposite, bottom).

09.05 Architectural Record

97

Richard Gluckman
Lighted acrylic boxes,
in either blue or yellow,
inserted into a white
acrylic wall (above and
far left) contain a minibar, desk, TV, and other
services. A white metal
curtain partitions off the
room from the bath (left).
98

Architectural Record 09.05

Arata Isozaki
Inspired by Junichiro
Tanizakis In Praise of

Shadows, Isozaki created dark chambers


(left and below) with
stained-oak shojilike
screens at the windows
and headboards, and

P H OTO G R A P H Y : R A FA E L VA R G A S , E XC E P T A S N OT E D ;
R I C A R D O L A B O U G L E ( P R E V I O U S S P R E A D A N D O P P O S I T E , B OT TO M L E F T )

soft illumination.

in certain quarters, this is no heartbreak hotel


for design afficionados checking in to check out
the latest hotspot.
Zaha Hadid, Norman Foster, Ron
Arad, and David Chippereld were among
the teams Whos Who of marquee-name
architects, each charged with designing one of
12 oors, budget no object. Jean Nouvel, who
orchestrated the roof deck, top-oor suites,
and facade awnings, says the Puerta Amrica
is not a symphony, but a lot of little songs.
For the hundreds of reporters who
trooped from oor to oor at a recent press
preview, the hotel seemed more like fascinating cacophony. British designer Kathryn
Findlay has fashioned an all-white cocoon
with a suspended bed, deep-plush fabrics,
and organic/amorphic furniture. Arata
Isozakis dark chambers, inspired by Junichiro
Tanizakis poetic book In Praise of Shadows,
include bathrooms with austere cedar bathtubs and showers. Plasma Studio dreamed
up a garretlike Caligaris Cabinet of faceted
stainless steel, with LED light strips streaking
through the seams. Richard Gluckman
created serene backlit light boxes in cool blue
and lemon yellow, with faux-leather poufs,
ber-cement-board walls, and industrial carpetinga 1970s New York crash pad.
The standouts are Hadids enfolding
landscape of continuous polished curves in
solid-surface acrylic nishes and a choice
of total-immersion white, black, or crimson;
and the jazzy racing-car cockpit capsules,
made of the same material and containing bed
and bath that Arad dropped into each of his
rooms. Like several other designs, these oors
are a tribute to the materials and craftsmanship of the main fabricator, B&B Italia. Fosters
backlit, translucent marble counters, wovenleather wall surfaces, and curving, illuminated
glass walls, for instance, are exemplary.
Chipperelds calm spaces, with terra-cotta
platforms and pale blue ceiling canopies, serve
as a counterpoint to Nouvels suites, where
large baths open into living areas via sliding
glass walls. Mildly suggestive photos by
Nobuyoshu Araki and Alain Fleischer are projected onto walls of Nouvels rooms with a
voyeuristic ourish.
Surprisingly, many guestrooms are all
blacksleek and tough. (Nouvel walks the ne
line between libert, the hotels motto, and libertinage.) At the opposite end of the spectrum,
all-white rooms reignsome cozy, others cool
(a high-class chemotherapy clinic, sniffed one
Italian journalist about Fosters rooms)along
with a proliferation of bathrooms opening onto
or melding into the bedrooms.
100

Architectural Record 09.05

Jean Nouvel
Steam causes virtual
photos to emerge on
the glass between
bath and bedroom in
Nouvels chambers
(above). The architect
also designed a colorful canopied facade
(right) for the building,
by SGA Estudio.

Foster and
Partners
Bathing and sleeping
functions occupy the
cabinlike spaces of
Fosters rooms. Offwhite leather walls,
even in the bathroom,
convey a sense of cloistered luxury. Fosters
curving hallways
(above) float between
borders of light.

Kathryn Findlay
The Scottish architect,
in collaboration with
interactive designer
Jason Bruges, created
a lobby on an upper
floor, which features
an undulating, amorphous bench (right)
that prompts guests
to interact with it. A
memory wall, constructed of fiberoptic panels, records
and projects guests
movements.

The overall ambience seems to


appeal openly to sexiness and fun. Hadid
specied backlit, stenciled LEDs along the
hallways for the room numbers and Do Not
Disturb signs. A virtual photo appears when
the glass steams up in Nouvels bathrooms.
The polka-dot pattern of electric sensors in
Findlays hallways, designed in association
with artist Jason Bruges, blink on and off in
waves as guests pass.
Going against this trendy starkness
is a pop kaleidoscope of jarring colors and
patterns, orchestrated by Barcelona graphic
designer Javier Mariscal, who furnished a
hotel in Bilbao for the same owners (the
Barcelona-based Silken Hotel chain).The
Seville fashion designers and decorators
Victorio and Lucchino have lled rooms with
neo-Deco inspired objects. Australian
designer Marc Newson aimed for a totally
posh interior, with polished red-lacquered
hallway walls and water-carved, statuequality Carrara marble lining bathrooms.
You have to leave his spalike enclave and venture downstairs to the Newson-designed bar
to nd some of his funkier, organic chairs.
Other impressive ground-oor
spaces include John Pawsons calming lobby
lounge and check-in area. Christian Liaigres
restaurant, however, has an uninspired
Spanish theme.
The eclectic collection of highprole designers says something about the
architectural sophistication of Spains business class, with the predominance of foreign
studios and gures who, like Foster, Hadid,
and Isozaki, have established presences here.
Signicantly missing from the roster are any
of Spains own top architects.
Cutting-edge interiors aside, perhaps
the hotels main drawback is the unremarkable commercial design of the building itself,
by Madrids SGA Estudio (Jean Nouvel only
did the facade), which reveals the origins of
the project as a generic business hotel. The
architecture provides no cohesion for the
widely scattered interior design styles, particularly the poor ground-oor layout. Nouvel
explains that he sought only to dress the
facades with brightly colored awnings, which,
coupled with the Madrid designer Teresa
Sapeys supergraphics in the parking garage,
add supercial ash.
Sited beside the highway gateway
between Madrid and the airport, Puerta
Amrica turns a choice, but unattractive,
location into a true destination. The latest
design trends have turned reserving a room
into a major lifestyle decision.
102

Architectural Record 09.05

Christian Liaigre
A hotel restaurant,
Lgrimas Negras
(Black Tears), by Liaigre,
a French designer,
features a backlit
acrylic bar decorated
with abstract motifs.
A wine-storage wall
separates the bar from
the kitchen.

Marc Newson
Four hundred thin, vertical aluminum louvers
accentuate the 23-foot
ceiling height of the
Marmo Bar, just off the
hotel lobby. Caves,
with leather banquettes
for semiprivate lounging, flank the bar,
composed of a 28-foot-

P H OTO G R A P H Y : R I C A R D O L A B O U G L E ( O P P O S I T E T W O A N D T H I S PA G E , FA R R I G H T )

long piece of marble.

Plasma Studio
The halls and lobby of
the floor by Plasma
dramatically update
20th-century German
Expressionism. Here,
LED lights spark the
seams between facets
of stainless steel
(right). Shiny steel
continues into the
glass-enclosed baths
inserted into the sleeping areas (above).
09.05 Architectural Record

103

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Record Interiors
then rolled in an anchovy, the projects in Record
Interiors 2005 are intriguingly multilayered

(though some more enigmatically than others). Our


featured architects, layering their creations from the

2005

BU I LDING TYPES STUDY 849

ike the famous riddle wrapped in a mystery

outside in, have altered the inner character of what was


in most cases an existing shell.
At Aoba-tei restaurant in Sendai, Japan, for
example, Hitoshi Abe transformed the interior of a
bland office building by inserting a steel capsule, or skin,
perforated with abstracted images of trees. The resulting
effect poetically evokes dawn or dusk in a forest.

Here, as in several other projects, sharp cor-

ners and boxy containers vanish behind curving surfaces


that meld walls into ceilings and oors. For the Bizarre
boutique, in Omaha, Randy Brown produced a seamless

spatial insertion, modeled like origami from a single


sheet of paper. At Endeavor Talent Agency, in Los
PHOTOGRAPHY: GOLLINGS PHOTOGRAPHY (1); BENNY CHAN/FOTOWORKS (2); EDUARD HUEBER/ARCHPHOTO
(3); SHINKENCHIKU-SHA (4); MARGHERITA SPILUT T INI (5); CHEN SU (6); ASSASSI (7)

Angeles, Neil Denari cast an icy white ow of ceiling and


wall planes with occasional splashes of intensely hued,
unconventional wallpaper by the graphics rm 2x4. And
5

at Template House, an apartment in a Beijing high-rise,


Michele Saee shaped an interior with sensuously smooth
and curving oor-to-ceiling planes of cherrywood.
For Cassandra Faheys own loft in North
Melbourne, Australia, the architect slipped a huge,
red, translucent sculptural formcontaining actual

roomswithin a gritty industrial warehouse, behind


the commercial supergraphics of its existing facade.
And though ARTEC designed the entire
building for its Lwen von Aspern pharmacy, outside

Vienna, the rm provided a relatively modest box for its


interior accretions. Whereas many of the other projects
focus on inner skins, this one emphasizes bony structuresin the form of ceiling-suspended aluminum
display casesthat dene the space.
Finally, for The Modern, a restaurant inside
New York Citys Museum of Modern Art, Bentel &
Bentel retained the spaces original rectilinearity, while
dematerializing its surfaces with miragelike layers of
shimmering materials: ripply, hand-polished stainless
steel, translucent glass, and stretched PVC membranes.

The firms featured are:


1. Cassandra Complex 2. NMDA 3. Bentel & Bentel
4. Atelier Hitoshi Abe 5. ARTEC Architekten
6. Michele Saee Studio 7. Randy Brown Architects

So, as you enter the following pages, we


encourage you to peer within (and between) the rich
strata of inner layers. Sarah Amelar
For more information on these projects, go to
Building Types Study at www.archrecord.com.
09.05 Architectural Record

107

A sculptural, steelframed form, clad in


glass tiles, plays
against the open industrial loft space. Housing
bedrooms, bathrooms,
and a den, the great
red object glows from
within like a lantern. Its
inset bathroom, with
resin sinks, can be
closed behind a hinged

PRO JECTS

translucent panel.

For CHAMELEON, the architects own loft,


Cassandra Fahey builds a huge lantern,
whose glowing skin changes with the light

he very rst house Australian architect Cassandra Fahey built,


designed in 1999 while she was still a student, stopped traffic
with a giant headshot of actress Pamela Anderson splashed in
glossy blues across its facade. Borrowing freely from popular
culture, the provocative juxtaposition overlaid the public face of a private
home with the universal ownership of a media icon. For Faheys own loft,
however, supergraphics already accentuated the existing buildingwith
the word DAVEYS, in letters nearly 3 feet high, spanning its entire redbrick, gabled facade. The two-story structure in North Melbourne had
started out, in 1910, as a candy factory, but its banner headline came many
decades later, when Daveys Automotive Electrical moved in. Though the
automotive business vacated this property about 10 years ago, the district
thick with car showrooms and recent loft renovationshas since acquired
landmark status, ensuring the permanence of the Daveys sign.
So, unable to change the buildings exterior, the architect intervened with an inner facade glimmering behind the original. Now from the
street, you can glimpse up at a luminous, curving, candy-red wall set several
feet behind the second-oor windows. Like the Pamela Anderson facade,
this surface remains publicly present, tantalizingly translucent, yet barely
penetrable visually. Partially obscured and lusciously red, the form entices
like those great big lollies they once made in the sweets factory here, says
Fahey, head of Cassandra Complex, a six-person architectural rm. Taking
evident delight in layering her work with a multiplicity of metaphors and
free associations, she adds, But its also personally nostalgic, like the great
ruby (or fake ruby) ring in a case that I discovered in my aunties drawer.
To reach the 1,300-square-foot loft, you ascend a straight run of
steps that glow with risers of orange acrylic behind perforated metal. At
the top landing, a gold-colored door, inlaid with a grid of magenta acrylic
circles, marks the new threshold, deftly slipped behind the old entryway.
The architect angled the magenta inlays to match the slope of the stairs.
As a result, the translucent circles channel sunlight from within the apartment, obliquely casting hot-pink ovals of light along the stairwell.
But the front door is just the beginning. Throughout the loft,

110

Architectural Record 09.05

Fahey redirects light and imagerycreating prisms, facets, and axes


of refraction or reection. The range of effects becomes apparent only gradually, while the spaces dominant object comes into full view instantly: a red,
sculptural form, embracing nearly 1,600 cubic feet and glowing from within.
Before the architect designed this loft for herself and her domestic partner, she happened to visit sculptor Richard Serras Torqued Ellipses in
its original setting, a converted New York City garage. She was struck by the
proportional relationship between the large sculptural forms and the industrial container, or building. Spatially and geometrically, Serras inuence is
evident in this Melbourne project, which, like the Ellipses rst home, has an
open roof structure of old timber trusses. But in materials and function, the
red volume differs markedly from Serras rusted-steel installation.
Steel-framed, Faheys object brings together 450 glass tiles of various sizes and shades of red and brown. The darker hues, clustered toward
the bottom, accentuate the curves. Within the swooping red walls, the
architect placed the main bedroom and two bathrooms on the main level,
and the guest quarters with a den on the mezzanine. Outside the sculptural
container, she left the more amorphous zones of kitchen and living room.
Faheys domestic partner, an emergency-room physician, wanted
their home to reect the changeability (sometimes from minute to minute)
in his daily life. And so, the architect recalls, she envisioned her huge, red
object as an abstracted chameleon (well, yes, a chameleon that happens to
evoke a lollypop, a ruby ring, a Serra sculpture, a lantern, and more).
Though not literally modeled on a lizard, the glassy skin changes color constantly with the light. And because each scale, or tile, rests at a slightly
different angle, curious things happen, observes Fahey. Sometimes we
notice a reection of someone walking all the way across the street. Then
they disappear and, a few minutes later, reappear on another tile.
Just as the red object reects and reframes ashes of the outside
world, mirrorsslightly cranked on the east and west wallsintensify
daylight in the loft, making up for the absence of windows to the north or
south. Further enhancing the sunlighting, a central eastwest corridor,
leading from a window, redirects rays into distant corners of the space.

P H OTO G R A P H Y : J O H N G O L L I N G S / G O L L I N G S P H OTO G R A P H Y

By Sarah Amelar

The 1910 industrial


building began as a
candy factory, but
later housed Daveys
Automotive Electrical
(until about 10 years
ago). Since the district
is now landmarked,
the sign is there to stay
(opposite). Inside,
Faheys recycled Jarrah
wood floors complement the original
timber roof trusses
(this page).

In the kitchen, some


walls bear blown-up
film clips, originally
extracted from the
childhood movies of
Faheys domestic partner. The red form casts
stripes of crimson light
across the kitchen
floor (above). In the
bedroom (right) and
elsewhere, skewed
mirrors intensify and
redirect daylight.

112

Architectural Record 09.05

Four-hundred-fifty
tiles, or scales,
custom made from
colored film laminated
with glass, clad the
red chameleon,
which houses a guest
room and den on its
mezzanine level.

Risers of orange acrylic


behind perforated metal
lead to the lofts goldhued entry door, inlaid
with clear magenta
circles (left). One bathroom has a prismatic
assemblage of mirrors,
layered glass, and rosy
film (opposite).

1. Kitchen

2. Bathroom
2

3. Guest bedroom

4. Living
5. Den
6. Storage
7. Roof deck

1. Entry
A

2. Living
3. Dining counter

12

4. Kitchen
5

5. Master bedroom
6. Guest bedroom
7. Bathroom
8. Wardrobe

9
11

12

10

9. Laundry
10. Den
2

11. Storage

114

Architectural Record 09.05

3 FT.
1 M.

Other mirror tricks, which seem more inventive and poetic than
gimmicky, appear in the two bathrooms. In the smaller one, a prismatic
assemblage of layered greenish glass; reective, rose-colored lm; and planar mirrors evokes a faceted gem (to accompany the giant ruby). The larger
bathroom, cut into the rubys face, complements mirrored surfaces with
areas of luminous transparency, as in the clear, bubbly, blue-green resin of
the custom-made sinkspermitting full views of the plumbing. (In a
quirky inversion of an optical illusion, the sinks and tub are actually trapezoidal, with angles generated by the buildings skewed west wall.)
In the kitchen, where windows overlook the actual streetscape,
Faheys manipulation of imagery takes yet another twist. Here, she
papered some of the walls with blurry, blown-up lm clips, extracted
indirectly from the childhood home movies of her partner. Intentionally
vague and out of focus, the images do not overpower the space. But
unexpected moments occur, the architect points out. From the toilet in
the main bathroom, through the mirror above the vanity (which reects
the east-wall mirrors that, in turn, reect down the corridor), you suddenly see the little face of six-year-old Mick.
Remarkably, the loft, for all its mini surprises and eclectic bits,
conveys a playful cohesiveness, rather than a fun house jumble. Though
Fahey approached the design with an extraordinary mlange of
metaphors (and proudly refers to one of her other projects as a mongrel), her homewinner of several Australian awardscomes across
with architectural clarity and resolution. Remaining abstract (and, yes,
like a chameleon), it never imposes one particular reading. When the
architect recently heard someone propose yet another, metaphor-rich
interpretation of this scheme, she responded: Sure, go with it.

12

12. Void

FIRST LEVEL

SECTION A-A

6 FT.
2 M.

MEZZANINE LEVEL

Project: Chameleon, North

Sources

Melbourne, Australia
Architect: Cassandra Complex
Cassandra Fahey, principal

Laminated glass tiles: Stevens


Glass (custom, with colored lm)
Resin sinks: Custom fabrication by
James Healy and Peter Scott

The screening room,


at grade, has an entry
facade of glass and
anodized aluminum
(opposite). On the upper
floors, intensely colored
end walls contrast with
curving, pure white
planes (this page).

Liberating an interior from its boxy container,


Neil Denari produces the curvaceous,
cool white ENDEAVOR TALENT AGENCY

P H OTO G R A P H Y : B E N N Y C H A N / FOTO W O R K S

ts been worth the wait. Los Angeles architect Neil Denari, AIA,
belongs to that category of architect who came to the construction
site latethat is, after years of teaching, theorizing, and pursuing
projects that proved elusive. But l.a. Eyeworks, a boutique he completed in 2002, nally gave him exposure and credibility. Now Denari is on
a roll, with commissions from Los Angeles to Manhattan and Tokyo. Most
recently, he completed the offices of Endeavor Talent Agency, on Wilshire
Boulevard in the heart of Beverly Hills, a build-out in a 1960s structure.
Endeavor, a new arrival in the entertainment industry, has
launched itself on an ascendant arc that has already placed the company on
a level with CCA and ICM. In the past decade, architecture has become an
attendant art in that industry, with many moguls buying classic midcentury
homes, and some commissioning top architects to create pedigreed buildings for their corporate offices. Just down the block from Endeavor, I.M. Pei
famously designed CCAs headquarters, setting local precedent for architecture enlisted in the cause of corporate image and prestige.
As an agency in need of an architect, Endeavor did what it does
Joseph Giovannini is an architect and critic based in New York and Los Angeles.

best, launching a talent search and auditioning more than a dozen top local
rms carefully scouted by Tom Strickler, the partner in charge of the project.
The companys previous ve-oor home had stratied the agency. For its
new quarters, Endeavor leased Beverly Hillss biggest oor plateat 27,000
square feetand asked Denari to meld the third and fourth story into a
duplex.Maximizing communication was critical, says the architect, referring in particular to the rapport between agents and assistants, who usually
work just outside the agents office within constant visual and verbal reach.
The agent/assistant adjacencyan inviolable, almost ritualistic
space in Hollywoodconstituted the new schemes building block. Denari,
with Duks Koschitz as project architect, gave each agent a window office at
the oors perimeterjust a thin wall away from the corresponding assistant
in one of the open workstations clustered in the central space. The program
called for meeting rooms, as well as an 80-seat theater at grade, where
Endeavor could invite clients for private screenings. Accessed through a
streetfront facade of glass and anodized aluminum, this small theater and
its lobby comprise 6,100 square feet (bringing the total area to 70,000
square feet). Behind the glazing, a curvy, seemingly folded white wall baffles
the entry. Updating the original structures bland, corporate, 1960s
09.05 Architectural Record

117

PRO JECTS

By Joseph Giovannini

Huge images of eyes


with vibrant irises animate a bowed wall in
the screening-room
lobby (this spread).
The intent is to change
the wallpaper, by the
graphic design firm
2x4, every few years.

1. Lobby
2

5. Agent office

2. Conference
3. Assistants

(shaded perimeter)
6. Restroom

4. Kitchen

4
3

5
4
1

THIRD FLOOR

2
5

20 FT.
6 M.

SECTION PERSPECTIVE: SCREENING ROOM AND ITS LOBBY

"GREEN WORLD": THIRD FLOOR

"YELLOW-ORANGE WORLD": FOURTH FLOOR

"BLUE WORLD": THIRD FLOOR

"MAGENTA WORLD": FOURTH FLOOR

The section (above,


beneath plan) cuts
through the screening
room, in red, and its
lobby. Colorfully pixilated wallpapers
accent several upperfloor end walls (above).
Folding planessome
continuous, some
overlappingweave
across Endeavors
ceilings and a few of
its walls, melding
together the duplexs
two levels (left).

AXONOMETRIC: CEILING OF DUPLEX LEVELS

120

Architectural Record 09.05

A folded wall dips


down just inside the
screening rooms street
entrance, forming a
baffle between lobby
and sidewalk (above).
Upstairs, the main
reception area (right)
features a counter
containing dashes of
fluorescent light
behind translucent
polycarbonate panels.

09.05 Architectural Record

121

Just beyond the recep-

upper level (above and

tion desk, a dramatic

opposite, bottom left).

staircase sweeps up

Bending planes define

through the structural

the duplexs lobby and

grid to the duplexs

floor above it (below).

Modernism, the facade recalls Rodeo Drives boutiques, several blocks away.
Upstairs, glass doors off the elevator lobby set the scene, introducing a white, luminous space that feels buoyant. A reception desk fronted
with translucent, honeycombed polycarbonate panels, holding dashes of
uorescent lights, establishes an edgy elegance. Just beyond it, a dramatic
staircase sweeps up through the structural grid to the duplexs upper level.
The spatial buoyancy comes not simply from the white-onwhite palette: Denari liberates the interior from its conventional, boxy
office shell by curving the walls and ceilings at their corners, creating an
envelope that wraps and shapes the spacesas the architect puts it, testing the limits of the Cartesian envelope and the right angle.
This treatment crosses the serene with the surreal, especially in the
upper-level and screening-room lobbies, where Denari layers white planes
that shift under and over each other. He maps these moves on the ceiling,
sometimes making cuts to reveal sectional build-up. In places, the effect
becomes almost Baroquefar removed from the mechanical forms that
once characterized Denaris work. Only occasionally does the mechanical
touch on this ethereal space, as in its porthole-shaped, stainless-steel air vents.
The architecture is mostly overhead. Denari transposes the normal
role of the plan to the ceiling, where the planar ow gives the spaces a directional thrust. Morphing into a continuous surface, the walls and ceilings
become a universal spatial system that Denari localizes, for example, by
bringing the planes to the edge of the stairwell or by opening them to reveal
a backlit area. The ceiling play lightens the formality of a plan derived from
business protocols that sets up a spatial hierarchy from entry point to offices.
If architects, a couple of decades ago, challenged the expectation
of simplicity by offering complexity, Denari now challenges the notion of
warmth. With white terrazzo oors, stainless-steel handrails, the occasional metal detail, and a nearly clinical sheen on many of
quasi-antiseptic surfaces, he has developed cool, white spaces that go
beyond Minimalism, into an aesthetic approaching frost. The high level of
craftsmanshipincluding factory-molded, curving wallboards
enhances the abstraction, accentuating the sense of eerie immateriality.
The architectures purposeful and successful emotional detachment is heightened by the work of 2x4, a New York graphic design rm.
For Endeavor, this team created wallpaper in intriguingly out-of-focus patterns, as in the boardroom, where TV static appears magnied to an
environmental scale. The intent is to change the wallpaper every few years
to refresh the interior. In the screening-room lobby, giant images of eyes
with vibrantly colored irises now accentuate the slightly surreal aura of
Denaris design. Elsewhere, 2x4 has surfaced end walls in intense, unexpected hues in pixelated shades of blue, green, orange, and magenta. The
graphic program complements the architectures aura of icy perfection.
Just as Venus sprang full blown from the head of Zeus, Denaris
design seems to have sprung, fully mature, from the midst of his career.
The architect may not have come to this commission with a long history
of built projects, but he arrived intellectually prepared, and produced a
conceptually strong, impeccably executed, and visually powerful space. He
understood the brief and the nature of the agency, and delivered his
scheme in a condent aesthetic language with cachet and stylethe very
subject of Endeavor. Sometimes talent is best served cold.
Project: Endeavor Talent Agency,

PERSPECTIVE: DUPLEX AT NORTHEAST CORNER OF LOBBY

122

Architectural Record 09.05

Beverly Hills, California


Architect: NMDANeil Denari,
AIA, principal; Duks Koschitz, lead
designer and project architect; Stefano
Paiocchi, Jae Shin, Matt Trimble,
Steven Epley, Betty Kassis, Brennan

Buck (graphics), project team


Sources
Lighting: Peerless; Delray; Artimede
Wall covering: Knoll; Jhane Barnes
Plumbing fixtures: Kohler; Kroin;

American Standard

Pixelated wallpaper on
the fourth floor plays
graphically against the
fire extinguisher in its
inset cabinet (top).
Porthole-shaped air
vents punctuate the
intensely red screening
room (bottom right).

09.05 Architectural Record

123

Bentel & Bentels sleek and luminous caf,


bar, and restaurant, THE MODERN, infuses
the Museum of Modern Art with a savory essence

By Suzanne Stephens

P H OTO G R A P H Y : E D UA R D H U E B E R / A R C H P H OTO

or years, New Yorks Museum of Modern Art (MoMA) has been


famous for everything but its food. Even after Sette Mezzo took
over its restaurant operations, as Sette MoMA, in 1993, the cuisine and the setting verged on the overly quiet. Now with The
Modern, operated by acclaimed restaurateur Danny Meyer and designed
by architects Bentel & Bentel, MoMA has a real chance at competing with
its high-end Midtown Manhattan neighbors.
As you enter The Modern, on the ground oor of the restored
1939 building by Philip Goodwin and Edward Durell Stone, a bar and caf
shimmer softly before you in a space originally occupied by a gallery. Here,
gleaming wall and ceiling surfaces create a miragelike setting for the barand-caf areas panoramic end wall, a refulgent photographic mural of a
jungly garden. The mural, The Clearing (2003), by German artist Thomas
Demand, is a life-size depiction of fake leaves made of paperbut never
mind. It rivets your attention, almost making you forget that your view of
the real thingthe Abby Aldrich Rockefeller Sculpture Gardenis
blocked by a frosted-glass wall. True, the wall is translucent, but you have to
be on the other side, in The Moderns ne-dining area, to enjoy the famous
museum garden with its vines, trees, and sculptures.
Creating an ambitious venue that could offer a choice of casual or
formal dining experiences within a tight museum space posed more than a
culinary challenge: For starters, Meyer needed a smoothly functioning,
soign restaurant for a clientele who might have a taste for Modernism,
but prefer it served with varied and pungent air (like Meyers cuisine).
MoMAs director, Glenn Lowry, and its chief curator of architecture and
design, Terence Riley, wanted to make sure the restaurant would keep the
purity and clarity of the Goodwin-Stone architecture, while blending with
the recent expansion and renovation by Yoshio Taniguchi with Kohn
Pedersen Fox [record, January 2005, page 94].
Although Taniguchi had submitted a restaurant design, Lowry felt
that restaurant, retail, and other specialty operations required architects with
experience in each particular areathe reason Gluckman Mayner designed
the bookshop and Alspector Anderson the conservation spaces. For the
restaurant, Lowry and Riley formed their own shortlist of architects, but
soon found that Meyer favored the rm of Bentel & Bentel. Although this
two-generation architectural practice lacks the high-octane reputation of

The swerving canopy

Inside, a restaurant,

is back on the original

caf, and bar occupy

Philip Goodwin and

a former gallery space

Edward Durell Stone

in the 1939 building,

portion of the Museum

which you enter

of Modern Art at 11

through the adjacent

West 53rd Street.

1964 annex.
09.05 Architectural Record

125

Frosted and bronze-

vegetation with col-

tinted glassalong

ored paper, lighting

with the shimmering

it to mimic the suns

PVC-over-aluminum-

rays, and pho-

framed ceiling panels

tographed that

and the stainless-

tableau. The film neg-

steel cladding over

ative was printed for

the columnsgives

an 8-foot-long-by-36-

the caf/bar a dra-

foot-high mural, cut

matic luminosity. The

in half and inserted

showstopper is the

between laminated

photographic mural,

glass panels, 8 by

The Clearing (2003),

18 feet in size. Then

by Thomas Demand.

each 2,500-pound

The Berlin artist first

section was flown

photographed a park,

from Germany and

then created a life-

clipped in place on

size simulation of the

the west wall.

11

Visitors enter the restau-

1. 53rd Street entrance

rant (above) from the

2. Entrance from

lobby of the building


originally designed by

3.

Goodwin and Stone.

4.

Perforated stainless-steel

5.

doors (opposite) close

6.

behind them as they

7.

walk along a hall past the

8.

bronze-glass wine rack

9.

behind the bar, into the

10.

caf. A separate entrance

11.

opens from 53rd Street


at the end of the Philip

6
10

museum
Bar and lounge
Caf
Restaurant
Garden dining
Restrooms
Caf kitchen
Restaurant kitchen
Private dining room
Abby Aldrich
Rockefeller Sculpture
Garden

4
7

9
3

2
8

Johnsondesigned annex.
1
FLOOR PLAN

N 0

10 FT.
3 M.

128

Architectural Record 09.05

global design luminaries, it had created well-regarded, atmospheric interiors


for Meyers Gramercy Tavern and 11 Madison Park, as well as the separately
owned Craftall thronged by New Yorks restaurant cognoscenti.
Bentel & Bentel won over the museum officials with a design that
deftly combines frosted and tinted glass planes, changing ceiling heights,
and a range of oor textures (including black terrazzo, white oak, and dark
carpet) to differentiate the various programmatic areas of the 14,400square-foot restaurant. Against the stringently planar rectilinearity of these
elements, the architects introduced such streamlined counterpoints as sinuously curved, frosted-glass walls and a gently arcing marble bar, which
refer adroitly to the Goodwin-Stone restored canopy and lobby counter and
Taniguchis fritted glass. Besides the 112-seat space for ne dining, 110-seat
caf, and 18-seat bar, the brief called for two kitchens and a private dining
room in the 1964 Philip Johnsondesigned annex next door.
To compensate for the bar and cafs less-than-soaring ceiling (at
only 10 feet 6 inches high), Bentel & Bentel selected low-slung, spare
Danish furniture (per a discount arrangement with the Danish government) along with the rms own custom designs, and covered the ceiling in

a glossy PVC membrane stretched over an aluminum frame. To further


dematerialize the structure, accentuating the mirage effect, the architects
clad the existing columns in stainless-steel plates with a hand-polished ripply nish, and created a lighted glass wall of liquor bottles and wine racks as
a glowing, vitreous backdrop to the bar.
While the caf and bar areas provide the gleaming frame for
Demands showstopping photomural, which museum curator-at-large
Kynaston McShine selected, a problem remains. The mural is a metaexperience. As stunning (and ironic) as it is, you still want to see the garden
beyond the north-facing frosted-glass wall. One solution might have been
to provide a translucent glass partition, which gradually becomes transparent as it rises, giving a sense of privacy to those seated in the ne-dining
area, while opening up views of the garden and sky.
For its part, the ne-dining room, in a long, narrow, 23-foot-high
slot dened by Taniguchis glazed curtain wall and skylit ceiling, appears
dramatic. To give the space some intimacy, Bentel & Bentel designed horseshoe-shaped booths, terminated one end of the room with a bowed,
frosted-glass, freestanding partition, and hung acoustical panels from the
09.05 Architectural Record

129

The elegant facade


overlooking MoMAs
famous sculpture
garden was designed
by Taniguchi with
space under the portico reserved for a
terrace caf (above).
The dining room of
The Modern soars to a
23-foot-height (opposite). The communal
lavatory features

ceiling. The effect is calm if a bit corporate. By night, however, with candles
indoors and lighting in the garden, a more glamorous ambience prevails.
The outdoor terrace, edging the upscale dining area, entices, but
when does the restaurant ever use it? Lowry insists it will be up and running
in time. But if it is reserved for the ne-dining crowd (the nearest kitchen is
for the priciest menu), then the casual garden cafwhere museumgoers
in the old days could sit for hours sipping coffeewould be lost.
Cavils aside, The Modern merits its front-and-center position
within the museum. Well deserving of its name, the space evokes a 1930s
sensibility without being too austereor, on the other hand, too themed.
It forms a compelling insertion into a historic building. And best, its a
place where youd want to hang out. Now when you say, Meet me at The
Modern, you might mean for a drink or food, as well as art.

porcelain bowls (right).

130

Architectural Record 09.05

Project: The Modern, New York City

Sources

Architects: Bentel & Bentel

Acoustical plaster ceiling: Baswaphon

Paul Bentel, FAIA, Peter Bentel, AIA,


Carol Bentel, FAIA, Susan Nagle,
Frederick Bentel, FAIA, collaborating
principals
Lighting: George Sexton Associates

Terrazzo flooring: Krisstone


Furniture: Fritz Hansen; Erik
Jorgensen; Kobenhavn Design;
Albrecht Studio; Globe Furniture;
R. Randers; M. Cohen & Sons

132

Architectural Record 09.05

Deep inside the AOBA-TEI restaurant,


Hitoshi Abes design evokes dappled
sunlight filtering through an alle of trees

By Naomi Pollock

P H OTO G R A P H Y : S H I N K E N C H I K U - S H A

PRO JECTS

oba-tei may be more than 200 miles


from Tokyo, but the exclusive French
restaurant is anything but provincial.
Set in Sendai, a city of 1.2 million, this
dining venue features a design by Hitoshi Abe,
Sendais own architectural wunderkind. The twostory interior combines a technological feat with a
magical aura. Here, a multitude of tiny lights
shines through the spaces sophisticated S-shaped
volume, dened by a continuous, curving sheet of
perforated steel. Embedded in the base of a
seven-story, steel-framed office building, kittycorner from Toyo Itos Mediateque [record, May
2001, page 190], the restaurant is the architectural
jewel of an entrepreneur who made his fortune
mass-producing the local delicacy: beef tongue.
But tongue is for the hoi polloi. And Aoba-tei is
strictly haute cuisine.
Abe got the commission after the hamburger joint in the existing building went belly up,
freeing the lower two oorsa total of 2,370
square feetfor his client to lease. The architects
desire to connect the two levels seamlessly inspired
him to insert a second cocoonlike skin, encapsulating an autonomous space. Within the shell, a large
hole in the upper oor allows the stairs twisting
treads to lead from the reception area, on the
ground oor, to the 30-seat dining room above.
Here, invitation-only epicures sup at Abe-designed,
walnut cow tables or, as is preferred in Japan, the
counter, where they can chat with the proprietoran important component of a good meal. The counter, a massive hunk of walnut, makes its way
through the room, morphing into a ve-seat bar at one end and pointing
toward an open grill at the other. The actual kitchen, designed by Aobateis celebrity chef, lies sequestered behind the steel screen.
The architect wanted to relate the restaurant directly to the
streeta six-lane commercial artery lined with gracefully shading
Zelkova treesbut did not have permission to alter the existing curtainwall facade. His solution was to distill an image of the trees into an
abstract pattern of dots, and then punch them into a steel screen. The
transfer process involved separating a photograph into four gradations of

A private dining
venue, Aoba-tei displays no signage
(above). A stair with
steel risers, lit by
bluish LED tape lights,
glows (above and
opposite). Temporary
greenery in the reception area (opposite)
complements the the
shadowy tree images

Naomi Pollock is records Tokyo-based correspondent.

above it.

NORTH ELEVATION

6 FT.
2 M.

09.05 Architectural Record

133

134

Architectural Record 09.05

An interior shell of perforated steel arches


overhead (this page and
opposite). This metal
capsule bears photographs of the trees,
translated into a backlit
dot screen of small
holes. Abe permitted a
structural beam to
breach the shell over
the bar area (opposite).

09.05 Architectural Record

135

LED tape lighting produces a mistlike blue


halo over the stairwell,
even from a vantage
point where the steps
are not visible (right).
The effect evokes dusk
or dawn in the forest.

light and dark, and then assigning each gradation


a different-sized dot. The photos lightest areas
3. Coat check
correspond to the screens largest circles, and the
4. Bar
darkest areas to none at all. While the points
5. Dining counter
range in diameter from 0.16 to 0.35 inches, their
6. Dining room
centers remain a uniform distance apartas in a
7. Kitchen
printers screenadding an overlay of geometric
8. Wine cellar
order to the images underlying, organic distribution of light and dark.
Once the dot template was ready, it went to a steel fabricator, a
shipbuilder-turned-architectural-supplier, who had the technical skills to
bore the outlined holes into 0.09-inch-thick metal sheets, and then
assemble the perforated-steel components with the precision Abe
required. The capsule could not be pure in its geometry or symmetry
because the restaurants two oor plates are sectionally out of alignment
to accommodate the buildings entrance, at grade, and an emergency exit,
upstairs. So the architect devised the S-shaped inner skinwith one lobe
on the rst oor and another on the second, anking the stair. Drawing
people inside, Aoba-teis rst-oor ceiling gradually ascends from
approximately 7 feet high near the front door to 11.5 feet toward the back
of the room. Upstairs, the perspective works in reverse, with the ceiling
1. Entrance Hall

2. Reception

7
5

6
8

SECOND FLOOR

2
3

FIRST FLOOR

136

Architectural Record 09.05

6 FT.
2 M.

reaching its highest point at the front of the space, where oor-to-ceiling
glass opens onto the greenery outside.
Abe likens the shells single, uid form to the chassis of a
Formula One racing car. To test the structural stability of this component,
the fabricators welded together its 3-by-6-foot sheets at the factory. But
because the form could not t through the buildings front door, the crew

ABE LIKENS THE SHELLS SINGLE,


FLUID FORM TO THE CHASSIS
OF A FORMULA ONE RACING CAR.
had to cut it up and reassemble the pieces on-site. The contractors nished it off with a dark brown matte paint that masks the necessary new
joints and any supercial defects.
With no structural frame to impede the plenum behind the
shell, light from 380 mini-krypton (long-lasting incandescent) xtures,
mounted on the back of the screen, shines through the perforations. The
effect is one of uniformly muted illumination, recalling daylight ltering
through the Zelkova trees along the street front. (Even the restaurants
name, Aoba-tei, means leafy place.)
Since the tiny bulbs actually shed too little light to let diners see

their food, Abe cut a series of larger holes in the skin and mounted incandescent downlights directed at the individual tables. In contrast to the
counters solidity, the tables and chairs, each made from a single sheet of
molded beech plywood, appear as thin and delicate as the screen itself.
Aoba-teis design succeeds as a sculptural object encased in a
neutral box. It has already inspired the owner to open a second Abedesigned locationthis one in Sendai Station, where rail passengers can
grab a bite before boarding the Bullet train. Glass-enclosed and open to
the public, the station restaurant takes a far more extroverted stance than
the original private-dining version. The latest venues leafy perforatedsteel wall and wood furnishings appear warm and welcoming
demonstrating that Aoba-teis key design elements, unlike beef tongue,
are not an acquired taste.
Project: Aoba-tei, Sendai, Japan

Lighting: Masahide Kakudate

Architect: Atelier Hitoshi Abe

Lighting Architect & Associates

Hitoshi Abe, principal; Naoki Inada,


Yasuyuki Sakuma, project team
Engineers: Arup Japan (structural);
Sogo Consultants (mechanical,
electrical)

Sources
Floor: Thule (walnut)
Furniture: Tendo Mokkocustom

designed by Hitoshi Abe ; Cassina


counter chairs designed by Mario Bellini
09.05 Architectural Record

137

A glazed storefront
reveals much of the
interior (opposite).
ARTEC plays luminous
translucency against
reflectivity, especially
near the central courtyard (this page).

ARTEC lends a theatrical flair to the


ZUM LWEN VON ASPERN
pharmacy on the fringes of Vienna

P H OTO G R A P H Y : M A R G H E R I TA S P I L U T T I N I

heatrical pharmaceuticals may sound like an oxymoron, but the


idea is not so farfetched for Viennaa place rife with musicals,
parades, balls, cabarets, jazz clubs, operas, concerts, and variety
shows. On the citys eastern outskirts, near the Lwen von
Aspern (a sculpture of a lion commemorating the decisive battle here
between Hapsburg and Napoleonic forces), the roar of drama reverberates even in the design of a small drugstore.
Apotheke zum Lwen von Aspern stands on Viennas tattered
fringe, along a service road leading to the Lower Austrian countryside.
Nothing in the sites drab, low-rise surroundings would have earmarked it
for an aesthetically remarkable pharmacy. Quite the contrary.
But the apothecarys owner, Wilhelm Schlagintweit, was a man
with a mission. After partnering with Phoenix, a wholesale pharmaceutical company focused on wellness, he set out to transcend the usual
drugstore offerings. Catering to the inux of suburban yuppies who populate the hip, new single-family houses just a short drive or bike ride from
his site, Schlagintweit envisioned a store that would provide coaching in
wellness, homeopathic and herbal medicines, and nutrition, along with
general advice on Phoenix cosmetics.
Liane Lefaivre is chair of architectural history and theory at the University of Applied
Arts, in Vienna, and a fellow in urbanism at the Technical University of Delft.

To set the stage for this new venture, the owner turned to ARTEC,
a relatively young architecture rm from Graz, Austriaknown, perhaps
not surprisingly, for residential and commercial designs attuned to hip
tastes. Founded in the late 1990s by Bettina Gtz and Richard Manahl, the
practice was among the rst of its generation to embrace a stark Minimalist
aesthetic, breaking with the Deconstructivism of the so-called Graz School.
Always seeking what Gtz terms the simple form of the complex,
ARTEC responded to Schlagintweit by creating a modest building with a
striking interior, distinguished by its spare and dramatic edge. A quiet, 50foot-wide glazed facade invites views into the 1,350-square-foot space,
revealing walls of exposed concrete and oors of polished Confalt (a mixture
of asphalt and green-tinted cement that is like terrazzo, but not as hard).
In a spirit akin to the stark stage designs of such dramatists as
Robert Wilson, special lighting effects set the mood here. Wide bands of
incandescent light stretch up the walls and across the ceiling, wrapping
the perimeters of the display cases that hang from above as if suspended
weightlessly on glowing wings of light. Abstractly, these aluminum cabinets allude to the mythological phoenix from which the pharmaceutical
company takes its name. Other cabinets project from the wall, also without touching the oor. Hung from the reinforced-concrete structure in a
staggered arrangement, the wall and ceiling units appear kineticas if the
lit bands were tracks on which the shelving cases could slide. But the
09.05 Architectural Record

139

PRO JECTS

By Liane Lefaivre

11

4
6
10

10 FT.

SECTION A-A

3 M.

1. Self-serve sales area


2. Non-self-serve area

3. Tea display
4. Courtyard

8
7

5. Dispensary
6. Seminar/
7.
8.
9.
10.
11.

multipurpose
Laboratory
Storage
Herb garden
Cellar
Recreation

GROUND FLOOR

140

Architectural Record 09.05

0
N

10 FT.
3 M.

Ribbons of incandescent light run along the


sides of suspended
cabinets and across the
ceiling. A circular motif
also edges parts of
these aluminum cases
(opposite). Some of the
shelving units hang from
the ceiling, others from
the wall (below). Whitefaced steel cabinets
rest on the floor (right
and below), storing the
employee-supervised
products for sale.

prospect of movement remains illusory. Merely sources of illumination,


the ush incandescent xtures actually have an intensity great enough to
glow through daylight, even with such an open and transparent facade. At
once a spectacle and a stunning feat of subliminal advertising, the interior
almost begs for a round of applause.
The pharmacy also features two charismatic dramatis personae:
a ginkgo tree, symbolizing vitality and wellness, in a glazed inner courtyard, and an ancient oak tree, apparently personifying strength and long

THE INTERIOR IS AT ONCE A


SPECTACLE AND A STUNNING FEAT OF
SUBLIMINAL ADVERTISING.
life, taking center stage in an open-air court toward the back of the building. The facility includes a seminar room and library that can
accommodate lectures, consultations, and gatherings.
The apothecarys basic yet elegant reinforced-precast-concrete
structure features a post-and-beam system with columns concealed in the
side walls, allowing for unimpeded spatial ow between the exterior and
interior. Accentuating this effect, the architects glazed much of the nonbearing walls, using reective surfaces to give the illusion of expansive
space. This strategy recalls the work of Richard Neutra in another building
for clients committed to wellness, the Lovell Health-House in Los Angeles.
Thanks to the pharmacy buildings subtly concealed concrete
142

Architectural Record 09.05

frame, this airy, transparent store has the brawn to support a roof garden,
accessible by stairs from the interior. Modeled by engineer-turned-landscape designer Jacob Fina on the medieval garden of the cloister of
St. Gallen, in Switzerland, this herbarium features some 450 varieties of
medicinal plants. The staff encourages customers, especially parents with
their children, to ascend to the garden for guided tours, which include
explanations of the herbal properties. When the visitors return downstairs, they can sample teas prepared from the homegrown ingredients. So
the drugstore, with its roof terrace, has become extremely popular with
local families on outings.
When Apotheke zum Lwen von Aspern shuts down for the
night, a heavy, white cotton curtain, front-lit by oodlights on the oor,
falls across this stage, concealing the interior from the street. Only the illuminated top branches of the venerable oak tree and upstart ginkgo
remain visible, as if bowing from within this little world of wellnessa
nal theatrical touch, delivering the closing line.
Project: Apotheke zum Lwen von

Aspern, Vienna
Architect: ARTEC Architekten
Bettina Gtz, Richard Manahl,
principals; Ronald Mikolics, Irene
Prieler, Ivan Zdenkovic, Wolfgang
Beyer, Julia Beer, project team

Engineers: Oskar Graf (structural);

Christian Koppensteiner (HVAC)


Sources
Sliding glass doors: Tormax
Lighting: Die Spanndecke;

Sumetzberger
Showerheads: Grohe

The wall and ceiling


units appear kinetic
as if the lit bands were
tracks on which the
shelving cases could
slide (this page and
opposite). But such
movement remains
illusory. Animating
the interior, the parallel bands of light
play against the
repetition of glowing
circles (opposite).

Michele Saee wraps the interior of a Beijing


apartment in undulating planes of cherrywood,
creating his sinuous TEMPLATE HOUSE

wanted to create a space that embraces the body, says Michele


Saee of the apartment he designed as part of last falls Beijing
Architecture Biennial. The idea was to insert a protective layer
like a cocoon or set of clotheswithin the existing buildings
hard shell. Italian-educated, Los Angelesbased Saee was one of 10
architects from around the worldincluding Bernard Tschumi, Odile
Decq, Matali Crasset, and Delugan Meisslselected to design an apartment for an exhibition called Innite Interiors. Set in a new high-rise
tower in the Beijing development of Phoenix City, the exhibition units
were completed while the building was still under construction.
(The developer may eventually sell all of the 10 Innite Interiors apartments.) Though the Architecture BiennialChinas rstencountered
some logistical problems during its three-week run, the interiors
proved a big hit. And according to visitor response cards, Saees scheme
was the most popular.
Here, the architect explored ideas he had rst pursued in earlier
projects. As far back as the early 1990s, when he designed a pair of stores
in the Los Angeles area for Ecru, Saee shaped interior space with folded
surfaces that enveloped the occupants and evoked pleated clothing. At the
same time, he began using a limited number of fabrication templates to
create an apparent abundance of forms. Both this draping concept and
the fabrication method informed Saees Beijing Biennial design, a project
he calls the Template House. But instead of the faceted edges of the Ecru
Marina store, the Beijing apartment swaddles its residents in curving panels of bent cherry plywood that create a warm, sensual atmosphere.
With just three weeks for initial design, four weeks for design
144

Architectural Record 09.05

development, and two months for construction, Saee purposefully


devised a building system that he could explain easily and deploy from
his far-away base in California. The system relies on just three plywood
templatesone for the walls and two for the ceilingsto generate the
apartments many curves. He originally hoped to fabricate the 4-by-8foot plywood panels off-site and assemble them inside the apartment. In
the end, though, it proved easier for the contractor to build everything
on-site, drawing more on old-fashioned handicraft than digitally controlled methods.
Since the tower was already under construction when Saee
began his design, he had limited options for laying out the apartment.
Existing plumbing stacks determined the bathroom and kitchen locations, and, of course, the buildings poured-concrete shell set an
inexible perimeter. But instead of hiding these constraints, the architect
incorporated them into his design. I wanted to make clear that I was
creating a vessel inside a container, he says. So Saee peeled back the plywood surfaces in places to reveal the hard wall planes behind them. The
contrast between the two layers heightens the pleasurable effects of the
soft plywood curves. This conceptual approach also had practical benets: The 1-inch-deep recess between the bent plywood and the building
shell accommodates electrical conduits.
To emphasize the spatial continuity of the wrapper, Saee used
the same material for oors, walls, and ceilings: lightly stained and clearnished cherry ply in the main living spaces and bedrooms, and plaster
embedded with colored pebbles in the bathrooms. At corners and
thresholds, though, he cut through the monosurface to reveal at planes

P H OTO G R A P H Y : C H E N S U

PRO JECTS

By Clifford A. Pearson

Curtains help define


a sitting area in one
corner of the living
room and reinforce the
notion of flowing space.
Curving, plywood walls,
floors, and ceilings
peel away in places to
reveal flat, Venetian
plaster surfaces.

Saee designed a love


seat to accompany a
large sofa and ottoman
by Isamu Noguchi. All
of the furniture echoes
the interiors curves.

146

Architectural Record 09.05

Keeping the rooms


relatively uncluttered,
the designer chose
and designed furniture
that would allow views
through the apartment.

09.05 Architectural Record

147

148

Architectural Record 09.05

Cutouts in the floors,

two and bottom right).

ceilings, and walls pro-

Only a curving glass

vide opportunities for

wall separates a sec-

shifting materials and

ondary bedroom from

planes, adding to the

its bath (opposite, bot-

dynamism of the ply-

tom left). All plywood is

wood surfaces (this

cherry, with a light stain

page and opposite, top

and clear satin finish.

1. Foyer
2. Living
3. Dining
4. Kitchen
5. Balcony
6. Bath
7. Bedroom
8. Master bedroom
5

3
4

6
2
1

The master bedroom

(right) flows into the


7

main bathroom (below),

featuring pebbled
plaster and a curving

glass wall (with a


curtain) overlooking
SITE PLAN

0 3 FT.

the entry foyer.

1 M.

of Venetian plaster (white and pale green in the public rooms, tan in the
master bedroom, and blue in the second bedroom). Translucent gray
curtains, hung from curving rods set in the ceilings, can enclose small
podlike spaces at the corners of the living and dining rooms, or provide
privacy within the curving glass walls of the two main bathrooms.
With so many undulating surfaces, space ows throughout the
apartment. I wanted you to feel like you could occupy the whole place
while being in just one space at a time, says Saee. To create an experiential progression with a sense of movement, he framed views from one
room to another and from indoors to the city beyond. This device brings
the notion of layering to the spatial sequence as it unfolds, just as the plywood skin does for the section as it curves up and out.
Although the apartment sits in a modern, Westernized tower
in a city undergoing rapid globalization, the design alludes obliquely to
Chinese culture in its framing and materiality. The Chinese have a
great tradition of wood architecturemaking buildings you want to
touch, says Saee. The projects capacity to connect with older values
and the particularities of place, while dressed in sleek modern
clothes, may help explain its popularity with Biennial visitorsmany
of whom are wrestling with similar issues of identity and change in
their own lives.
Project: Template House, Beijing,

Sources

China

Woodwork and cabinetry:

Designer: Michele Saee Studio

Dongguan Sundart Timber Products


Bathroom fixtures: Dormbracht
Bathtub and shower: Hoesch
Sofa and ottoman: Designed by
Isamu Noguchi

Michele Saee, designer; Franco Rosete,


Zhang Haitong, design team
General contractor: Sundart

150

Architectural Record 09.05

Only three plywood


templatesone for
the walls and two for
the ceilingscreated
every curve in the
entire apartment.

The facade (opposite)


stands in a shopping
mall. Brown offers a
glimpse of the pristine
interiors underpinningsmetal struts and
return-air ductsnear
the entry (this page).

For BIZARRE, a boutique in Omaha,


Randy Brown flows walls, ceiling, and floor
into one continuous, sleek white surface

P H OTO G R A P H Y : A S S A S S I

maha is famous for rib-eye steaks and corn on the cob, but not,
its safe to say, for white-on-white boutiques with walls and ceilings that bend like origami and an ambience that seems more
Midtown Manhattan than mid-America. But thats what architect Randy Brown, AIA, created at Bizarre, a hip gift store in suburban
Omaha that sells lingerie, clothing, jewelry, stationary, and glassware. He
designed Bizarre and two other shops in close succession at the same shopping center. Each boutique had a bare-bones budget ($130,000$160,000),
yet collectively they rene a single design idea.
We were looking for a way to make spaces, surfaces, and xtures into one continuous visual experience, he explains, and we hit on
using small paper models to simulate the effects we were after.
David Dillon, author of 10 books on architecture and urban design, is the
architecture critic of The Dallas Morning News.

Brown modeled the place with a sheet of white paper, folded


into a tube and snipped with parallel slits. From this studio exercise came
a long, thin Minimalist interior21-by-77 feetin which walls, ceilings,
xtures, and oors all appear cut from a single white material. As built,
the project replaces the usual jumble of tables and display racks with a
uid surface that lends the merchandise some of the qualities of art.
Though Bizarre may appear effortless, Brown went through
considerable experimentation in his two earlier shops at this mall to
achieve such elegant purity. First, at Modele, an upscale vendor of
imported leather bags and $400 jeans, the architect aggressively played
renement against rawness, juxtaposing smooth drywall with concrete
and industrial metal decking, relieved only by two oating drywall planes.
Then, with Madame Suren, a shoe and purse boutique, the interplay
between toughness and elegance became more resolved and the level of
invention higher. Here, Brown transformed a bulky structural column in

PRO JECTS

By David Dillon

1. Checkout counter

2. Display case
2

3. Stair to mezzanine

4. Sales area
FLOOR PLAN

N 0

10 FT.
3M.

Brown modeled the

seamless with its dis-

interior from a single

play fixtures (above

sheet of paper (sequen-

right and opposite) and

tial strip, prior page and

counter (above left)

below). The resulting

seemingly cut from one

built version appears

continuous material.

Fluorescent fixtures
tucked along the walls
behind the display
cases impart a soft,
indirect glow. Against
that diffuse light, the
edges of glass merchandise shelves
appear as shiny and
precise green stripes.

the center of the shop into a platform for displaying shoes by extending
the base horizontally almost to the front doora move that presages the
nearly seamless integration of wall and display at Bizarre. [For images of
Modele and Madame Suren, go to www.architecturalrecord.com.]
This nal store of the trio takes the ideas even further. Bizarres
client wanted a clean, well-lighted place that would look like real New
York, the architect recalls, with merchandise jumping out at the buyers.
And she got it. In the long, narrow shopessentially an extrusion from
the front door to the back wallthe industrial aesthetic becomes nearly
invisible except for a glimpse of the metal struts and return-air ducts in
the ceiling. White epoxy covers the oor. And shadowy voids, created by
cuts in the enveloping white plane, replace the bursts of bold color that
accented the earlier schemes. As Bizarres oor, walls, and ceiling ow into
one continuous surface, sharp corners vanish.
Everything else about the project becomes streamlined, as well.
At the two earlier stores, Brown tucked the mezzanine to the rear, but
here, he allows it to rise from the center, sweeping into a dramatic upward
curve. U-shaped extensions of the side walls, supported by embedded
steel rods, form display racks and shelving, with electrical and HVAC
outlets concealed behind them. Similarly, the shops back-of-the-house
functions, such as storage and wrapping areas, slip out of sight, behind by
a two-story plane that runs the length of the sales area.
The architect describes Bizarre as a soft space, less obviously
156

Architectural Record 09.05

about merchandise than about light, form, and ow. From the exterior,
the gentle white glow gets shoppers attention, and then the deep, uncluttered inner realm draws them in.
Ironically, Browns role as a local guy with a small office worked to
his advantage. Since most of the other mall tenants belong to national
chains with in-house architects and standardized design guidelines, his only
opportunities came from mom-and-pop operations with small budgets.
Fortunately, the clients for all three of his shops had an eye for design and a
sense of adventure, allowing him to try out innovative ideas.
The situation forced us to keep pushing ourselves, to make each
project better than the last, says Brown. If wed had only one store, we
probably would have done a single exploration. But by the time we got to
the third project, the folded-paper idea had become powerful for us. And
we understood what we could do with ordinary drywall and metal studs.
Project: Bizarre, Omaha

Sources

Architect: Randy Brown Architects

Paint: Sherwin Williams

Randy Brown, AIA, project designer;


Dirk Henke, project architect; Scott
Newland, Lee Shradar, Brian Garvey,
project team

Hardware: Blum; Schlage


Lighting: Halo; Metalux
Storefront system: Vistawall
Plumbing: Kohler; American Standard
Metal studs: Flex-Ability
ConceptsFlex-C Trac

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Architectural
Technology
For large commercial buildings,
operable windows are literally a
breath of fresh air for office workers
(page 161)

CONTENTS

P H OTO G R A P H Y : R O B E R T B E N S O N P H OTO G R A P H Y ( R I G H T ) ;
C O U R T E SY G O O DY C L A N C Y ( TO P L E F T ) ; C O U R T E SY FA R R O DY N E U S A ( B OT TO M L E F T )

161 Building Science:


Operable windows
171 3D models become
project workhorses
176 Zoom In: Pompidou
Center, Metz, France
179 Tech Briefs
185 Tech Products

More firms rely on 3D models to win


work and manage data (page 171).

A unique assembly system makes a


steel mural in Chicago (page 179).

ecent research sponsored by the American Society of Heating, Refrigerating and


Air-Conditioning Engineers proves something we all know intuitively: People
feel more comfortable in buildings that are naturally ventilated. Were better
able to adapt to a broader range of indoor temperatures if we know we can
open or close the windows. While we can easily do this at home, those of us who work in
large or tall buildings know all too well the feeling of gloom as we step from a sunny, dry
afternoon into a building thats sealed off from the outdoors and either too cold or too
hot. Thanks to improved facades and mechanical systems, designers are guring out how
to incorporate operable windows into high-rise construction while mitigating problems
like noise control, rain and dirt intrusion, and humidity control. Check out a few recent
projects demonstrating these new technologies in this months lead feature.
In the 1990s, techno-evangelists began talking about how 3D CAD and
global positioning systems (GPS) would revolutionize the way buildings are
designed, documented, and constructed. Today well, theyre still talking about it,
but the difference is that many more rms are testing the waters, and the tools themselves have been enriched with better features. In our second story, several case studies
show a wide range of uses for 3D data, from competition entries to assessing view corridors for various planning schemes to detecting interferences between structural and
mechanical systems. Deborah Snoonian, P.E.
09.05 Architectural Record

159

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Commercial Buildings Open Their Windows


WHETHER ITS A GREENHOUSE OR AN OFFICE BUILDING, NEW TECHNOLOGIES ARE HELPING DESIGNERS
TO PRY OPEN THESE HERMETICALLY SEALED STRUCTURES AND LET IN SOME FRESH AIR

P H OTO G R A P H Y : R O B E R T B E N S O N P H OTO G R A P H Y

he option of installing operable windows


in high-rise commercial buildings is rarely,
if ever, debated in the U.S. Conventional
wisdom preaches that pollution, rain, and
noise will inltrate the envelope if occupants are
allowed to open and close windows at will; ambient
temperatures will be unstable; energy use will be
unpredictable. Operable windows, the argument
continues, will add to construction and maintenance
costs. And the taller the building, the more vulnerable
it will be to all of these negative factors. While its true
that severe pressure differences and high-wind speeds
do complicate building design and operation, there
are new ways to mitigate the problems. There are
nine reasons not to provide natural ventilation and
one reason to do it, comments Clark Bisel, senior
vice president at Flack and Kurtz in San Francisco,
who is, in spite of the drawbacks, a proponent for The Nolen Greenhouses at the New York Botanical Garden have state-of-the art HVAC systems.
that one reason: People prefer it. They prefer it
because most of them have the option in personal environments. And
The more an indoor environment replicates the environment
researchers are suggesting that productivity improves and energy costs go that humans evolved in, the more comfortable people will nd it, states
down in buildings where the users have control over temperature and David Bearg, an engineering consultant on Indoor Environmental Quality
ventilation.
(IEQ), who is regularly called in to x what has gone wrong in buildings.
However, he is cautious about the challenge that lies in managing the intake
Barbara Knecht is an architect based in New York and Boston. She writes of natural pollutants, such as pollen, and man-made ones, such as vehicle
frequently about building technology and related issues.
exhaust. The problem is compounded by the increasing use of videodisplay screens that attract particulates and suppress human blink rates.
Airborne particulates can penetrate deeply into the respiratory system.
CON T I N U I N G E DU CAT I ON
Meanwhile, lower blink rates mean that eyes are more susceptible to irriUse the following learning objectives to focus your study
tation. Mechanical systems are expected to handle heavy pollutants, but
while reading this months ARCHITECTURAL RECORD/
the value of user-controlled openings cannot be underestimated.
AIA Continuing Education article. To receive credit, turn
Research by Gail Brager, an associate professor in the
to page 168 and follow the instructions. Other opportuniDepartment of Architecture at the University of California, Berkeley,
ties to receive Continuing Education credits in this issue include the
shows that in naturally ventilated buildings people adapt to changes in
following sponsored section: Low-Slope Commercial Roong Roof Cover
mean outdoor temperature and are comfortable in a broader range of
Boards Provide Outstanding Performance, sponsored by USG, page 189.
indoor thermal conditions than are people in air-conditioned buildings.
Her research involved eld studies of human behaviors and perceptions
in indoor environments in 160 buildings on four continents and in variL E AR N I N G O B J ECT I VE S
ous climate zones. Findings showed that the availability of personal
After reading this article, you should be able to:
control over local conditions played a primary role in shifting peoples
1. Discuss high-rise commercial buildings that incorporate natural
thermal expectations.
ventilation in their mechanical systems.
The research was sponsored by the American Society of
2. Describe methods of incorporating fresh air into commercial buildings.
Heating, Refrigerating and Air-Conditioning Engineers (ASHRAE), and
3. Explain space planning for office buildings with natural ventilation.
the results were incorporated as the Adaptive Comfort Standard (ACS) to
For this story and more continuing education, as well as links to sources,
ASHRAE Standard 55, Thermal Environmental Conditions for Human
white papers, and products, go to www.archrecord.com.
Occupancy in 2004. For now, the standard allows warmer indoor temper09.05 Architectural Record

161

ARCH I TECTURAL TECHNOLOGY

By Barbara Knecht and Sara Hart

ARCH I TECTURAL TECHNOLOGY

Operable roof

Truss member
Interior glazed
partition

Nolen
Greenhouses at
the New York
Botanical Garden

growing zones (above

ground, creating

right) for the propaga-

natural thermal air

tion of hundreds of

flows. A Tom Otterness

thousands of plants.

sculpture marks

The new $14 million

The dominant techni-

the entrance to

greenhouses, designed

cal feature is the

the headhouse, an

by Mitchell/Giurgola

operable roof (above

administration and a

Architects, are com-

left), which opens

visitors center.

posed of eight unique

perpendicular to the

Automatic vertical
lifting vent

Shade curtain zone

Evaporative
cooling pad

Exhaust fans
Evaporative
cooling pad
Automatic vertical
lifting vent
Perimeter radiant
heating pipe
Radiant floor
heating pipe
Evaporative cooling
pad tank

Galvanized
steel post

LONGITUDINAL SECTION

atures in naturally ventilated buildings during summer and in warmer


climate zones, but only when no mechanical cooling is available.
Nevertheless, the ndings provide useful data about the experience of
working in naturally ventilated buildings.
Brager points out that the narrow range of comfort temperatures
required by the traditional version of ASHRAE Standard 55 effectively
requires more buildings than necessary to be air-conditioned, and has led
to our cultures addiction to it. Although the requirements were not
intended to create a dependency on air-conditioning, it is very difficult to
meet the current standards denition of comfort without mechanical
assistance. The energy costs and environmental consequences of providing
constant and uniform temperatures are signicant. The potential for
energy conservation has spurred interest in expanding natural ventilation
to commercial construction, when it is noted that energy costs can easily
account for 20 percent or more of a buildings operating costs.
Two buildings, 10 years apart

The RWE Tower in Essen, Germany, is acknowledged to be the rst contemporary high-rise to be naturally ventilated. It was completed in 1996
and remains a model of energy efficiency and excellent design. Built as the
headquarters for an energy company, the architect, Ingenhoven Overdeik
Architectural Record 09.05

Kahlen & Partners, and the engineer, Buro Happold, developed the design
based on their runner-up entry in the Commerzbank competition. The
Commerzbank competition entry was a building in a shroud that could
breathe. We explored how to provide conditions that people want and
systems that would make high-rises more environmentally friendly, says
Buro Happold partner Tony McLaughlin. We built on the principle of
the air path used in the Empire State Building to reduce the pressure differential when the windows are opened.
The RWE Tower is a 29-story, 394-foot circular tower with a
double-skin facade. The external layer is permeable, drawing in and
exhausting air through horizontal bands of openings that alternate at
each oor. The openings, developed by German curtain-wall manufacturer Josef Gartner and Company and nicknamed sh mouths because
of their prole, were sized according to Computational Fluid Dynamics
(CFD) analysis around the building during peak conditions. [CFD is a
method of modeling air distribution; see record, September 2003, page
165.] The sh mouths not only provide ventilation, but prevent driving
rain from entering the building, and restrict vertical sound transmission
through the cavity. The interior layer is permeable, as well, with usercontrolled panels that slide open to allow the mouths to breathe.
The outer skin is made up of clear, toughened, single sheets of

P H OTO G R A P H Y : R O B E R T B E N S O N P H OTO G R A P H Y ;
D R AW I N G S : C O U R T E SY M I TC H E L L / G I U R G O L A A R C H I T E CT S

WALL SECTIONS

162

Operable roof

Vent motor

Drive shaft

The greenhouse
units are modular,
steel-framed trussed
structures. Water
is provided by lowvolume, low-pressure
drip and mist systems.

glass that increase the daylight available to the interior. Clear glass for better daylighting is used in conjunction with remotely operated aluminum
blinds for sun protection, which are located in the 20-inch facade cavity.
The circular plan was also chosen to increase the opportunity for occupants
to be near daylight, by organizing the oor plan into relatively small units of
enclosed space, which are generally no more than 23 feet deep from window to interior wall.
The building has a displacement ventilation system with a
chilled ceiling [perforated-metal ceiling tiles with tubing through which

CLEAR GLASS FOR BETTER DAYLIGHTING


IS USED WITH REMOTELY OPERATED
ALUMINUM BLINDS FOR SUN PROTECTION.
chilled water passes instead of forced air through ducts], which can handle
cooling for the entire building during periods when the outside air is too
uncomfortable, explains McLaughlin. It is designed to work in conjunction with the natural system, shutting off, for example, when it detects
that someone has opened a window within a zone. It is also designed to
monitor outside wind speeds and to sound a warning when they exceed
certain limits, to signal occupants to close the windows. The controls are

immensely exible in their ability to respond to changing needs or habits


with centralized or decentralized operation of blinds, openings, and the
mechanical system. User responsiveness is relatively simple in this case,
because the building has a single owner/tenant.
Since RWE, an energy company, purports to promote an image
of responsible energy usage, its participation in the experimentation with
natural ventilation in this project has paid off, literally and guratively. It
saved 30 to 35 percent in energy use over an equivalent conventional
building with a double-glazed, single-skin facade. According to
McLaughlin, who met with the owner not long ago, The building has
performed very well for them. For us, it is an opportunity to see the excellent results when the architect creates a superior design and the owner is
prepared to do something a little different.
CYTS Plaza, now under construction in Beijing, demonstrates
that 10 years later, the concept of using a double facade for naturally ventilated buildings is still the standard. Designed by Hamburg-based architects
von Gerkan, Marg and Partners and Arup Hong Kong, this 22-story, 246foot tower will be the headquarters of a tour-and-travel-services company.
At CYTS, there is a vertical band of louvers in the exterior facade
covered by a side-hinged panel on the interior facade, which individual
users can open and close for fresh air. The building has a decentralized
09.05 Architectural Record

163

ARCH I TECTURAL TECHNOLOGY

PARTIAL PLAN

CYTS Plaza in
Beijing
Designed by von
Gerkan, Marg and
Partners and Arup
Hong Kong, the 22story tower (scheduled
to be completed in
December) will have
a vertical band of
louvers in the exterior
facade covered by a
side-hinged panel on
the interior facade,
which individual users
can open and close for
fresh air.

forced-air mechanical system, as well. Each oor is divided into halves,


with a special ventilation room along the facade that takes in outside air,
conditions it, and distributes it by a ceiling fan throughout each half-zone
and into the 15-inch air cavity. Typically, the zone adjacent to the exterior
of a building suffers from the most extreme temperature uctuations. Air
circulation next to the outer skin can reduce solar gain in the summer and
act as a thermal blanket in the winter.
During the spring and fall in Beijing, it is not unusual for owners to turn off the cooling systems in office buildings. During this time,
the ambient temperature depends solely on the circulation of outside air
from the intake rooms, and air brought in through the operable panels. At
times of the year when the mechanical system is operating, users are still
able to open and close the panels, and the system will continue operating.
Two large enclosed atria increase the access to natural daylight and the
effectiveness of the natural ventilation system to reach all the users. The
openings provide a natural smoke extraction system, as well, required by
Chinese code under certain circumstances.
If people prefer it and there are successful models to draw on,
why are naturally ventilated office towers not prevalent in the U.S.? You
need to understand your climate to embrace natural ventilation,
remarked Flack and Kurtzs Bisel. Northern Europe, northern China,
164

Architectural Record 09.05

and northern California are all examples of places with temperate, nonhumid climates that lend themselves more easily to natural ventilation
than the east coast and southeast regions of the U.S. Although more
extreme climates have plenty of days when it is delightful to have the
windows open, places that have longer springs and falls and milder summers and winters have more incentive to take advantage of the natural
climate in building design.
Space planning and building management are factors that can
support or thwart the effectiveness of natural ventilation systems. The spatial exibility of a large office oor, typical of so much office construction
in the U.S. that can be recongured constantly for ever-changing user
needs, is simply not conducive to the effective employment of usercontrolled natural ventilation. The interiors of these oors will benet less,
if at all, from naturally ventilated skins. If you are 50 feet away from an
operable window, you wont feel much of its effect, observed Bisel. Some
enlightened companies reverse the typical office layout and place openplan offices at the perimeter and private ones at the interior. But those
interior offices will not benet from open windows on the perimeter.
Narrow oor plates, as seen in the RWE Tower and CYTS Plaza, lead to
smaller units of space in which user consensus over thermal comfort will
be easier to attain, and the smaller units of space can be more easily zoned

R E N D E R I N G S : C O U R T E SY V O N G E R K A N , M A R G A N D PA R T N E R S

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ARCH I TECTURAL TECHNOLOGY


The RWE Tower in
Essen, Germany

bands of openings that

Ingenhoven Overdeik

The belt (right) is a

Kahlen & Partners and

double-height mechan-

Buro Happold designed

ical equipment room.

a circular tower with a

The portholes are air

double-skin facade.

intakes and exhausts.

The external skin draws

The facade ventilation

air in and exhausts it

is independent of these

out through horizontal

systems.

and coordinated with mechanical systems for energy management.


McLauglin points out that natural ventilation is most successful
when the entire building has an integrated design for energy management, most notably in the building details that reduce the overall heat
gain in a building. At RWE, for example, the cavity blinds act as a shading
device to prevent solar gain; the air circulation in the cavity removes the
warm air that the blinds absorb before it can reradiate to the interior.
Increasing the opportunities for introducing natural ventilation into
nonresidential high-rise construction will continue to face design complications, but the challenges are well worth it for the sharp rise in human
comfort and the potential for signicant energy savings.
Endless growing season

The newly created Nolen Greenhouses for Living Collections at the New
York Botanical Garden in the Bronx arguably provide the most sophisticated facility for growing plants in the U.S. Designed by New Yorkbased
Mitchell/Giurgola Architects (with Joseph R. Loring & Associates,
Severud Associates, and Langan Engineering and Environmental
Services), the greenhouses represent a complex synthesis of high and low
technologies, in order for hundreds of thousands of plants to thrive and
propagate under an acre of glass.
166

Architectural Record 09.05

The greatest challenge was to retain and enhance the unique


natural site conditions of this area of the Botanical Gardenrock outcroppings, beautiful specimen trees, and lawns, while satisfying the strict
solar orientation requirement of the greenhouses, and providing convenient and logical visitor and service access, explains Mitchell/Giurgola
partner James R. Braddock, AIA. Also, by establishing an appropriate
architectural expression for the headhouse [administration and visitors
center], orchestrating its massing, and creating a counterpoint between
the glass volumes of the greenhouses and the solid volumes of the headhouse, our goal was to make the entire complex more than just an
efficient solution to a series of technical problems.
The design team began the project with a low-tech strategy,
determining the best siting for the most sunlight. This was accomplished
with a strict north-south orientation. The footprints for eight 36-footlong growing zones, occupying 36,000 square feet, were then sited so that
their long axis is exactly oriented to solar north in order to capture maximum incident sunlight.
The greenhouse units are modular, steel-framed trussed structures with glass roofs and side and end walls. The Nolan Greenhouses use
the greenhouse effect (capturing and retaining incident solar radiation)
to good purpose. The glazing14-inch tempered glass in most areas

P H OTO G R A P H Y : C O U R T E SY I N G E N H O V E N O V E R D I E K K A H L E N & PA R T N E R S

alternate at each floor.

ARCH I TECTURAL TECHNOLOGY

captures the suns heat in the winter and stores it in massive concrete oors
and knee walls. Whereas solar radiation alone is not sufficient to maintain
the proper growing conditions, this glass allows enormous heat gain and
maximum light with almost no ltering. While this seems counterintuitive
when compared to projects involving the comfort of humans, it certainly
qualies as a sustainable maneuver, because it is both energy efficient and
meets the requirements of a particular demand, in this case, plants.
The greenhouses feature operable roofs, a technology pioneered
by greenhouse manufacturer Van Wingerden. When it is necessary to

THE GREENHOUSES USE THE GREENHOUSE


EFFECT (CAPTURING AND RETAINING
INCIDENT SOLAR RADIATION) FOR THE GOOD.
release all that captured solar heat in order to maximize ventilation, each
roof section can be opened by electric rack-and-pinion motors operated
through the environmental control system, says Braddock, unveiling the
complexity of the HVACs high-tech functions. When temperature sensors
in a zone indicate that cooling is required (based on criteria programmed
into the environmental control system by the greenhouse operators), the
roof of that zone is automatically opened. Each zone consists of three
ridges with two roof vents per ridge. Each pair of roof vents is operated in
tandem by a single motor.
The ability to open the entire glass roof of each unit when the

A I A / ARCH I TECTURAL RECOR D


CONT INU ING EDUCAT ION
INSTRUCTIONS

Read the article Commercial Buildings Open Their Windows using


the learning objectives provided.
Complete the questions below, then ll in your answers (page 222).
Fill out and submit the AIA/CES education reporting form (page
222) or download the form at www.archrecord.com
to receive one AIA learning unit.

QUESTIONS
1. Which is not a reason for incorporating natural ventilation in office buildings?
a. people nd it more comfortable
b. productivity increases
c. natural pollutants are added to the air in the building
d. energy costs for the building go down

2. What percentage of a buildings operating costs are normally due to energy


consumption?
a. 5 percent
b. 10 percent
c. 15 percent
d. 20 percent

weather is appropriate facilitates hardening off (the process by which


plants grown in the idealized conditions of a greenhouse are gradually introduced to the variable conditions of the outdoors, in order to make them
strong, hardy, and ready to be planted outside) without having to move
them outdoors. Furthermore, the fact that they open means that heat
removal does not require energy-depleting air-conditioning. When the roofs
open perpendicular to the ground, they create a striking architectural prole.
Overheating is prevented by motor-driven curtains and evaporative cooling. Water is pumped over porous pads that hang along the north
end of each zone. Outside air is drawn over the cooled pads and then
exhausted out the south end by fans. Some zones are further cooled by mist
that is automatically injected into the space and circulated by fans. Both
methods are much less energy consuming than traditional air-conditioning.
During winter months and at night during spring and fall,
energy-efficient hot-water radiant heating is provided for each of the
growing zones. Water heated in boilers in the mechanical room is circulated by pipes embedded in the concrete oors, on the side walls, and
under the glass roofs. According to the manufacturers, this consumes less
energy than traditional forced hot air or radiators.
The Nolen Greenhouses provide a textbook case study about
HVAC challenges in extreme conditions. And yet, there are lessons for
human occupancy of buildings. As all the projects here show, heating,
cooling, and ventilating do not require the highly mechanized, energydevouring machinery that we take for granted.

5. Energy cost savings in the RWE building are estimated to be which?


a. 1015 percent
b. 2025 percent
c. 3035 percent
d. 4045 percent

6. To optimize daylight and natural ventilation, the RWE office building has
interior spaces no more than how many feet deep?
a. 50 feet
b. 42 feet
c. 23 feet
d. 14 feet

7. Which climate is most conducive to using natural ventilation?


a. nonhumid, temperate
b. humid, tropical
c. nonhumid, arctic
d. nonhumid, tropical

8. The CYTS building uses which for its ventilation system?


a. forced air
b. ceiling fans
c. outside air
d. all of the above

9. In the CYTS building, when occupants open panels for fresh air, the system
3. In the RWE office building, the HVAC system cools air by which method?
a. forced air
b. chilled air
c. fresh air
d. fans

4. The RWE office building has sensors to detect all occurrences except which?
a. an open window
b. internal wind speed
c. heat gain
d. exterior wind speed

168

Architectural Record 09.05

does which?
a. continues to operate
b. shuts down
c. goes into passive mode
d. goes into exhaust mode

10. The Nolen Greenhouses store the suns winter heat in which?
a. panels lled with water
b. massive concrete oors
c. thick glass roofs
d. porous pads on the north of each zone

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A R C H I T E C T U R A L T E C H N O L O GY

No longer just pretty pictures, digital


models are becoming workhorses
SLOWLY, FIRMS ARE STARTING TO COMBINE DIGITAL BUILDING MODELS WITH
WIDER-SCALE GEOSPATIAL DATA AND OTHER INFORMATION AS THEY DESIGN,
ANALYZE, BUILD, AND MAINTAIN THEIR PROJECTS

F E AT U R E

By Ted Smalley Bowen

lthough global positioning systems (GPS), geographic information systems (GIS), 3D modeling, and graphics technologies
are standard tools in many design rms, architecture is still executed through a somewhat disjointed progression of 2D and 3D
representations of buildings. While this is problem enough for single
building projects, the resulting jumble of spatial and graphical information
makes it especially hard to grasp the details of larger-scale work that
involves campuses, city blocks, and urban development schemes.
But sophisticated design and graphics packages have opened
up formal possibilities, while GPS, GIS systems, photogrammetry
(measuring objects from photos), and laser range nders have brought
greater accuracy to the measurement and representation of buildings,
objects, and spaces in 3D. These tools are helping rms get a better
grasp on what designs are possible, how they will t into their neighborhoods, and how to build them. As long-time proponents of
building information modeling (BIM) have long pointed out, the
potential benets of designing with a master 3D model (or 4D if the
element of time is added) span all aspects of design and construction,
from project management to maintenance to cost containment and
community review. And while no single company provides a Swiss

I M A G E : C O U R T E SY K P F / C I T YS C A P E

Ted Smalley Bowen is a Boston-based freelancer who writes frequently for


record about technology. Contact him at ted_bowen@hotmail.com.

army knife tool for 3D design, modeling and project-management


applications are becoming more interoperable, and architects are learning how to meld these tools into everyday practice. As a number of
rms are nding, such models can improve design, communications,
budgeting, and construction.
Using 3D to stand tall in London

In designing Bishopsgate Tower, which will be Londons tallest building


at 1,008 feet high, Kohn Pedersen Fox (KPF) has had to be keenly sensitive to the building sites surroundings. The city has traditionally
guarded the view corridors around St. Pauls Cathedral, Parliament, and
other landmarks, but recent planning decisions have made way for
high-rises that some contend will block key sight lines. Because of these
concerns, the towers design has been thoroughly analyzed and
reviewed to determine its visual impact and to otherwise check its compliance with relevant codes and standards. The project was
commissioned by the German developer and fund manager DIFA.
On this project and others, KPF has made extensive use of 3D
visualization and modeling software along with geospatial data,
according to Lars Hesselgren, KPFs London-based research director. To
aid in conducting site studies, KPF worked with a 3D city model of
London generated from a traditional map, photogrammetry, laser-point
clouds derived from a scanning of site features, and radio triangulation

Geospatial data and 3D CAD are helping KPF design Londons tallest building. The firm created this image to study the buildings impact on the neighborhood.
09.05 Architectural Record

171

A R C H I T E C T U R A L T E C H N O L O GY

F E AT U R E

the other technology weve been talking about, he says. Like many rms,
KPF is aiming to use 3D models for centralized management of building
information. As it is, theres a huge amount of double handling,
Hesselgren says. Everyone uses different CAD packages, and communication depends on everyone using the same software. Since 1995, the
International Alliance for Interoperability (IAI) has been working to
establish standards for interfaces between software programs to combat
this problem. Its members have hashed out Industry Foundation Classes
(IFCs) for sharing digital design data and other project information
among applications, and vendors like Graphisoft, Autodesk, and Bentley
Systems have added support for the IFCs to some of their software. Like
any effort to create standards, the gains have been slow in coming, but
theres evidence that their work is making inroads, with the General
Services Administration (GSA) soliciting information on the use of IFCs
earlier this year, and countries like Norway and Malaysia adopting methods for sharing digital design information based on IFCs.
A research center comes together in virtual and actual space

In working with Frank Gehry on the Walt Disney Concert Hall in Los
Angeles and Daniel Libeskind on the expansion of the Denver Art
Museum, Seattle-based design and construction rm M.A. Mortenson
Company makes extensive use of 3D and 4D design and visualization
KPF created 3D models of Bishopsgate Tower in London for study and design
purposes: A view of the tower (above center) from the Tate Modern Gallery

data (which is similar to GPS, but uses radio signals instead of satellite
transmissions to gather and transmit information).
Although the data collection involves many pieces of software
and equipment, the process is far from automated. The problem is how
to convert spatial data into comprehensible models, he says. You
always need an operator to interpret the data into usable geometry.
KPF uses its 3D models in the production of photographic montages,
animations, and y-throughs, according to Hesselgren. Linked to a
parametric model containing more robust design data instead of just
geometric information, the 3D model aids real-time design, he adds.
Such models are also used to establish a buildings visibility, by placing
a light source on a given structure and shining it onto an eye-level
ground plane, he said.
In ve to ten years, it should be possible for a person wearing
specially equipped virtual-reality glasses to view a landscape or cityscape
with an overlay of geospatially correct CAD information for projects,
according to Hesselgren. That direct input will bypass a huge amount of
172

Architectural Record 09.05

programs, including Revit, formZ, ArchiCAD, and others. The rm is


now handling the design, construction, and maintenance of the
University of Washingtons new research and technology building in
Seattle. The project provides an opportunity to take advantage of modeling and visualization applications, according to design coordinator
Dace Campbell. Contractually, our partners are vested in making this
work, he says. Everyones building a 3D modelthe mechanical subcontractors, electrical and construction workers, the architect, civil and
structural engineers, all in their own avor of CAD. Were the nondenominational data consolidator.
Mortenson is using the 3D model and Primavera scheduling
software to coordinate the project. Were doing visualization over time
kind of a poor mans animation, he says. Campbell himself is the human

IMAGES: COURTESY KPF/CIT YSCAPE


(LEF T T WO); M.A. MORTENSON COMPANY
(RIGHT AND OPPOSITE THREE)

across the Thames River; the entry (below) from the adjacent Crosby Square.

hub for the project, but subcontractors, tradespeople, and clients are
using the tools on their own. Working in 3D allows the trades to coordinate their tasks, improve logistics, and increase the use of prefabricated or
modular components.
At the job site, Mortenson is issuing stereoscopic goggles to the
builders for viewing models. Weve got iron workers looking at details
with 3D glasses on. Everythings dimensionally accurate, he says. Using
GIS data from the universitys survey grid, surveyors are able to translate the model to the building site. Its automatically being built just as
its designed, which greatly reduces error, he says.
The 3D models also improve m/e/p coordination, making it
easier to detect conicts and therefore save money on costly xes. So far,
the project team has detected about 1,500 conicts, ranging from those
as minor as pipes being aligned too closely to as large as entire m/e/p
systems in conict around stairs, says Campbell.
The rm has a 10-year goal to save 30 percent in labor costs, a
major portion of which is expected to come from better design coordination. The idea is to avoid redoing work, he says. Most injuries are related
to rework, when things are hurried and less planned. The technology is
also forcing a shift in job skills, requiring people to be able to adapt to new
ways of collecting, viewing, and using data. Whether you can work in 3D
or not will be a divider in the industry [in the future], says Campbell.

For a research and

(below). Color-coding

technology center at

the ductwork and

the University of

other m/e/p systems

Washington, M.A.

(above and left) helps

Mortenson is bringing

designers take note

together a 3D building

of possible conflicts

model (opposite, right)

with other building

with scheduling data

elements and correct

to create a visual time-

them before mistakes

line for construction

are made in the field.

Making models workfor both design and practice

City models created in 3D software are also becoming routine components of major design competitions. In preparing their entry for the
GSAs Thurgood Marshall U.S. Courthouse renovation in New York, the
Boston rm Goody Clancy was given digital 3D models of several parts
of the city, says David de Sola, AIA, an architect at the rm. (The contract for the project ultimately went to Beyer Blinder Belle.) Like KPF,
Goody Clancy is also looking to 3D modeling for building information
management and cost estimating. When we model in 3D, we can get
volumes and amounts of materials, and we can start on a cost model,
he says. And when we present it to people to show them what well get,
it makes sense to them.
The rm is looking at WinEstimator, Revit, and e-SPEC as off09.05 Architectural Record

173

Academic powerhouses are turning out some of the leading-edge


research in 3D modeling, including large-scale image capture, spatial
orientation, visualization, and methods of populating building models
with relevant, up-to-date information.
At MIT, researchers are mapping and navigating 3D environments at scales from building interiors to city blocks (below). A key
element of their work involves building topological models using
geospatial coordinates. Position-aware sensors can be installed in a
space for environmental monitoring, security, or other purposes, and
users can add extra data associated with specific locations in a
model, such as contractor instructions or results of occupant surveys.
Researchers are capturing most exterior images with GPS instruments, traditional surveying equipment, as well as dead reckoning
(heading and speed) data. Interiors (and exteriors beyond the reach of
GPS) are mapped using MITs Cricket Indoor Location System, a radio
frequency and ultrasound positioning system accurate to within a
couple of inches. You can get the appearance of a small number of
city blocks by collecting data manually and using laser, still images,
and video. But the geometry is in appearance only, says Seth Teller,
associate professor of computer science and engineering and lead
investigator of MITs City Scanning Project. Existing data has to be
merged with the mere geometric information of the model, Teller says.
Rapid image capture merged with geospatial data is finding a
variety of applications in design. Architects and planners have been
using the data to conduct
solar studies, energy modeling, tax assessment, and
emergency services planning.
Its not only about modeling
spaces, but also enriching
those models with critical
information, he says.
The maps and associated
data, stored in a database, are available remotely and on-site through
GIS-style maps. A variety of applications that run on handheld
devices, for tasks like building inspection, maintenance, and project
management, will allow real-time access to data in the field, according to Teller. Users (or robots, eventually) can modify information while
on-site. You can start making useful annotations even without an
object model, and that model can come into being as part of the natural process of adding annotation. Add a projector to the handheld,
point it at a wall, and you can see hidden structures by displaying
details from the model on their corresponding physical locations; or
mark construction materials with radio frequency tags, and you could
have an as-built on the fly, as a side benefit, he says.
Its becoming easier to generate photorealistic GPS-oriented 3D
models of city blocks, too. Such mapping is finding its way to the Web
through the likes of Google and Amazon, which are beginning to link
search results with images of places. Stanford Universitys Googlesponsored research involves generating panoramic street-level views
from video and laser measurements. The University of California,
Berkeley is also working on 3D city modeling, using aerial and groundlevel laser scans and photographs.
While the speed and accuracy of data-collection tools continue
to improve, the challenge is to anchor the swirl of spatial and image
data in coherent, consistent frameworks, so that architects, planners,
or even consumers can make use of the results. T.S.B.

174

Architectural Record 09.05

Goody Clancys design for the Thurgood Marshall U.S. Courthouse in New York
was set into a 3D map of the city provided to firms entering the competition.

the-shelf components of a building information management system,


along with some proprietary software for what de Sola calls the tendons and ligaments to help the packages work together. Maintaining a
central 3D model for each project is attractive, but also raises the question of who hosts it and how to hash out access among project team
members. In the meantime, the designers are making extensive use of a
simpler 3D package, SketchUp. It gets you into realistic 3D representation fast. Anyone can understand the drawings, and almost everyone
can use it, he said.
Many rms are expressing interest in 3D and 4D mapping and
modeling for project logistics, according to Paul Seletsky, digital design
director for Skidmore, Owings & Merrill in New York and chair of AIA
New York Citys technology committee. You have to be able to look at
whats around a given site, gure out how to stage delivery of materials
and equipment, and how that might affect the surroundings, he says.
Although theyre too costly for many rms, immersive displays like
those used in the automotive industry will eventually migrate to the
AEC community, Seletsky believes.
Over and above the challenge of developing coherent, accurate
3D representations of structures, this work typically falls outside the

FIRMS ARE USING A WIDE VARIETY


OF 3D MODELING PACKAGES IN LIEU OF
SETTLING ON A SINGLE PACKAGE.
scope and budget of most projects. You cant ask for extra work from
designers without giving them more time and money to do it, says Seth
Teller, associate professor of computer science and engineering at MIT,
whose office is in Frank Gehrys Stata Center and who compiled timelapse sequences of the buildings construction (see images online at
monitor.csail.mit.edu/index_ash.html).
Equally important is not losing sight of design fundamentals.
You need to have people who understand the information theyre
given, Seletsky says. When you look at the scan of a site, can you
understand what the sites about? You need to know things like the location of utilities, underground transport, and nuances in soil conditions.
Its not just about graphic skills. Painters may paint what they see, but
future architects have a lot more on their plates: They will not only
design, but they will also model, analyze, annotate, build, and maintain
their creations.

I M A G E S : C O U R T E SY M I T A R T I F I C I A L I N T E L L I G E N C E L A B O R ATO R Y ( L E F T ) ; G O O DY C L A N C Y ( R I G H T )

F E AT U R E
A R C H I T E C T U R A L T E C H N O L O GY

Researchers delve into 3D modeling studies

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In France, another Pompidou Center takes shape


By Deborah Snoonian, P.E.

The brashly exposed systems of Rogers and Pianos original


Pompidou Center in Paris captured the attention of critics
when it opened in 1977, but its the draped sculptural roof
of the centers planned outpost some 200 miles east of the
City of Lights thats getting the wows this time around.
Inspired by the shape and texture of a woven Chinese hat
he found in Paris, architect Shigeru Ban, working with Jean
de Gastines and engineers at Arup, envisioned a free-form
roof made from modular hexagonal cells of timber, measuring about 3 feet long on each side. The resulting mesh
structure will be capable of spanning distances up to 130
feet, enabling the roof to be supported by just a few
columns near the buildings perimeter. The design team is
still finessing how exactly to build it. Its an exercise
somewhere between form-finding and form-making, says
Ban. Planners hope the new Pompidou Center, slated to
open in 2008, will draw tourists to Metz, which is near the
borders of Germany, Luxembourg, and Belgium.
Exhibition galleries

Auditorium

Central spire

Air-handling system

Lobby/entry

176

Architectural Record 09.05

AXONOMETRIC WITH AIR-HANDLING SYSTEMS

I M A G E S : C O U R T E SY S H I G E R U B A N A R C H I T E CT S E U R O P E

A R C H I T E C T U R A L T E C H N O L O GY

Zoom In

The curvaceous roof of

and topped with a heat-

minate in glazed ends

the new Pompidou

reflecting, white

that provide panoramic

Center (this page, bot-

fiberglass waterproof

views of a new high-

tom, and model shot,

coating. Three long,

speed train station,

opposite, top) will be

rectangular exhibition

the nearby Seille Park,

constructed of a mesh

galleries stacked on

and the skyline of the

of laminated timber

top of each other ter-

growing Metz region.

Spire to rise 253 feet tall


in honor of the 1977 opening of
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are column-free and
self-supporting, like bridges

Roof structure will be


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elements that can span
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NIST research staff (left) inventory

BYTES

the steel recovered from the colASHRAE recently kicked off a study

lapsed World Trade Center buildings

that will assess the link, if any,

(digital model below).

between thermal comfort and energy


efficiency. The goal is to determine
whether drifting indoor temperatures
that sometimes result from energysaving strategies have an effect on
health and productivity. The project will
last 18 months and cost just over
$100,000.

Constructware, a maker of online project communication and collaboration


software, recently developed a communication specification that spells out
roles and responsibilities for project
teams as they exchange design documents and data. The specification can
be used as the basis of a contractual
agreement involving communication.
Three of the companys clients have
adopted it so far.

A thermal power station called the


Solar Tower will be built in 2006 by the
Melbourne-based EnviroMission
Limited on a former sheep farm in the
Australian outback. It will consist of a
I M A G E S : C O U R T E SY N AT I O N A L I N S T I T U T E O F S TA N DA R D S A N D T E C H N O LO GY

25,000-acre transparent circular solar


heat collector at the base, topped by a
3,280-foot hollow tower equipped with
32 wind turbines. Planners estimate it
will produce enough electricity to
power 200,000 homes every year.

Throughout August and September,


government scientists will release colorless, nontoxic gases in New York
Citys subways, an office building, and
select streets to determine how fast
and far a chemical attack would propagate. The study is being conducted by
the Urban Dispersion Project, a program of the Pacific Northwest National
Laboratory.

A group called Waste Concern in


Dhaka, Bangladesh, will convert the
capital citys garbage into organic
fertilizer and will harvest the methane
it produces to generate electricity.

WTC investigators recommendations set


agenda for change, but provide few answers
The final draft report on the investigation into the fires and collapse of
the World Trade Center (WTC) towers after the terrorist attacks of
9/11 is chock full of recommendations30 in allmeant to address
improvements to standards, codes,
and practices, evacuation response
procedures, and research needed
to prevent failures of high-rise buildings in catastrophic events. But
the recommendations have left
some in the design community
befuddled, including the AIA, with
many saying the reports findings
are either too broad in scope or
misguided because they are based
on the result of a unique disaster.
Mandated by an act of
Congress, the investigation by the
National Institute of Standards and
Technology (NIST) National Construct
Safety Team took nearly three years
and $16 million to complete. The
final draft was released on June 23;
public comment on the recommendations closed on August 6. We
believe these recommendations are
realistic and achievable within a reasonable period of time and should
greatly improve the way people
design, construct, maintain, and use
buildings, especially high-rises, said

the reports lead investigator, Shyam


Sunder, at its release in New York.
The irony is that none of the
recommendations are specific or
quantitative in nature, says Ron
Klemencic, president of Seattlebased structural engineering firm
Magnusson Klemencic Associates.
Klemencic, who is
chairman of the
Chicago-based
Council on Tall
Buildings and Urban
Habitat (CTBUH), says
the investigators
essentially created a
laundry list of topics.
But for the money
spent, one would hope
the recommendations
would have been
more substantive.
According to Carl
Galioto, FAIA, a partner at Skidmore,
Owings & Merrill
in New York and architect of record
for 7 World Trade Center and the
Freedom Tower, The report is not so
much a conclusion, but a direction.
The recommendations are
divided into the following eight
groups: increased structural

integrity, enhanced fire resistance of


structures, new methods for fireresistance design of structures,
active fire protection, along with
improved building evacuation, as well
as improved emergency response,
improved procedures and practices,
and education and training.
Many of the recommendations
are simply common sense in terms
of fire and life safety, while others
are already common practices, says
Raymond Clark, AIA, managing principal in the Chicago office of Perkins
+ Will. A case in point is recommendation No. 11, which advocates
evaluating of the performance and
suitability of advanced structural
steel, reinforced and prestressed
concrete, and other high-performance materials for use under
conditions expected in fires. Thats
already being done, says Clark, who
is chairman of the
Chicago Committee
on High-Rise
Buildings, an organization affiliated with
CTBUH that is focused
on the design, construction, operation,
and maintenance of
high-rise buildings in
the Windy City.
The general
nature of many of the
recommendations is
due to the fact that
they are taking this
catastrophic event
and trying to come
up with specific recommendations,
says Clark. Although the recommendations seem sensible in the
context of the tragic result, theres
no correlation to other buildings.
He disagrees with recommendation
No. 1, for instance, which calls for
09.05 Architectural Record

179

A R C H I T E C T U R A L T E C H N O L O GY

Tech
Briefs The design community responds to NISTs recommended changes based on
the agencys study of the WTC collapse New framing and fasteners help a mural in Chicago come together

A Whole
New Look!
in Drawer Pulls

true Statement: Bridle


leather covered Satin

Nickel or Polished Chrome


plated round solid brass

into these projects. In the Freedom


Tower, for instance, the designers
are using the structural frame
approach to fire-resistance rating,
where columns and the girders
that brace them have the same fire
rating. The tower also will use a
cementitious, medium-density
spray-on fireproofing material that
has more than five times the cohesion and adhesion as code requires,
which meets NISTs recommendation for development of fire-resistant
coating materials and technologies.
Both 7 World Trade Center and
the Freedom Tower will also use
redundant sprinkler systems, and
the Freedom Tower will contain an
emergency access core comprising
a group of service elevators with
equipment that is protected against
water damage, which open onto a
service vestibule that is fire rated
and pressurized to mitigate against
smoke intrusion.
For more on NISTs draft report
and recommendations, go to
http://wtc.nist.gov. Larry Flynn
(continued on page 182)

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P H OTO G R A P H Y : C O U R T E SY N AT I O N A L I N S T I T U T E O F S TA N DA R D S A N D T E C H N O LO GY

nationwide adoption of standards


The AIA responded to several
and codes to prevent progressive
points in NISTs report, saying the
collapse. While sensible in theory, he
agencys concerns about redundancy
says, changing the codes would not
in fire protection are valid only in
have prevented the collapse of the
rare cases, and that specific fixes
twin towers or the Alfred P. Murrah
like making stairwells wider and
Federal Building in Oklahoma City,
hardening elevator shafts can actuwhich collapsed in April 1995 when
ally backfire depending on the type
Timothy McVeigh bombed the U.S.
of emergency that a building faces.
Government complex. Klemencic
Clark takes issue with recomagrees that preventing progressive
mendation No. 17, which calls for
collapse is a nice
statement, but we
need to define what the
hazards are going to be,
and what type of building response to those
hazards were willing to
accept. Until we can do
that, its difficult to do
any rational engineering, and [attempts to
change standards]
NIST conducted fire tests to assess the accuracy
become an otherwise
of computer models of the tower collapses.
emotional response.

the design of skyscrapers to accommodate full-building evacuation of


occupants if needed. I dont know
how you can make that recommendation as policy without exercising
reasonable judgment and taking
into consideration the specific building, he says. The recommendation
contradicts the fundamental
philosophies of building evacuation
that have been in place and proven
to save lives for decades. Standard
practice is that of hold in place,
says Clark, meaning that the floor
on which the emergency is located
and those around it are evacuated,
while other floors are not because
the buildings systems are designed
adequately to protect occupants.
The design team for 7 World
Trade Center and the Freedom
Tower anticipated some of the recommended code changes in the
report, as well as in New Yorks
recently enacted Local Law 26,
which included changes to Big Apple
codes relating to tall buildings, says
Galioto. The team has incorporated
many of the measures NIST noted

Steven Brooke Studios

A R C H I T E C T U R A L T E C H N O L O GY

Tech Briefs

PRECAST
THAT
CANT BE
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Design architect: Bernard Tschumi Architects, New York, NY and Paris, France
Architect of record: glaserworks, Cincinnati, OH

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Unique assembly makes a new mural possible


The latest stop on one of Chicagos
architectural tours isnt a building,
but rather a 3D mural commissioned by the Catholic Charities of
Chicago and attached to the groups
headquarters. The Chicago-based
fabricator Farrodyne USA built
The Mandatum (Latin for mandate),
which came together with a number
of new assembly and construction
techniques.
The shadow mural depicting
a Biblical scene and Catholic leaders, measuring 153 feet long and
33 feet high, consists of hundreds
of slender, vertical strips of aluminum that cast a shadow on the
wall behind them. The 21-foot-long
strips, each watercut and unique in
shape, are attached to aluminum
panels using a bedframe technique, so called because hooked
tabs on each strip slide into place

like bed rails on the panels. The


strips are secured to the panels with
camlock fasteners that Farrodyne
designed for the project, and the
panels attached to the buildings
structural steel. This assembly
allows the mural to accommodate
thermal expansion and permits
each strip to be removed individually

when repairs are needed. The effort


won Farrodyne a 2005 Construction
Technology Award from the
Construction Specifications Institute
(CSI). Deborah Snoonian, P.E.

The Mandatum depicts a Biblical


scene and portraits of Catholic
leaders (top and above). Its metal
strips (above left) are attached to a
frame with special fasteners.

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P H OTO G R A P H Y : C O U R T E SY FA R R O DY N E U S A

A R C H I T E C T U R A L T E C H N O L O GY

Tech Briefs

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A-1441-0505
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A R C H I T E C T U R A L T E C H N O L O GY

Tech Products
Document and manage your designs
By Deborah Snoonian, P.E.
MicroStation V8 XM edition
Bentley Systems
www.bentley.com
Windows only
Bentleys upgrade of its design software for architects includes four
major improvements: a new graphic
interface; a customizable, structured
workflow that offers users a streamlined subset of tools for each design
task; a structured view of projects
and files that users can navigate to
create links within and between
projects, and track things like plot
sets and deliverables; and finally,
the ability to create a PDF file of a
projects documentsCAD files,
3D animations, even Word documentswith a single mouse click.
The resulting PDF file, much less
hefty in size than the group of files
used to create it, is well suited for
client review and project archiving.

I M A G E S : C O U R T E SY B E N T L E Y SYS T E M S ( TO P T W O ) ;
A D O B E SYS T E M S ( M I D D L E ) ; KYO C E R A ( B OT TO M )

Acrobat Professsional 7.0


Adobe Systems
www.adobe.com
Windows and Mac
Adobe is making a play for this popular format to become the de facto
information exchange standard for
the AEC industry. Their upgrade to
Acrobat Professional lets users save
several common AEC file types as
single PDFs that can be shared,
reviewed, marked up, updated, and
ultimately archived. Firms like
Perkins Eastman have been using
it on tablet PCs to mark up and
manage drawings in the field; other
For more information on technology
for architects, including
reviews, vendor lists, and links, go
to Digital Architect at
www.archrecord.com.

testimonials posted on
Adobes Web site by its
AEC customers note
enough productivity gains
and savings to make a
case for at least testing a
PDF-based workflow.
Solar Trees
Kyocera
www.kyocera.com
Your car wont take a
pounding by the sun if
you park under one of
these trees, a new photovoltaic (PV) system consisting of
modules of solar panels mounted
on supports. The first installation of
the system, dubbed the Solar
Grove, was dedicated last June at
Kyoceras North American headquarters in San Diego. The grove
produces 421,000 kilowatt hours of
electricity per year, the equivalent of
the demand of 68 homes in the San
Diego area. Local architecture firm
Tucker Sadler designed the grove,
which will pay for itself in about 12
years with rebates and tax credits
(not a great payback period, but
with energy prices on the rise, some
clients may be convinced).
Excelize Detail Manager
Excelize
www.excelize.com
Windows only
Ever want to reuse a CAD
detail or object from a previous project, only to discover
you cant find it among the
detritus on your hard drive or
server? This new database
program aims to bring those
files to your fingertips quickly
and easily. It allows you to

Microstation V8 XM
edition offers a new
user interface that
better matches features with tasks.

Acrobat Professional
7.0 lets designers save
all types of project
files to compact, userfriendly PDFs.

For surface parking


lots, a systemized
solar panel structure
by Kyocera generates
power and keeps cars
cooler.

09.05 Architectural Record

185

Tech Products
Frequently used details, drawings, and components are organized easily in Detail Manager.

Project management, job tracking, and


task histories can be captured in Praesto,
a database program tailored for AEC firms.

VisionREZ features built-in


house styles and object
libraries of building features
commonly used by residential
architects.

Praesto AE
Base Builders
www.basebuilders.com
Windows only

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Base Builders developed Praesto, a database program, to take the hassle out of mundane tasks
faced by AEC firms like job tracking, project management, and proposal development. Information
such as hours worked, materials used, and status
reports can be entered into Praesto and later
used for such tasks as creating time sheets,
generating invoices, and establishing project
schedules. While it lacks the punch needed to
handle payroll or accounting, it allows project
managers to prepare and submit invoices for
their projects without having to access a firmwide accounting systemwhich both saves time

and helps prevent sensitive financial information


from falling into the wrong hands.
VisionREZ 3.0
Ameri-CAD
www.visionrez.com
Windows only
Geared toward residential designers, this 3D CAD
package can either be used on its own or as a
plug-in to Autodesks ADT design software. Handy
features such as built-in material libraries, objects
like roofs and walls, and predefined house styles
are tailored to the attributes wanted by many
homeowners (i.e., more operable windows, fewer
elevators). Files created in VisionREZ can be
rendered in Autodesks VIZ for presentation and
study purposes. While using many of the same
commands and menu structures as Autodesks
applications, VisionREZs lower price tag compared
to many 3D CAD programs may entice even the
most tech-averse architects to try it out.

I M A G E S : C O U R T E SY E XC E L I Z E ( TO P L E F T ) ;
B A S E B U I L D E R S ( TO P R I G H T ) ; A M E R I - C A D ( B OT TO M T W O )

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parameters you find helpful.

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2005 Lutron Electronics Co., Inc.

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Special Advertising Section


A I A / A RC H I T E C T U R A L R E C O R D
CONTINUING EDUCATION Series
USG PRESENTS

LOW-SLOPE COMMERCIAL ROOFING

ROOF COVER BOARDS PROVIDE OUTSTANDING PERFORMANCE


By: Robert C. Grupe, CSI
Director, Architectural and Technical Solutions
USG Corporation
By: Kurt J. Goodfriend, P.E.
Senior Technical Staff
USG Corporation

By: Colin Murphy, RRC, FRCI


President
Exterior Research & Design, LLC

CONTINUING EDUCATION
Use the learning objectives below to focus your study as
you read Low-Slope Commercial Roofing: Roof Cover
Boards Provide Outstanding Performance. To earn one
AIA/CES Learning Unit, including one hour of health, safety, and
welfare credit, answer the questions on page 193, then follow the
reporting instructions on page 223 or go to the Continuing
Education section on archrecord.construction.com and follow
the reporting instructions.
LEARNING OBJECTIVES

After reading this article, you should be able to:


Understand how cover boards enhance the performance of commercial
roofing systems and assemblies.

Identify several distinct cover board product types and their


installation advantages.

Evaluate important criteria when specifying cover boards for different


environmental conditions.

over boards have been a standard component within roof


assemblies for more than 20 years, and were developed to
enhance the performance of virtually every type of roof system.
The use of this relatively thin component, which is typically placed
between the roof insulation and the roof membrane, enhances fire
resistance, increases wind uplift performance and provides greatly
improved resistance to hail and foot traffic.
The evolution of the cover board began with the inception of fluted
steel decks as a roofing substrate. Early roof deck types including
wood, concrete and gypsum are flat, providing a bonding or nailing
substrate for the first layer of roofing. The base sheet, as it
is called, can be nailed or adhered to the flat surface to form the first
layer of the roof assembly. By contrast, a profiled steel deck is formed
in a variety of configurations, with varying modules of voids or valleys,
called flutes. Deck modules1 range from 2-1/2 to 6 inches across,
providing a regular pattern for attachment.
In order to attach a roof assembly on the profiled deck, some
type of flat board is needed to create a bonding surface. Years ago,
such boards were formed from cork. The cork boards were bonded
to the top flanges of the steel deck with asphalt, over which the roof
assembly could be applied. The cork provided a solid walking
surface, a good bonding substrate, some thermal insulation value
and could be cut to slope for drainage purposes.
Later, other cover board materials entered the market. These materials were lighter and more fire resistant, and included expanded perlite, wood fiber board, exterior-grade gypsum and fiberglass insulation.
Low-Slope Commercial Roofing 189

A I A / A RC H I T E C T U R A L R E C O R D
CONTINUING EDUCATION Series

Special Advertising Section

Courtesy of USG Corporation.

With the introduction of foamed plastic insulation, cover boards


took on a dual role providing a fire barrier between the steel deck
and the plastic insulation and serving as a suitable bonding layer
above the insulation. Foamed insulations, such as urethane, extruded
polystyrene and polyisocyanurate, fast became the insulation of choice
due to their light weight, fairly good dimensional stability and ease of
forming into a tapered material. Both foamed insulation and cover
board materials were used in combination to form a slope.
Events of the 1980s
T significant events occurred in the 1980s that further advanced
Two
the use of cover boards.
1. The determination that application of hot asphalt or coal tar
directly over foamed insulation could result in blistering2.
2. A change to Factory Mutual (recently renamed FM Global)
Standard 4470 requiring that all insulation be mechanically
attached to the steel deck substrate prior to the application
of an FM-approved roof assembly.
Significantly,
y the use of mechanical fasteners and stress plates
creates thermal shorts within the insulation. In colder climates,
interior condensation forms when the warmer air around the metal
fasteners is cooled by the colder exterior temperatures, resulting in
moisture formation on the fasteners. The condensed moisture then
drips into the interior and rusts the interior components of the screw.
This problem was solved in a variety of creative ways, such as
recessing the screws into the stress plate hub, the use of plastic
fasteners and the application of a cover board over the foamed
insulation to act as a thermal break between the cold exterior and
the warm interior.
As a result of these developments, cover boards became a standard
component in commercial roof assemblies. In addition, competing
board manufacturers began to promote the use of particular cover
board types for their abilities to enhance the performance of specific
roof systems.
Comprehensive rounds of wind uplift and fire testing have
confirmed the claims of better performance characteristics with the
use of some cover boards. Some new cover board materials, including
oriented strand board (OSB) and water-resistant gypsum board,
entered the market and further broadened the options of interface
materials. Materials less than 1/2-inch thick also became available,
some of which offer performance characteristics similar to boards with
twice their thickness. These options were particularly economical
when adhered with hot asphalt or cold adhesive.
190 Low-Slope Commercial Roofing

Recent Cover Board Developments


In the 1990s, FM Global expanded the uplift ratings of approved
roofing systems to include enhanced ratings well above the 90 psf
threshold typical before that time.
Furthermore, the protocol for testing these systems was changed
from the conventional 5- by 9-foot test table to a much larger 12- by
24-foot table. The larger table minimizes the contribution of the
perimeter frame to the tested assembly performance and makes
passing at higher pressure levels more difficult. Hence, minor
components within the roof assembly,
y such as mechanical fasteners
and cover boards, came to play a key role in advancing the
performance of roof assemblies.
Besides increased fastener densities to improve uplift performance,
engineering of newer fasteners and the use of more types of cover
boards created a wide variety of enhanced wind uplift systems
available to the market.
The lessons of Hurricanes Hugo and Andrew that devastated
the Carolina and South Florida coasts have led to more frequent
specification of enhanced systems. In the case of South Florida,
these enhanced systems became a requirement under the new
South Florida Building Code.
Code changes have led to the current published inventory of
enhanced high-wind uplift systems, which are supported by credible
third-party testing. Cover boards have become a critical component in
these assemblies, and quantifiable advantages of one cover board over
another have been established. Cover board manufacturers invested
significant money in testing to prove the threshold capabilities of their
boards. Assemblies incorporating thinner boards, fewer fasteners and
less adhesive were tested to maximize performance and minimize
costs.
Increased use of cover boards over extended periods of time
has revealed problems with some cover boards that are sensitive to
moisture degradation. In some cases, minor leaks from the exterior
and rising vapor from the interior would condense at the roof
membrane (with a relatively low permeability) and wet the cover
board materials. Rot, collapse and general deterioration of the cover
board would follow, requiring the removal and replacement of the roof
membrane, cover board and, in some cases, the underlying insulation.
Even some cover boards touted as water resistant experienced
degradation. The water-resistant cover board materials were not
necessarily waterproof, but were being used in hostile environments
where the boards were destined to fail. In some cases, the waterresistant board was installed in designs where moisture would
clearly be present, such as the reroofing of roofs with wet and
even saturated insulation.
These experiences led to formulation changes in core materials
and the development of surface coatings to limit moisture-related
Standard Cover Board Application
ROOF BOARD IS PLACED DIRECTLY
L BELOW THE ROOFING MEMBRANE, PROVIDING THE
PRIMARY SUPPORT FOR THE MEMBRANE AND PROTECTING THE UNDERLYING
L
INSULATION
A
LAYER
A
FROM DAMAGE DURING INSTALLA
T ATION AND FOR THE SERVICE LIFE OF THE ROOF.

membrane
roof board
rigid
g foam insulation
metal deck
steel joist
j

A I A / A RC H I T E C T U R A L R E C O R D
CONTINUING EDUCATION Series

Special Advertising Section

problems, reduce the quantities of adhesive required to apply


membranes and enhance adhesion performance. The cost of cover
boards increased as more features were added to improve performance levels.
As often happens in the evolution of a product, manufacturers
offer enhancements or add-ons for improved performance.
Competition eventually develops from products that combine the
add-ons into the basic product, creating a single product that meets
a variety of needs. These advancements reduce inventory for the
distributor and minimize the potential of using the wrong product in
the wrong application.
Besides wetting issues, some gypsum-based products were known
to experience limited moisture release as a result of the application
of hot asphalt, especially the Type
T
IV asphalt used in SBS (styrene
butadiene styrene) membrane applications.
The core of gypsum-based products is composed of a matrix that
chemically binds water within the molecular structure of the gypsum. At elevated temperatures, the chemical process known as calcination releases the chemically bound moisture at the cover board
surface. Sufficient water can cause blistering of the base membrane
as it is applied directly to the cover board, especially if the base
membrane is impermeable.
Newer fiber-reinforced, gypsum-based products have been
developed to overcome this problem, and are now compatible with
the application of Type
T
IV asphalt, as with the installation of
impermeable membrane systems directly over the cover board.
The use of a cover board has evolved from its initial function as a
flat surface in a profiled metal deck to serving as an essential
system component that enhances the capability of virtually every
roof system in resisting wind, hail, fire and foot traffic.
Newer cover boards are being developed that will further extend
their use, even in some more hostile environments. Thinner,
r denser
boards have been created to replace older materials that required a
greater thickness to provide similar or better performance levels.
Recent trends in cover boards include the creation of more
water- and mold-resistant boards that provide excellent adhesion
for fully bonded systems. Hot asphalt, solvent- and water-based
adhesives all require a strong bond to the cover board surface.
To minimize adhesive use, the surface must be dense enough to
hold the adhesive out. Boards also must resist moderate levels of
moisture without degradation, and surface bonding layers must not
delaminate from the core (delamination reduces the bond strength).
In addition, the cover board must provide maximum fire protection
at virtually any insulation thickness and roof slope.
Roof Board Application - Hot Asphalt Substrate
ROOF BOARD cAN BE MECHANICALLY
L FASTENED, BONDED WITH MASTIC OR ADHESIVES
OR HOT MOPPED TO FOAM INSULATION
A
. ALL HOTT-APPLIED ROOFING SYSTEMS CAN THEN
BE MOPPED DIRECTLY
L ONTO THE ROOF BOARD WITHOUT CONCERN FOR BLISTERING
OR DELAMINATION
A
.

hot mopped
roof board
rigid foam insulation
roof board
metal deck
steel joist

Roof Board Application - Thermal Barrier


ROOF BOARD PROVIDES A THERMAL BARRIER INSTALLED
T
DIRECTLY
L TO THE METAL
T DECK FOR
BOTH EXPANDED
P
AND EXTRUDED POLYS
L TYRENE INSULATION
A
.

membrane
roof board
rigid foam insulation
roof board
metal deck
steel joist

More recent testing of roof assemblies for resistance to foot traffic


and hail provides further evidence of the qualities cover boards can
bring to high-quality roof assemblies. FM Global test protocols for
hail resistance and ASTM (American Society for Testing
T
and
Materials) standards for impact and puncture resistance quantify the
performance capabilities of these dense underlayments.
The Future
Cover boards will continue to play a vital role as a key component
within the roof assembly. While some proposed roofing systems
would eliminate the cover board, the result would compromise
overall system performance levels.
The new generation of cover boards and enhancements to
existing materials will make cover boards more critical, especially
in more hostile environments. Similarly,
y fast-track construction
creates numerous potentials for trapped water or residual moisture
within substrate materials, including newly poured concrete and
wet wood framing.
Residual moisture is a fact of construction that affects the
installed, in-service materials. Consequently,
y cover boards become
the last stop at the roof plane, holding residual moisture just
below the roof membrane. Trapped
T
moisture, in vapor form, passes
very slowly through most roof membranes. Detail and material
changes can be made to accelerate this moisture migration, but the
cover board must be capable of performing during such prolonged
periods of moisture without a significant loss of performance.
Furthermore, the presence of moisture must not result in the
proliferation of mold within the roof assembly and the potential
to cause further problems should the mold spores migrate to the
buildings interior. This issue is being monitored closely by
building owners, tenants and insurers alike.
The requirements for greater wind uplift performance with use of
low-VOC (volatile organic compounds) adhesives, the potential for
reducing asphalt applications due to possible health risks and the
reduction in use of torch installations to minimize the risk of fire
will all require further advancements in cover board technology.
Roof system manufacturers, in conjunction with fastener,
r adhesive,
insulation and cover board manufacturers, must meet the demands
for higher performance levels within a changing market.
Specifying Cover Boards
In specifying cover boards, it is important to understand that the
cover board is part of a total system. When a fire or wind uplift
resistance rating is required, it is the total system, or assembly,
y
that carries the rating. Each part of the system must be a tested
component within the assembly. In most cases, a wide variety of
cover boards has been tested and approved with the desired
roofing system.
Low-Slope Commercial Roofing 191

A I A / A RC H I T E C T U R A L R E C O R D
CONTINUING EDUCATION Series

Special Advertising Section

Specifiers should carefully review the specific project


requirements and choose a cover board that meets the project
criteria. Wind, fire, traffic, hail and impact resistance should all
be considered when choosing a board. The environment in which
the board will be placed is also a critical factor.
If some level of moisture can reasonably be anticipated, the
design should include a means for fast moisture egress from the
assembly, and the cover board should be capable of performing in
this less-than-ideal environment. The wrong choice of cover board
material could result in collapse and degradation, resulting in a
failed roofing assembly.
Specifiers should also make certain that all components within
the roof assembly are compatible with one another. Manufacturers of
all the roof components should be contacted and directed to
provide a letter stating that adjoining components are compatible
and will remain compatible throughout the anticipated service life
of the roof assembly.
Site substitutions are common as a result of availability,
y contractor preference or price. A substitution may result in the application
of non-compatible materials or assemblies that do not provide the
intended performance. Substitution may result in an assembly that
does not carry the intended wind or fire rating. All substitutions
should be reviewed carefully and given the same care and attention
that were provided in the original choice(s).
Roof Board Application - Metal or Tile Roof Thermal Barrier
ROOF BOARD PROVIDES A THERMAL BARRIER IN CONJUNCTION WITH A STANDING
T
SEAM METAL
T OR TILE ROOFING SYSTEM. IT ALSO PROVIDES NOISE REDUCTION AND
HAIL RESISTANCE
T
.
metal roof
vapor retarder
roof board

Roof Board Application - Parapet Wall


W Substrate
ROOF BOARD IS FASTENED A MAXIMUM 89 INCHES ON CENTER TO WOOD OR METAL
T
FRAMING ALONG THE PARAPET
P
WALL FOR ROOFING MEMBRANE FLASHING SUPPORT.
wall cap
parapet wall framing
exterior wall finish
adhered flashing membrane
roof board
sleeper
roof board
rigid foam insulation
structural deck

The trend in high-performance cover boards has been the use of


gypsum-based products that have been rendered water and mold
resistant. Many of the products contain high levels of recycled
materials, assisting in the procurement of LEED (Leadership in
Energy and Environmental Design) credits. Calcination3 issues have
been overcome with some gypsum-based products, permitting
application of membranes in Type
T
IV asphalt with no blistering
of the membrane.
T
Today
s cover boards are available in thicknesses ranging from 1/4
to 3/4 inch. Boards are fabricated from various materials and have
different properties, such as fire resistance, void bridging and wind
uplift resistance. Product literature and system approvals from FM
Global and Underwriters Laboratories should be reviewed carefully
to identify the appropriate cover board for a project.
Cover boards are compatible with a wide variety of adhesives and
hot asphalt, as well as mechanical fasteners. Again, manufacturers
literature and approvals should be reviewed carefully to determine
the appropriate installation methods for specific projects.

rigid foam insulation


metal deck

A module is the measurement from the center of the high rib to the
center of the next high rib (or flute)
2
National Roofing Contractors Association bulletins
3
The release of chemically bound moisture within the gypsum
crystal when heated
1

steel joist

NEW COVER BOARD OFFERS EXCEPTIONAL BOND STRENGTH


Recently, a distinctive new roof cover board option for low-slope commercial
roofing applications has become available. The products advanced fiber-reinforced
technology provides superior performance benefits compared to traditional
fiberglass-faced gypsum roof boards, whose face layers can delaminate over
time and generate callbacks.
The new roof board is installed over the roof insulation and under the
membrane, supplying protection, separation and support for the membrane. Its
uniform composition enhances the strength of the membrane system by ensuring
a stronger, more consistent bond.
Easy to install and handle, the roof board provides outstanding wind uplift
performance. It also offers first class protection from both moisture and mold.
T
Tests
confirm that this innovative new roof board actually enhances bond
strength, while providing excellent durability and versatility. Its unique gypsum fiber
technology and uniform composition also make it much less likely to delaminate.
The new roof board offers numerous product and installation advantages
all of which can contribute to a roofs long-term performance. They include
the following:
Superior Wind Uplift Performance Because of its uniform composition and smooth surface with no face layers to delaminate, the roof board
enhances the bond strength of membrane systems.
192 Low-Slope Commercial Roofing

Fire Performance The roof board provides excellent fire


performance and demonstrates exceptional surface burning characteristics.
Moisture and Mold Resistance Its integral water-resistant core
ensures excellent resistance to moisture and mold. In independent lab tests, the
product scored a 10 (the highest possible rating for mold resistance) on the
American Society for Testing
T
and Materials ASTM D3273-00 Standard Test
T
Method for Resistance to Growth of Mold on the Surface of Interior Coatings in an
Environmental Chamberr
Versatility The new roof board can be used in single-ply,
fluid-applied, built-up, spray foam and modified bitumen roofing one product for
all systems.
Sustainability Made from 95 percent recycled materials, the cover
board emits no VOCs during the products life cycle and has low embodied energy.
Its high recycled content makes the product an environmentally friendly option in
sustainable building construction.
LEED Applications The panels are an excellent option in LEED Green
Building Rating System applications.
The roof board is available in both 4- by 4-foot and 4- by 8-foot panel sizes,
with a choice of 1/4-, 3/8-, 1/2- and 5/8-inch thicknesses.

A I A / A RC H I T E C T U R A L R E C O R D
CONTINUING EDUCATION Series

Special Advertising Section

CLICK FOR ADDITIONAL REQUIRED READING


The article continues online at:
archrecord.construction.com/resources/conteduc/archives/0905usg-1.asp
To receive AIA/CES credit, you are required to read this additional text. For a faxed
x copy of the material, call USG at 1-800-USG-4YOU
Y .
The following quiz questions include information from this material.

A I A/ A RCH I T E C T U R A L R E C O R D
CONTINUING EDUCATION
A
Series
LEARNING OBJECTIVES
Understand
U
how cover boards
r enhance the perfor
f mance of commercial
roofing systems and assemblies.
Identify several distinct cover board
r product types and their
installation advantages.
Evaluate important
t
criteria when specifying cover boards
r for different
environmental conditions.

QUESTIONS
1.

2.

3.

4.

Cover boards must resist moderate levels of moisture


without degradation, and surface bonding layers must not
delaminate from the core because delamination does which
of the following:
a. Causes calcination.
b. Increases uplift performance.
c. Reduces the bond strength.
6. Industry testing groups have performed tests for cover
board roof assemblies relating to all but which of the
following criteria?
a. Hail.
b. Impact.
c. Snow loads.
d. Puncture resistance.
7. The presence of moisture in cover boards may result in
mold within the roof assembly and mold spores migrating
to the building interiors.
a. True.
b. False.
8. Typical
T
cover board options include all but which of
the following:
a. Fiber board and perlite roof board.
b. Calcinated mineral materials and recycled
phosphate board.
c. Glass/mineral board and asphaltic core boards.
d. Glass mat-faced gypsum board and fiber-reinforced
r
gypsum panels.
9. When specifying cover boards as part of a roof assembly
or system, all but which of the following are true?
a. If a fire or wind uplift resistance rating is required,
only the cover board carries the rating, not the
roofing assembly.
b. Each part of the system must be a tested component
within the assembly.
c. The climate and environmental characteristics of
where the board will be placed must be considered.
d. Roof collapse or roofing assembly failure may occur
if moisture cannot be anticipated in the roofing system.
10. The primary function of cover boards is to protect,
separate and support the roof membrane.
a. True.
b. False.
5.

In high-wind situations, when uplift in roofing assemblies is


critical, minor components, such as mechanical fasteners and
cover boards, have enhanced wind uplift performance
systems significantly.
a. True.
b. False.
Changes in cover board core materials and the development
of more surface coating features were designed to do all but
which of the following:
a. Limit moisture-related problems.
b. Reduce the quantities of adhesive required to apply
membranes.
c. Enhance adhesion performance.
d. Reduce unit costs as more features were added to
improve performance levels.
Calcination refers to which of the following:
a. The white powdery substance that appears on brick and
masonry walls.
b. A chemical process that occurs at high temperatures,
releasing chemically bound moisture.
c. Calcium deposits within natural materials.
Cover boards are an essential roofing system component
designed to enhance most roofing systems against all of
the following except:
a. Wind.
b. Hail.
c. Fire.
d. Earthquakes.
e. Foot traffic.

About USG
USG C
Corporattion is a Fortune
F t
500 company with
t subs
b idi
d aries th
t att are market
k t leaders
l d in th
t eir key
k product
d t groups: gypsum wallboard,
llb d jjointt compound
d and
d
related gypsum products; cement board; gypsum fiber panels; ceiling panels and grid; and building products distribution.
United States Gypsum Company,
y a subsidiary of USG Corporation, has recently introduced SECUROCK Brand Roof Board. The company also manufactures
SHEETROCK Brand Gypsum Panels, the leading and best-known brand of drywall in the United States, along with a wide variety of joint treatment products.
In addition, U.S. Gypsum makes a variety of plaster and veneer plaster products, as well as DUROCK Brand Cement Board and FIBEROCK Brand Gypsum
Fiber Panels.
USG Interiors, Inc., another subsidiary of USG Corporation, is a leading manufacturer of acoustical ceiling panels, specialty ceilings and suspension systems.
For technical advice about roof cover boards, contact USG at 125 S. Franklin St., Chicago, IL 60606-4678, call USGs
Architectural Services Department at
800-USG-4YOU or visit the companys
Web
W site at www.usg.com.

800-USG-4YOU
800
USG 4YOU
www.USG.com
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Low-Slope Commercial Roofing 193

Julius Blum & Co., Inc.

New Catalog 18 and CD Now Available!

JuliusBlum&Co.Inc.s complete line of


stock components for architectural and
metal work is available for immediate
shipment from stock. Our new Catalog 18
and CD provide full information and CAD
drawings on Glass Railing, Pipe Railing,
Traditional Railing, Treillage and Ornaments,
Carlstadt System, Handrail Brackets, Elevator Cab Components, and Stock Tubing,
Bars and Shapes.
Call or email us today for your free copy
of our new Catalog 18 and accompanying
CD to view our inventory in aluminum,
bronze, nickel-silver, stainless steel and
malleable iron.

JuliusBlum&Co.Inc. P.O. Box 816 Carlstadt, NJ 07072 800 526 6293 201 438 4600 Fax 201 438 6003 www.juliusblum.com
CIRCLE 92 ON READER SERVICE CARD OR GO
TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/

Products

Walls & Ceilings


Our diverse roundup of the latest wall and ceiling products includes acoustical
ceilings, a moisture-absorbing wall-cavity material, unusual wall coverings
made of bark, mother-of-pearl, and glass beads, and a practical modular
wall system that is easy to install and maintain. Rita Catinella Orrell

Modular wall panel system allows for easy maintenance


The Graph Interior Surface System,
developed by Fry Reglet, serves as
a platform for mounting modular
wall panels in a range of surfaces
and styles. Awarded a Silver Award
for Best of NeoCon last June, the
system uses a pre-engineered aluminum grid that can be anchored
to new or existing concrete, drywall,
block, or plaster, and faced with a
variety of factory-fabricated surface
panels. Standard Graph panels are
offered in wood, metal, glass, and
translucent resin, as well as 3D
metal panels.
The systems panel connection
design allows for each panel to be
individually accessible, making it
simple to replace panels should they
become worn, damaged, or outmoded. Point accessible panels also

make it easy for the future


addition or maintenance of
electrical, data, or communication components located
behind the wall covering.
Compared to custom
millwork, the Graph system
costs less and provides more
freedom to choose a variety
of materials in a range of textures and treatments. The
platform grid and finished
panels arrive at the job site
ready to install, with minimal
field fabrication.
In addition to Graph, Fry
Reglet also produces architectural metal products for the
roofing and interiors industries.
Fry Reglet, Alpharetta, Ga.
www.fryreglet.com CIRCLE 200

Soundscape can be
suspended as a hill
(left) or valley.

DuraBrite membrane
or scrim. The scrim
provides a high lightreflectance value of
.90, meaning it reflects
90 percent of the light
that strikes it. The
Durabrite surface also
enhances the durability
and scratch resistance
of the canopies. The new highrecycled-content canopies are also
seismically approved. Measuring 47''
x 76'', the canopies can be installed
as hills or valleys. The canopies
are suspended from the buildings
structure, with no special tools or
techniques required. Armstrong
World Industries, Lancaster, Pa.
www.armstrong.com/ceilings

Acoustical accent canopies


for open spaces
Armstrong Ceilings has introduced
SoundScapes acoustical accent
canopies for open spaces. The
sound-absorbing properties in the
new canopies help reduce reverberation time in the space below them,
making them ideal for open plenum
areas as well as over spaces such
as workstations and reception
desks. The smooth-surfaced,
curved canopies feature the Ultima

CIRCLE 201

3D metal panels (above) or


wood panels (right) can be
hung from a pre-engineered
grid (on chair at right).

Silica gel absorbs moisture in wall cavities


length of spun polyethylene material
formed into pouches containing
engineered silica gel. The strip has
been designed to guarantee that
upon installation, moisture levels
within a building cavity are rapidly
brought below the point where mold
and other decay agents can function. Once the strip has absorbed
moisture, it will not release the
moisture back into the wall cavity
until the relative humidity within
the cavity has been reduced dramatically and stays down.
Independent testing has
proved that the strip impacts
the R-Value of wall cavities in a
positive way. The product is commonly installed by the insulation
contractor prior to applying the
vapor retarder. Autumn River,
Coon Rapids, Minn.
The strips are covered with vapor retarder.
www.autumnriver.biz CIRCLE 202
In a new application for an old material, Autumn River is using silica gel
the material commonly found in
shoe boxes labeled Do Not Eatto
remove moisture from within building
cavities, thereby eliminating the conditions required for mold growth.
The Desiccant Strip is a 612'

For more information, circle item numbers on Reader Service Card or go to www.archrecord.com, under Products, then Reader Service.

09.05 Architectural Record

195

Products Walls & Ceilings


 Handmade bark surfacing

Although Caba Company has been around for more than 30 years, this was the first
time it exhibited at NeoCon or ICFF. Barkskin is an organic, hand-pounded bark material
available in seven colors. It
can be fireproofed and applied
to walls, ceilings, and furniture
to give a surface the appearance of parchment, marble, or
stone. Sheet sizes come in 16''
x 24'', 24'' x 32'', and 48'' x 96''.
Caba Company, Santa Fe,
N.M. www.barkskin.com
CIRCLE 203

 Shimmering surfaces

 Floating ceiling
sensation

Luxe wall coverings are nothing new for

Designed to incorporate

Maya Romanoff, but the company has outdone itself with its latest offerings. Originally

complex geometries using

launched in 1993, the success of the Beadazzled line of glass-bead-clad wall cover-

advanced digital design

ings has led to five new versions of the original. Beadazzled Baubles (above right) is a

tools, 3form Shapes

high-impact design available in 14''-square tiles that glimmer with beads twice the

includes six 3D, compound-

size of the standard. Also new from Romanoff is mother-of-pearl surfacing (above

formed curved shapes

left), sold exclusively as 24'' x 12'' tiles for wall covering, furniture, columns, and retail

combined with 3forms

displays. Maya Romanoff, Chicago. www.mayaromanoff.com CIRCLE 205

patent-pending variableangle hardware. 3form


suggests the 38''-thick curvilinear forms suspend from
either concrete substrate,
wood studs, wood blocking,
or steel structural beams
for horizontal surfaces, and
concrete, wood, or metal for vertical applications. 3form Architectural, a new division of
3form, will assist architects with the design, engineering, and fabrication of complex
projects. 3form Systems, Salt Lake City. www.3-form.com/systems CIRCLE 204

Improved climate

True Climaplus ceiling panels


offer the precision of metal panels in a concealed suspension
system with a fine-textured over-

196

Architectural Record 09.05

lay that provides sound control.



Made of perforated aluminum,

The new Denver District 2 Police Station

the panels are covered with a

utilizes 21,000 square feet of Dri-Design

fine-textured, smooth acoustical

aluminum wall panels to symbolize the

facing that fits into slotted sus-

high-tech future of police work. The

pension tees for minimal reveal.

building includes a two-story and a one-

The panel facing also supplies a

story brick element separated by a

light-reflectance value of .90,

two-story Dri-Design-clad atrium space.

which reduces eyestrain, the

The dry-joint, pressure-equalized rain-

number of light fixtures needed,

screen system was also extensively used

and energy consumption. USG,

throughout the interior of the atrium.

Chicago. www.usg.com

Dri-Design, Holland, Mich.

CIRCLE 206

www.dri-design.com CIRCLE 207

Enforcing panel design

For more information, circle item numbers on Reader Service Card or go to www.archrecord.com, under Products, then Reader Service.

INTRODUCING
ANOTHER ENVIRONMENTALLY
FRIENDLY ROSEBURG PRODUCT

PRODUCED FOR A
FRESHER, CLEANER
TOMORROW

IN TODAYS MARKET WHERE ENVIRONMENTAL ATTRIBUTES


ARE DRIVING PURCHASE AND SPECIFICATION DECISIONS,
SKYBLEND IS THE PERFECT SOLUTION.


SkyBlend is a NEW low emission, SCS certified particleboard


with No Urea Formaldehyde added in manufacturing.

SkyBlend formaldehyde low emissions (0.00 - 0.04 ppm)


are a breath of fresh air.

SkyBlend may contribute to achieving LEED points.

SkyBlends blue tinted core assures easy identification as the


specified green building particleboard in the field.

SkyBlend can be a specified substrate for our melamine,


hardwood plywood, vinyl and UV cured finishes.

Call us today to find out more about


why you should specify SkyBlend
800-245-1115

P.O. Box 1088 Roseburg OR 97470


www.rfpco.com

CIRCLE 93 ON READER SERVICE CARD OR GO TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/

grasslands
100% pure stainless steel fully welded construction.
laminated + kiln textured glasses. cast and machined
stainless leversets. grade 1 full-mortise lockset.
built to your specications in 8 weeks. made in the usa.
custom entry systems start at $4995.

www.neoporte.com 1.877.711.2100
showroom: 1550 18th street, santa monica, california
CIRCLE 94 ON READER SERVICE CARD OR GO
TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/

 Fireplace

Product Briefs

from Down Under


The EcoSmart Fire is a
flueless fireplace from

Building blocks

Australia that requires no

For the Bricks, Boards, and

installation or utility con-

Sticks Collection of hand-

nection for fuel, thereby

crafted, 3D kiln-cast glass

making it ideal for apart-

textures, Joel Berman devel-

ment or city living. Units

oped a new mold system

can be freestanding, wall

featuring textured components

fitted, or inserted into a

inspired by historic building

closed-off fireplace. The

techniques and materials.

burner, which heats on

Available in panels up to 52'' x

average more than 115 square feet, can also be inserted into joinery to create a

108'', with 14'', 38'', and 12'' thick-

streamlined benchtop feature. Fueled by a renewable resource (denatured alcohol),

nesses, the collection is suited for both interior and exterior applications. The Bricks

the UL-approved EcoSmart Fire burns clean and is virtually maintenance-free.

texture (above) is cast from a mold with interchangeable parts that create a layered

A Designer range of freestanding models (above and below) can be delivered ready

effect with a range of very-fine-to-course-grained sedimentary rock textures. Joel

to operate, while the Renovator range can be fitted by a builder into any com-

Berman Glass Studios, Vancouver. www.jbermanglass.com CIRCLE 208

bustible or noncombustible wall or closed fireplace. Innovations M2, Phoenix.


www.ecosmartfire.com CIRCLE 209

 Black and white and bold all over

Interfaces latest collections of modular carpet tiles use bold patterns and bright
colors to put the mod in modular. Aimed for market segments including retail, corporate, and hospitality, the award-winning B&W Collection from Interface includes
10 patterns in black and white that can be used alone, in combination with each
other, or with solids. Born Free (above) features a playful zebra-style print, while
other B&W designs feature botanical, Greek key, and houndstooth patterns.
Interface Flooring Systems, LaGrange, Ga. www.interfaceinc.com CIRCLE 210

New Yorks new


design capital?



BKLYN Designs launched


in the DUMBO section of
Brooklyn, New York, in the
spring of 2003 to promote
the boroughs growing
design community. At
this years three-day
event held last May, the
next wave of contemporary lighting, furniture, linens, rugs, and decorative accessories for
home, office, and garden were presented. Products on display included the Tetris Shelving
system from custom furniture manufacturer Brave Space (left), the WIld Garden Collection
of custom hand-knotted Tibetan rugs from designer Amy Helfand (above), and the Silica
Series of lamps from Niche Modern (Pod pendant, right). Brave Space, Brooklyn, N.Y.
www.bravespacedesign.com CIRCLE 211 Amy Helfand, Brooklyn, N.Y. www.amyhelfand.com
CIRCLE 212

Niche Modern, Brooklyn, N.Y. www.nichemodern.com CIRCLE 213

For more information, circle item numbers on Reader Service Card or go to www.archrecord.com, under Products, then Reader Service.

09.05 Architectural Record

199

Product Briefs

glass frontage. The system features integral


thermal-break profiles
and extendable top


Ready, set, go

and bottom seals. It

System One, designed by Grant

can be adapted to a

Design Collaborative, is the initial

wide range of require-

product offering from Set Wall

ments, including

Covering Systems, a new com-

straight, angled, or

mercial wall-covering brand. Each

curved configurations.

Set product draws from a palette

Floor guides are not

of 35 colors called the Grant Color

required, allowing the

System. Products in the line range

use of one flooring

from 54'' rollgoods and erasable

material without

wall surfaces to curated murals

 Flexible frontage

breaks, and virtually any color combi-

by internationally renowned pho-

Dorma Glas has introduced its HSW-ISO

nation is possible for the fitting surface.

tographer Geof Kern. A pattern

double-glazed, horizontal-sliding wall

Dorma Group N.A., Upper Marlboro, Md.

called Curtain Call (at left, in fore-

system, a thermally insulated sliding

www.dorma.com/usa CIRCLE 215

ground and on the wall) mimics


the look of wool velvet curtains.

Spanish stonework

Set Wallcovering Systems, Atlanta.

www.setwalls.com CIRCLE 214

Arriaga, a Spanish quarrier and


manufacturer of fine stone
architectural elements, tiles,

Healthier waynding

and slabs, is offering its custom

The Vista Healthcare signage line was designed

stone fabrication work for the

for the health-care and medical

first time in the U.S. on a large

sectors and comprises a variety

scale. Arriagas handcrafted

of wayfinding solutions, including

products include columns,

directories; suspended signs; trian-

balusters, fountains, vanities,

gular, post, and double-sided pylons;

statuary, and fireplaces. The

table stands; wall frames; and

company recently completed

projecting wall brackets. The line

the fabrication of custom items,

combines the functionality of Vistas

including capitals, columns, and friezes, for two large private residences on Long

Modular Curved Frame technology

Island, New York. Arriaga, New York City. www.arriaga-marmoles.com CIRCLE 217

into a collection of profiles that


keep inserted materials firmly
in place with a strong tension
grip. Vista System, Sarasota, Fla.
www.vista-healthcare.com CIRCLE 216

Advancing to a new level

Schindlers new 9300 Advanced


Edition escalator is an extension of its
best-selling 9300 line. The new version
integrates a wide selection of color
options for steps, handrails, skirts,
decks, and truss cladding, and offers
multiple balustrade design options,
two configuration packages, and
more than two dozen safety features.
Manufactured in Schindlers Clinton,

 Improving on the Master

North Carolina, plant, the escalator

Inspired by Frank Lloyd Wrights work in stained glass, Portland, Oregonbased

includes Miconic microprocessor con-

Esthetic Accents has developed a more affordable and durable version for todays

trols and a drive system that offers

market. Using architectural stained glass with zinc beveling rather than less

smooth, reliable operation. Schindler

durable lead, the glass can be quickly and affordably tempered and electroplated

Elevator, Morristown, N.J.

in large quantities, for a range of applications including doors, railings, skylights,

www.us.schindler.com CIRCLE 218

and more. Esthetic Accents, Portland, Ore. www.estheticaccents.com CIRCLE 219

200

Architectural Record 09.05

For more information, circle item numbers on Reader Service Card or go to www.archrecord.com, under Products, then Reader Service.

Italian works of Art around the World.


There are many works of art by Italians that are not found in museums. Since the dawn of civilization,
Italians have created and exported some of their most lasting works of art in Natural Stone: statues,
mosaics, floors, balustrades, columns, countertops, stairs and facades found in buildings around the
world. PIETRA NATURALE is recognized as the highest quality of Italian Craftsmanship and stone processing technology. Look for our PIETRA NATURALE trademark as your assurance of an Italian work
of art in Natural Stone the perfect encounter between man and nature.

www.pietranaturaleitaly.com

CIRCLE 95 ON READER SERVICE CARD OR GO TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/

Product Briefs Coverings Show Review


The Coverings Tile & Stone Expo, held in Orlando last May, showcased
finishes with true-to-life faux and cutting-edge contemporary styling, greater
format and material options, and superior performance. Linda C. Lentz

 International style

German manufacturer Steuler Fliesens Traces (above left), created by Alessi designers Kristina Lassus of Finland
and Christoph Radl of Austria for its Alessi Tile by Steuler brand, is an assortment of glazed porcelain 6''-square wall,
6'' x 2'' border, and 13''-square floor tile notable for its subtle tone-on-tone abstract patterning and sophisticated
palette of white, gray, and orange. In the same material, the Steuler Design floor and wall Mosaic Retro series (above
right) was inspired by 1970 motifs and features 1''-square tiles on a 12'' format in solid gray or orange, or imprinted
with unique geometric shadings. Steuler Fliesen, Mhlacker, Germany. www.steuler-fliesen.de CIRCLE 220

A practical variation on an exotic theme

Zebrano from The Wood Collection by Cerim Ceramiche


combines the technical properties of porcelain with the
natural beauty of Africas equatorial zebrawooda wood
prized for its undulating textural stripes and amber
tones. Ideal for residential and commercial interior and
exterior floors and walls, this .4''-thick tile is frost-, wear-,
and chemical-resistant, shockproof, colorfast, and has a
water-absorption rate of less than .1 percent. Available in
12.7'' x 25.4'', 6.3'' x 25.4'', and 4.2'' x 25.4'' sizes with rectified edges, smooth surfaces, and trim, Zebrano is offered in five colors: Bianco, Crema, Perla, Beige, and Torba
(right). Italian Trade Commission, New York City. www.italytile.com CIRCLE 221

The skinny on a new ceramic

Offering optimum vertical customization options for


numerous interior installations, Cotto DEstes
groundbreaking Kerlite Zirconiumbased ceramic
surfacing material measures a slim .12'' thick and
comes in three easily cut sheetlike formats: 11.8'' x
3.9'', 1.6'' x 3.9'', and .2'' x 3.9''. Water-, chemical-,
and abrasion-resistant, the flexible and durable
material is available in a color palette of six urbane
neutrals: Sand, Lake, Snow, Steel, Smoke, and Night.
Italian Trade Commission, New York City. CIRCLE 222

For more information, circle item numbers on Reader Service Card or go to


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URBAN APPEAL

CaesarStone Model No. 2003 | CONCRETE

(877) 9QUARTZ | www.caesarstoneus.com


CIRCLE 97 ON READER SERVICE CARD OR GO
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SHOT ON LOCATION AT TOY FACTORY LOFTS / LINEAR CITY DOWNTOWN, LOS ANGELES, CA.

Product Briefs Coverings Show Review


 New age Americana

Maine-based rug and textile designer Angela Adams has interpreted her
unique aesthetic to suit ceramic tile in a recent collaboration with Ann Sacks.
Characterized by an organic geometric quality, the collection comprises floor
and wall tile derived from Adamss body of work. The Corice (below), a 4'' or 6''
leaf-inspired tile, and Manfred, 4''-square wall relief patterns (right), are two of
five hand-drawn designs available in high-gloss or matte finishes in a selection of 20 exclusive Angela Adams shades and an Ann Sacks palette of more
than 200 colors. Ann Sacks, Portland, Ore. www.annsacks.com CIRCLE 223

Transparent building blocks

Structurally stable and elegantly transparent,


Sicisbrick from Sicis eases the fabrication of
interior elements such as partition glass tile
walls and showers. Available in three shapes and
sizes, the bricks are made of a patented clearplastic material from Sturm und Plastic covered
on one or two sides in 58'' iridescent glass mosaic
from the Sicis Glimmer Collection using silicon
adhesive. To facilitate the installation process,
they connect together with a methacrylate ring to create self-supporting structures. Italian Trade Commission, New York City. www.italytile.com CIRCLE 224

 Parkland-inspired wood-look tile

Part of the Materia e Colore group of porcelain tile by Rex Ceramiche Artistiche, Abisko was inspired by the spectacular landscapes of the Swedish national park that is its namesake. Rectified and squared for superior performance
and installation, Abisko is available in
five realistic wood huesEbony (Ebano),
Mahogany (Mogano), Birch (Betulla),
Oak (Rovere), and Irokoin a wide variety
of sizes: 4'' x 18'', 4'' x 24'', 5'' x 36'', 6'' x
24'', 8'' x 36'', and 24''-square. Decorative
mosaics on a 12''-square format, 18'' x
36'' stylized Arte barklike motif, and
12''-square Lamellare laminated striplike
tile are also available, as are a selection
of trim pieces. Italian Trade Commission,
New York City. www.italytile.com
CIRCLE 225

For more information, circle item numbers on Reader Service Card or go to


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TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/

Product Briefs Coverings Show Review

get

I need
cabinetry
specs to
create great
designs.

 Faux travertine gets a reality check

Durable and lifelike, Travertino Romano is a collection of porcelain color-through tile for walls and floors by
Ceramiche Cotto Emiliano (CO-EM S.p.A.). Available in a subtle vein-cut pattern with an unpolished or patina
finish or slightly textured cross-cut version with an antique finish ideal for random arrangements, this group
is notable for its faithful representation of the real thing.
Available in a selection of three
colorswalnut, beige, or
whiteand a range of sizes,
including 3'' x 12'', 6'' x 12'',
12'' x 18'', 12'' x 24'', and 6''-,
12''-, and 18''-square. Mosaics
in .6'' and 3'' sizes come in
12'' sheets. Optional metal or
ceramic decorative trim, as
well as bullnose edging, and

at
kraftmaidspec .com

stair treads, complete the


extensive offering. Italian Trade
Commission, New York City.
www.italytile.com CIRCLE 226

Playful shapes for oor and wall

Whether installed in a textural monochromatic


arrangement or in any number of hip Pop Art patterns,
Candy from the Forma series of matte-glazed porcelain tile by Garogres is one tile with myriad guises.
Indeed, this versatile 10'' x 13'' cookie-cutter shape fits
into itself like a puzzle piece and has virtually limitless
configuration possibilities, depending on the choice and
placement of the colors, which include Miel (honey),
Hueso (bone), Acero (steel), Oceano (blue), and Moka
(brown). Appropriate for both indoor and outdoor residential and commercial walls and floors. Tile of Spain

Only KraftMaidspec.com lets you


download AutoCAD drawings of
every single cabinet and gives
detailed information on door
styles, finishes, storage solutions
and our quality construction.
Visit KraftMaidspec.com and see
why so many architects rely on it
as their design resource.

Center, Coral Gables, Fla. www.spaintiles.info CIRCLE 227

Form and function indoors and out

The brainchild of Spanish industrial designer Francesc


Rife, Efir (Rife spelled backward) by Saloni is a comprehensive collection of contemporary glazed
porcelain suitable for use on ventilated facades, floors,
or walls both indoors and out. Manufactured with a
standard thickness of .4'' to assure strength and a
consistently flat surface, the collection comprises 12''and 23''-square, 12'' x 23'', and 18'' x 36'' field tile, as
well as a 4'' x 23'' bullnose, a 2'' x 4'' x 36'' listelli, and
stair features. A full range of modular Corian bath
accessories provides designers with the ability to integrate elements such as shelving and towel bars into
the tile itself. Saloni, Plantation, Fla. www.saloni.com

www.kraftmaidspec.com

CIRCLE 228

For more information, circle item numbers on Reader Service Card or go to


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CIRCLE 111 ON READER SERVICE CARD OR GO


TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/

Built one at a time, so you


get exactly what you want.

Product Briefs Coverings Show Review




The essence of quartz

Developed to meet the stringent demands of such installations as commercial flooring, interior and exterior claddings,
kitchen and vanity counters, stair treads, risers, and thresholds, Innovative Stones new Indore quartz-based surfacing
comes two ways. Slab material is available measuring 55'' x
120'' in either a .75'' or 1.25'' thickness. Alternatively, 12''-thick
tiles come in 12''-, 16''-, 24''-, and 48''-square, 12'' x 24'', and
24'' x 48'' sizes. The neutral Earth tone palette includes
Vanilla Bean, Black Malabar, Anise Star, and Ginger Crystal.
Innovative Stone, Hauppauge, N.Y. www.innovativestone.com
CIRCLE 229

Traditional woodwork twice red

Dimensionally constant architectural detailing is


the raison detre behind the classic styling of
Ceramiche Grazias Electa white-body doublefired ceramic panels. Ideally suited for baths and
entrances, this 7.9'' x 31.5'' panel features a central raised relief and a full complement of borders
and trim. The range is available in green, beige,
and white, with a glossy crackle glaze; and beige,
white, apricot, ginger, and Muscat, in a soft
matte finish. Italian Trade Commission, New York
City. www.italytile.com CIRCLE 230

In an industry moving toward mass


production, we still make each residential elevator one at a time in our
Pennsylvania plant.

Elevette

has

more choices in styles, finishes,

Shades of stone

Echoing the variegated colors of natural slate,


Fioranese Ceramicas Kanyon porcelain interior floor
and wall tile is reliably consistent, easy to install, and
low-maintenance. Available in hues of Marron (brown),
Arancio (orange), Ramato Verde (copper green), and
Beige, Kanyon comes in 24''-, 12''-, and 6''-square sizes,
plus an assortment of trim. On a whimsical note, the

options and price levels than any

series includes decorative inserts with a silvery wave

other manufacturer. And, we provide

motif (right). Italian Trade Commission, New York City.

a parts warranty no one can beat. Your

www.italytile.com CIRCLE 231

customers will love this unique feature, and youll love its high-profit
return. Call us today to learn more.

Trompe loeil slate

Imbued with all the visual cues of its natural counterpart,


Marazzi Tiles Jade glazed porcelain comes in slatelike tones
of Sage, Ochre (left), Chestnut, and Taupecomplete with
the effects of distinct clefts, layers, and mineral deposits.
The surface, however, is satiny smooth, making it comfortable underfoot. Granted a Class 4 durability rating, the tile is
available in 20''- and 13''-square sizes and is suitable for
moderate-to-heavy traffic in residential, medium-commercial,

www.inclinator.com
800-343-9007 DEPT. 66
RESIDENTIAL ELEVATORS
WHEELCHAIR LIFTS DUMBWAITERS
CIRCLE 101 ON READER SERVICE CARD OR GO
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and light-institutional floor and wall applications. American


Marazzi Tile, Sunnyvale, Tex. www.marazzitile.com CIRCLE 232

For more information, circle item numbers on Reader Service Card or go to


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Whats
Next?
October 19-20, 2005
Washington, D.C.
www.construction.com/event/

Industry trends. The economic forecast.


Join us for our 67th annual Outlook Executive Conference, being held October
19-20, 2005 in Washington, D.C.
Find out what's next from Robert Murray, McGraw-Hill Construction's vice
president of economic affairs, Kermit Baker, chief economist for The American
Institute of Architects, and David Wyss, chief economist for Standard & Poor's,
as they provide insight into the economic trends that will shape the construction
industry for 2006.
Hear from the experts at J.D. Power & Associates, as Paula Sonkin, executive
director, Real Estate Industries, discusses how to learn more about your customers
and increase your marketshare.
A panel of Association Leaders from AIA, ASCE, AGC, and CURT will discuss
both key issues affecting their members and the overall construction industry.

For more information, to register,


or for sponsorship opportunities:
visit:
www.construction.com/event/
call:
(866) 727-3820
email:
cynthia_gutierrez@mcgraw-hill.com

Space is limited
Register for the Outlook 2006
Executive Conference today!
To register separately for the ACE
Mentor Program of America banquet,
call (203) 323-8550.

Presenting Partners:
KEYNOTE SPEAKER: The Honorable Henry G. Cisneros, chief executive officer
of American CityVista, former Secretary of Housing and Urban Development,
President of the National League of Cities, and four-term mayor of San Antonio,
will offer his insights as one of the nations most respected authorities on economic
progress, the construction industry, and building a brighter future.
New in 2005: Attend the ACE Mentor Program of America first annual banquet on
Wednesday evening, October 19, 2005, and learn what's being done to encourage
young people to choose a career in design and construction.

Association Partner:

Product Resource: Literature


Visual selection catalog
The first section of Designing with
Light, Lightoliers 176-page catalog,
outlines the key areas of lighting
composition in a series of photo
essays. The body of the catalog
details the product line, along with
full specification information and
guidelines for effective application.
Lightolier, Fall River, Mass.
www.designingwithlight.com
CIRCLE 233

Color forecasting tool


Pantone has announced the winter
20062007 Pantone View Colour
Planner, its cross-discipline color-trend
forecasting tool, subtitled Art & Science.
Offering nine palettes for use in fashion,
cosmetics, interiors, and graphics, it
retails for $750 from Pantone distributors nationwide. Pantone, Carlstadt,
N.J. ww.pantone.com CIRCLE 234
CIRCLE 102 ON READER SERVICE CARD OR GO
TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/

Lighting catalog doubles in size

Presenting the Acenti Collection.

Schoolhouse Electric debuted in Portland,

Oregon, in 2003 with an exclusive line of


period American lighting fixtures and handblown glass shades. The new Schoolhouse
catalog is twice the size of the original
Essentials catalog and features the companys signature, high-quality lighting
products with more on-location photographs that present the diverse line.
Schoolhouse Electric, Portland, Ore.
www.schoolhouseelectric.com CIRCLE 235

Fire-resistant-glass literature
A new product brochure and technical data
sheet for Pilkingtons fire-resistant glass are
now available. The new material includes
information on both the Pilkington Pyrostop
Fire Resistant Glass and Pyrodur Fire
Protection Glass products. A copy of the

Is it art? Or a renaissance of design?

new brochure and data sheet can be


downloaded at the Pilkington Web site

1-888-4-ACENTI
www.leviton.com/acenti

Leviton Manufacturing Co., Inc.


59-25 Little Neck Parkway
Little Neck, N.Y. 11362-2591

Acenti is a registered trademark of Leviton Manufacturing Co., Inc.


2005 Leviton Manufacturing Co., Inc.

CIRCLE 103 ON READER SERVICE CARD OR GO


TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/

listed below. Pilkington, Toledo.


www.pilkington.com/fire CIRCLE 236

For more information, circle item numbers on Reader Service Card or go to


www.archrecord.com, under Products, then Reader Service.

Product Resource: On the Web


Student artwork . . . Tat Ito

www.usefrtw.com
Arch Wood Protections home
page helps specifiers find the
appropriate type of fire-retardant-treated wood (FRTW) for
different needs. The site offers
two choices: Dricon FRTW for
interior and weather-shielded
applications and FRX FRTW for
exterior applications.

www.kristalia.it
The new Web site for the Italian
manufacturer Kristalia is available
in Italian, English, German, and
Spanish. The home page (left) is
divided into seven sections: company, designers (sample shown,
below left), tables, seats, accessories, lighting, and
news. Each product is
presented with detailed
photographs and technical data sheets on
materials and size.

learn architecture in the


city that knows how

www.dasding.be

80% of our graduates are working


in the art and design industry

The quirkiness of the Das


Ding design studio, based in
Brussels, is evident on its
easy-to-navigate Web site.
Products on display include

SCHOOL OF

a stool made of a solid oak

ARCHITECTURE

base and a bike seat that is

Masters Degree only

an ode to the late designer


Achille Castiglioni (right).

www.productguide.wbdg.org
The National Institute of Building Sciences, in alliance with McGraw-Hill Construction
(publisher of ARCHITECTURAL
RECORD) and Tectonic

Network, have launched

FOUNDED IN SAN FRANCISCO 1929


BY ARTISTS FOR ARTISTS

1 . 8 0 0 . 5 4 4 . A RT S

w w w. a c a d e m y a r t . e d u

ProductGuide, the first


online source of building
products that meets DoD,
Army, Navy, Air Force, and
NASA requirements for
building products.

REGISTER NOW FOR FALL- CLASSES START SEPTEMBER 1


79 New Montgomery St., San Francisco, CA 94105
Nationally Accredited by ACICS, NASAD, FIDER (BFA-IAD), NAAB - Candidate Status (M-ARCH)

CIRCLE 104 ON READER SERVICE CARD OR GO


TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/

Pratt Institute Presidents Exhibition Series

50 Years of Record Houses


August 11 September 17, 2005
Pratt Manhattan Gallery

Pratt Institutes School of Architecture, in collaboration with

Architectural Record and McGraw-Hill Construction,


has organized Forever Modern.
For each of the past fifty years, Architectural Record has featured a showcase
Pratt Manhattan Gallery
144 West 14th Street, Second Floor
New York, New York
(Between Sixth and Seventh Avenues)

of innovative designs in its Record Houses issue. This exhibition brings together
photographs, drawings, and models of more than 60 houses featured in the
magazines pages. It includes models made by architects as well as those
specially constructed for the exhibition by students in the School of Architecture.

Gallery hours: Saturday, 12:005:00 PM


TuesdayFriday, 10:30 AM 5:30 PM
SPONSORED BY

21st annual

Sponsored by:

Earn your continuing


education and AIA/CES
Learning Units (LUs)

The Boston Society


of Architects/AIA

350 exhibits and new


products

200 workshops
Symposiums on:
AIA New York Chapter

Dodge
Sweets
Architectural Record
ENR
Regional Publications

Diversity
Housing
MA Building Code
Women in Design
Memorials
Smart Growth
Materials
Small Firms
K-12 Facilities Design
Public Interest

Daily tours including:

November 15 17, 2005

Big Dig
Boston Underground
Seaport District
Contemporary Boston
Courthouses
MIT
Boutique Hotels
Green Buildings
Large-Scale Tensioned
Membrane Structures
Boston Theaters

Seaport World Trade Center


Boston

Gala/Design Celebration
plus other special events

November 15
McGraw-Hill Construction
Keynote Luncheon
The Construction
Outlook for the U.S. and
New England
with Robert A. Murray,
Chief Economist and
Vice-President of Economic
Affairs

The convention and


tradeshow for design, building and management professionals.
FREE admission to the
exhibit hall and workshop
discounts if you register
by October 21, 2005.
www.buildboston.com
800-544-1898

REGISTER TODAY!
Constructing in the 21st Century:
New Ways to Think, New Ways to Build
September 28-29, 2005
Millennium Biltmore Hotel
Los Angeles

FALL S E S S I O N
KEYNOTE SPEAKERS:

Timothy J. Leiweke,
President & CEO,
Anschutz Entertainment Group
Association Partner:

Major General Charles E. Williams,


Director, Overseas Building Operations,
U.S. State Department

Partners:

Sponsors:

The industrys leading contractors, engineers, architects, equipment

Supporting Sponsors:

Confirmed Panelists include:

and building product manufacturers, and building and facility

Ron Austin, Project Manager, Miami Performing Arts Center

owners will gather to discuss trends, innovations and business

Confirmed Panelists include:

issues. The Forums interactive panel

Ron Austin, Project Manager, Miami Performing Arts Center

discussions include:

Sid Dickerson, Senior Vice President, Hirschfeld Steel Co. Inc.

Can the Leaders of an Industry Change the Way Their Business


Works?
Building Information Modeling: Owners, Architects, Engineers
and Contractors Confront the Future, Today
The Future Workforce: What Are They Learning? What Should
They Be Learning?
LEED: Green and Environmentally Sensitive and ...
Worth It?

Hank Harris, President and Managing Director, FMI Corp.


Ray Landy, President, DMJM H&N
Jim A. Mitchell, V.P. Capital Projects/Risk Management, PCL
Constructors Inc.
Frank Musica, Risk Management Attorney, Victor O. Schinnerer & Co. Inc.
Huw W. Roberts, AIA, CSI, Global Marketing Director, Building,
Bentley Systems Inc.
Gerry Salontai, CEO, Kleinfelder
Dennis Shelden, CIO, Gehry Technologies

For a complete list of panelists or to register, visit the Forum

Kevin Wedman, Chief Building Official, California Energy Commission, and

website. www.construction.com/TopLeaders.asp/

Director of Code Compliance Services, Bureau Veritas, Berryman & Henigar

Call: 212-904-4634 or E-mail: chuck_pinyan@mcgraw-hill.com

Rod Wille, Senior Vice President, Manager of Sustainable Construction,


Turner Construction Co.
8/05

REGISTER NOW!

The Third Annual McGraw-Hill Construction

INNOVATION

CONFERENCE
SHAPING THE FUTURE OF
DESIGN AND CONSTRUCTION
Enabling Imagination Enhancing Process Enriching Design
Presented by Architectural Record in partnership with
Engineering News-Record and New York Construction News.
Innovation: Shaping the Future of Design and Construction
qualifies for 6 HSW Continuing Education Credits

AGENDA
Tuesday, November 15, 2005
1:30 PM Welcome and Keynote Address
Neil Gershenfeld, Director, The Center for Bits and Atoms,
Massachusetts Institute of Technology
2:00 PM Session 1: Radical New Materials
Each new building material has a unique development trajectory dictated by market
forces, scientific, and creative breakthroughs. This panel of experts will reveal the secrets
of how innovation is achieved through the various cycles of material development:
Moderator: Blaine Brownell, NBBJ Architects, author of Transmaterial.
Big picture thinking and global material trends/trajectories:
Blaine Brownell, NBBJ Architects
Material development driven by design needs:
Gregg Brodarick, B.lab Italia, Gallarate, Italy
Marrying lab-created new materials with creative uses:
Abhinand Lath, SensiTile Systems
Materials driven to market by manufacturers who innovate:
Edward Peck, Foiltec NA
3:45 PM Session 2: Fresh from the lab: Innovative materials for building construction
Materialist Robin Reigi, of Robin Reigi Art and Objects, and Rita Catinella,
Architectural Records New Products Editor, will guide the audience through what's
new, what's hot and what is not quite ready yet.
4:30 PM Keynote Address: Can you see it now?
How four-dimensional visualization tools bridge the gap between materials innovation
and the way we fabricate and build. Speaker to be Announced.
5:00 PM Reception in the Materials Exhibit Hall
Attendees will experience the new materials for themselves and can
take home samples.

Wednesday, November 16, 2005


7:30 AM Continental Breakfast in the Materials Exhibit Hall
8:30 AM Session 3: Digitally-enabled fabrication
Construction professionals are using sophisticated new tools to go from CAD-files
to the factory floor in seconds. Heres how.
Moderator: George Petrides, President, Petrides Homes LLC
An overview of digital fabrication techniques, and their implications on building
information modeling:
Branko Kolarevic, Irving Distinguished Visiting Professor, Ball State University
Digital fabrication from a manufacturers point of view:
Ruben Suare, Vice President Architectural Division, 3form, Inc.
Innovations in automated housing prefabrication:
George Petrides, President, Petrides Homes LLC.
Digital fabrication from the small firms point of view:
Cory Sharples, Partner, SHoP Architects.

Innovation Conference Case Study:


The Hearst Building, New York City
Norman Foster, Architect

10:00 AM Session 4: Case Study: The Hearst Building, New York City
Representatives from Norman Foster and Partners, Flack and Kurtz, Cantor Seinuk,
Turner Construction, Tishman Speyer, and the Hearst Corporation will participate in
a joint presentation detailing the innovations at work in this remarkable building.
Moderator: Alexander C. Richter, Associate, Adamson Associates.
Association Partner

The Conference will be held at


McGraw-Hill Corporate Headquarters,
1221 Avenue of the Americas, New York City

Sponsor

TO REGISTER CONTACT:
Chuck Pinyan, 212/904-4634 or
chuck_pinyan@mcgraw-hill.com
Supporting Sponsor

Find us online at www.construction.com

or go to www.construction.com/event/2005Innovation/

New & Upcoming


Exhibitions
Ayse Erkman: Artist-inResidence
Long Island City, N.Y.
September 10November 27,
2005
Ayse Erkman is well known in
Europe for her spectacular public
projects as well as for subtle architectural interventions. During a
5-week residency, Erkman will
create a site-specific work that
engages both the interior and exterior of Sculpture Centers nearly
100-year-old steel-and-brick
building. At Sculpture Center. Visit
www.sculpture-center.org.
Sheila C. Johnson Design
Center at Parsons: A
Celebration
New York City
September 14November 8, 2005
This exhibition will celebrate the
creation of a new campus center at
Parsons, designed by Lyn Rice
Architects, with drawings, models,
and full-size mock-ups of construction details. Call 212/229-8919 or
visit www.parsons.edu.

its western front in Arizona, to the


death of Wright in 1959, Guerrero
created some of the greatest architectural photographs of the last
century. The open access Wright
granted the photographer ensured
that the images became a true
biography of the legendary architect. At Architech Gallery. For
information, call 312/475-1290 or
visit www.architechgallery.
Palladian Architectural
Drawing Tour
Venice, Italy
September 1724, 2005
The sixth annual drawing tour of
the Institute of Classical
Architecture & Classical America is
an exploration of the Veneto and
Venice with a concentration on the
architecture of the great Italian
architect Andrea Palladio (150880).
British watercolorist Alexander
Creswell and New York architect
Melissa Del Vecchio will lead
instruction in sketching, perspective, watercolor, and analytical
drawing. Call 800/390-5536 or
visit www.classicalexcursions.com.

Raymond Loewy: Designs for


a Consumer Culture
Atlanta
September 15December 23, 2005
The exhibition showcases the work
of Loewy and his associates with
an array of drawings, models, products, advertisements, photographs,
archival documents, and rare
footage of Loewy over five decades.
At the Museum of Design, Atlanta.
Call 404/688-2467 or visit
www.museumofdesign.org.

Marion Mahony Griffin:


Drawing the Form of Nature
Evanston, Ill.
September 23December 4, 2005
Chicago-born architect Marion
Mahony Griffin is known primarily
for her magnificent drafting style
that incorporated architectural
plans into dramatic and stylized
landscapes. This is the first exhibition devoted to Mahony Griffins
graphic work. At the Mary and
Leigh Block Museum of Art. Call
847/491-4000 or visit www.
blockmuseum.northwestern.edu.

Frank Lloyd Wright and


Taliesen: The Photographs of
Pedro Guerrero
Chicago
September 16November 19, 2005
From 1939, when Taliesen set up

International Arts and Crafts


Indianapolis
September 2005January 2006
Organized by the Victoria and Albert
Museum in London, the exhibition
features more than 300 objects from

Great Britain, where the Arts and


Crafts movement began, as well as
America, Europe, and Japanwhere
it developed as the mingei, or folk
craft, movement. At the Indianapolis
Museum of Art. Visit www.ima-art.org
or call 317/923-1331
Samuel Mockbee and the
Rural Studio: Artist and
Architectural Visionary
Hartford
September 29November 6,
2005
An exhibition celebrating Samuel
Mockbee, who put into practice one
of the nations boldest contemporary architecture programs, the
renowned Rural Studio at Auburn
University in Alabama. This inspired
designer and charismatic teacher
was also a painter, poet, environmentalist, and humanist. His work
will be on view at Joseloff Gallery.
Visit www.joseloffgallery.org.
Renewing Wright
Pittsburgh
October 1, 2005January 15,
2006
This exhibition brings together two
iconic buildings by Frank Lloyd
Wright with, in each case, an associated project by a leading visionary
architect of today. At the Heinz
Architectural Center, Carnegie
Museum of Art. Call 412/622-3131
or visit www.cmoa.org.
Sacral Space: Modern
Finnish Churches
Seattle
October 7November 13, 2005
This exhibition presents 12 Modern
Finnish churches, which demonstrate the remarkable quality of
Modern Finnish architecture.
Sacral Space includes drawings,
photographs, videos, and threedimensional drawings. At the
Heritage Nordic Museum. For
information, call 206/ 789-5707 or
visit www.nordicmuseum.org.

Solar Decathlon
Washington, D.C.
October 716, 2005
The Solar Decathlon presents cutting-edge architecture, engineering,
and technology, all of which can be
applied in building homes to generate their own energy, not simply
consume it. The U.S. Department of
Energy announced 18 teams that
will compete to see who can build
and operate the best-designed
and most-energy-efficient solarpowered home. The public can tour
the homes and take away valuable
information about where to find
these resources and how to apply
them to their existing homes or
ones they will build. On the National
Mall. For more information, visit
www.solardecathlon.org.
Conrad Buff III and Donald
Hensman Home Tour
Pasadena, Calif.
October 11, 14, and 15, 2005
A Celebration of the Work of
Architects Conrad Buff III and
Donald Hensman is a three-day
event featuring a home tour, symposium, and reception. Buff and
Hensman helped define the ultracool and casual California Modern
architecture scene of the 1950s
and 60s. The tour will consist of six
Buff and Hensman homes in the
Pasadena, Altadena, and Linda Vista
areas, some of which have been
unavailable to the public until now.
For information, call 626/ 793-3334.
Classical Spain: Art &
Architecture of Madrid,
Toledo, and Segovia
Madrid
October 1623, 2005
Organized by the Institute of
Classical Architecture & Classical
America, walking tours, lectures,
and expert guides will emphasize
extraordinary architecture and
art spanning the Romanesque,
Baroque, and Neoclassical periods
09.05 Architectural Record

217

DEPARTMENTS

Dates & Events

Dates &Events
in Madrid and surrounding cities. Call 800/3905536 or visit www.classicalexcursions.com.
Prairie Skyscraper: Frank Lloyd Wrights
Price Tower
Bartlesville, Okla.
October 14, 2005January 15, 2006
An exhibition of approximately 108 drawings,
models, photographs, documents, building components, and furnishings to mark the buildings
50th anniversary. Visitors will be able to tour
both the exhibition and the buildings historic
Frank Lloyd Wright interiors. At the Price Tower
Arts Center. Call 918/336-4949 or visit
www.pricetower.org.

Ongoing Exhibitions

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Jean Prouv: Three Nomadic Structures


West Hollywood
August 14, 2005November 27, 2005
The first American presentation of the work of
celebrated French designer and architect Jean
Prouv (190184), this exhibition includes
furniture, vintage photography by Lucien Herv,
and architectural elements that address the
most important aspects of Prouvs practice.
At the Museum of Contemporary Art Pacific
Design Center. Call 213/626-6222 or visit
www.moca.org.
Filigree Spaces:
Textile Installations by Piper Shepard
Baltimore
Through September 18, 2005
The two new installations, featuring a dramatic
curtain wall in the Baltimore Museum of Arts
lobby and a room within a room design in the
museums textile gallery, explore the connection
between textiles and architecture. At the
Baltimore Museum of Art. Call 410/396-7100 or
visit www.artbma.org.
Romantic Modernist: The Life and Work
of Norman Jaffe, Architect
Southampton, N.Y.
Through September 18, 2005
Norman Jaffe built more than 600 projects during his 35-year career. He received numerable
architecture awards and also participated in
national and international exhibitions at leading
institutions, including the Museum of Modern
Art, New York. Eastern Long Island is where Jaffe
found his place in American architecture, creat-

ing unique vacation homes while exploring his


love of light and form. This is the first major
exhibition to examine the life and work of this
important American architect. At the Parrish
Art Museum. Call 631/283-2118 or visit
www.parrishart.org.
Restoration: The Dissolution of
Ideologies
Stockholm
Through September 25, 2005
Restoration doctrines have succeeded one another
ever since the start of the 19th century. In recent
years, one finds a tendency to fit the approach to
the object of restoration rather than following a
specific doctrine. If there is an ideology of restoration today, what does it look like? This exhibition
presents 10 important restorations completed
recently. At the Arkitekturmuseet. Call 46 0 8/58727000 or visit www.arkitekturmuseet.se.
a_show Stage 2: Austrian Architecture
in the 20th and 21st Centuries
Vienna
Through September 2005
Due to the sheer scope of material covered by
the exhibition, a_show is being subdivided into
10 themes to be opened successively in three
stages. The first stage, covering the period
18501918, opened in March 2004 with much
success. Stage 2 extends to the period from
191958. At the Architekturzentrum Wien. Call
431/522-3115 or visit www.azw.at.
2005 Young Architects Program
Long Island City, Queens
Through September 2005
Los Angelesbased architecture firm Xefirotarch
has been selected as the winner of the sixth
annual MoMA/P.S. 1 Young Architects Program,
a competition that invites emerging architects to
propose a building project for the courtyard of
P.S. 1 in Long Island City, Queens. Call 212/7089400 or visit www.moma.org.
On Tour with Renzo Piano & Building
Workshop: Selected Projects
Los Angeles
Through October 2. 2005
Featuring several seminal works, this exhibition
shows an intimate view of the work of one of
the most respected and visionary architects of
our time. Pianos involvement in each stage of a
buildings development, from concept and master
plan to construction and detailing, is chronicled.

Dates &Events
In the Ahmanson Building at the Los Angeles
County Museum of Art. Call 323/857-6000 or
visit www.lacma.org.
Zero Gravity: The Art Institute, Renzo
Piano, and Building for a New Century
Chicago
Through October 2, 2005
This exhibition presents delicate models, detailed
renderings, and calligraphic sketches of the new
north wing at the Art Institute of Chicago created
by the architects of the Renzo Piano Building
Workshop. At the Art Institute of Chicago, in the
airy, evocative setting around the balcony in
Gallery 200. Call 312/443-3600 or visit
www.artic.edu.
Transformed: Uncommon Uses of
Materials in Contemporary Design
Philadelphia
Through October 9, 2005
With a focus on both form and function, this
exhibition comprises 19 contemporary design
objects in the Philadelphia Museum of Arts
collection, providing an illuminating look at what
happens when todays designers fuse utilitarian
objects with unconventional materials, such as
silicon, recycled plastic, fibrated concrete, and
even goose feathers. The exhibition includes
pieces by Ingo Maurer, Frank O. Gehry, Tokujin
Yoshioka, and Fernando and Humberto
Campana, among others. At the Philadelphia
Museum of Art. Call 215/ 763-8100 or visit
www.philamuseum.org.
Tools of the Imagination
Washington, D.C.
Through October 10, 2005
This exhibition will show how various devices
have revolutionized the way in which architects
and designers imagine and create architecture.
Included are 250 years of design tools and technologiesfrom historic pencils, ink, and drafting
equipment to the latest and most sophisticated
software and hardware, simulations, models, and
lasersas well as a wide array of drawings, renderings, and sketches from well-known architects.
At the National Building Museum. Call 202/2722448 or visit www.nbm.org.
Going, Going, Gone? Mid-Century
Modern Architecture in South Florida
Fort Lauderdale, Fla.
Through October 30, 2005
Can we still save South Floridas Midcentury

Modern architecture? This exhibition is a photographic journey through Broward and Miami-Dade
counties, featuring the work of photographer
Robin Hill, who has shot dozens of outstanding
South Florida structures dating back to the
mid-20th century. At the Museum of Art. Call
954/525-5500 or visit www.moafl.org.
The High Line
New York City
Through October 31, 2005
This exhibition features Field Operations and
Diller Scofidio + Renfros winning entry for the
redesign of the High Line, a defunct, elevated
railway bed that runs along Manhattans far
West Side. In the Architecture and Design Gallery
at the Museum of Modern Art (MoMA). Call
212/708-9400 or visit www.moma.org.

Lectures, Conferences, and


Symposia
Promosedia 2005
Udine, Italy
September 811, 2005
The 29th Promosedia International Chair
Exhibition, the only exhibition in the world dedicated to seating, is a gauge for new trends in
design, technology, and marketing. Included in the
line-up are promising emerging designers, the winner of the International Chair Design Competition,
design talks with leading architects and designers,
exhibitors from around the globe, and more. For
further information, visit www.promosedia.it.
The Semi-Permanent Design Event
New York City
September 910, 2005
Creative companies from the U.S. and Australia
gather to examine the current design climate,
showcase leading talent and technology, and
offer insight into the future of creative industries.
The conference will include a full weekend of
speaker presentations and an atrium lounge
packed with product and sponsor displays. At
Lincoln Center. For more information, visit
www.semipermanent.com.
GlassBuild America
Atlanta
September 1315, 2005
The Glass, Window, and Door Expo will be held at
the Georgia World Congress Center. For further
information, visit www.glassbuild.com.
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NATIONAL BUILDING MUSEUM

AT

NBM

An ongoing lecture
series featuring
architects and designers
of distinction

COURTESY GWATHMEY SIEGEL

Spotlight on
Design

& ASSOCIATES ARCHITECTS

lectures

Smart Growth
A series of noontime
lectures exploring
development strategies that preserve
community character and protect the
environment

DC Builds
An ongoing lecture series focusing on
current architectural, planning, and
public policy issues affecting
Washington, D.C.

Building for the 21st Century

Liquid Stone:
New Architecture
in Concrete
through January 29,
2006

Jewish
Washington:
Scrapbook of an
American Community

LITRACON, SEEN IN LIQUID STONE. COURTESY LITRACON

exhibitions

GMBH

A lunchtime lecture series exploring


energy-efficient and economical new
technologies and construction techniques

through January 8, 2006

Washington: Symbol & City


long-term exhibition

national building museum


401 F Street NW
Washington, DC 20001
202.272.2448

www.NBM.org
For more information and to register
for programs, call or visit our website.
Discounts for members and students.

Dates &Events
Prague: 20th-Century Architecture in
Transition
Prague
September 1723, 2005
The AIA Committee of Design conference will
explore design of buildings, sites, and the city in
relation to political, social, cultural, and economic
transitions and the permanence of the historic,
climatic, and geographic environment. At the
Hotel Alcron. Visit www.aia.org.
2005 AIA New York Chapter Design
Awards Public Symposium
New York City
September 19, 2005
A moderated discussion and presentation of
outstanding architecture, interior architecture,
and unbuilt projects located in New York City or
designed by New York architects. At the Center
for Architecture. Call 212/358-6117 or visit
www.aiany.org.
Spotlight on Design: James Eyre
Washington, D.C.
September 19, 2005
The British firm of Wilkinson Eyre Architects
employs new technologies and materials with
breathtaking results. James Eyre, RIBA, a founding principal of the practice, will discuss its
projects, including the Gateshead Millennium
Bridge, the National Waterfront Museum in
Swansea, Wales, and his proposal for a tensegrity
bridge spanning the National Building Museums
Great Hall. At the National Building Museum. Call
202/272-2448 or visit www.nbm.org.
IIDEX/NeoCon Canada 2005
Toronto
September 2223, 2005
Canadas largest exposition and conference for
the design, construction, and management of
the built environment. This years focus is on
sustainability and the built environment with
an expanded architectural program. In the
National Trade Centre at Exhibition Place. Visit
www.iidexneocon.com.
Internship Conference:
Designing Tomorrows Architect
San Antonio
September 2224, 2005
Seventy-five invited participants will include
key leadership from each organization and a
diverse group of stakeholders in the internship
process. Cosponsored by the AIA and NCARB,

the conference will be held at the historic


Empire Theatre. For more information, visit
www.designingtomorrowsarchitect.org.
100% Design
London
September 2225, 2005
The internationally renowned commercial contemporary design exhibition promises an exciting
lineup of established manufacturers and designers as well as first-time exhibitors and upcoming
design talent. At Earls Court 2. For information,
visit www.100percentdesign.co.uk.
Design for Change: A Symposium on
Design, Social Responsibility, and
Nonprofit Organizations
New York City
September 23, 2005
This symposium will bring together design educators and practitioners and nonprofit administrators
to discuss the role of design in addressing larger
social issues. The daylong program will include
panel discussions, presentations of case studies,
and opportunities for informal dialogue. At
Parsons The New School for Design. Call 212/2298919 or visit www.parsons.edu.
Lecture: Sim Van der Ryn on
Sustainable Design
Washington, D.C.
September 26, 2005
Using his own projects and teaching experiences
a examples, renowned pioneer in sustainable
architecture Sim Van der Ryn will discuss the evolution of his thinking and the emergence of a new
process of collaborative design that honors a
buildings users and connects them to the earth.
At the National Building Museum. Call 202/2722448 or visit www.nbm.org.
2005 National Preservation Conference:
Sustain AmericaVision, Economics,
and Preservation
Portland, Ore.
September 27October 2, 2005
The conference brings together experts and
practitioners in the diverse specialties that contribute to preservationarchitecture and
cultural landscapes, historic sites and heritage
tourism, heritage education, smart growth and
regional planning, downtown revitalization,
neighborhood revitalization and housing, organizational management, public policy, real estate
development, and more. At the Hilton Portland

& Executive Tower. Call 202-588-6296 or visit


www.nthpconference.org

ArtHouses: New Directions in Museum


and Exhibition Design
Houston
September 28October 26, 2005
A lecture series presented by the Rice Design
Alliance. A new generation of architects has
emerged to imaginatively address the challenges
of designing for art of our time. Lecturers include
Brad Cloepfil of Allied Works Architecture,
Tony Fretton of Tony Fretton Architects, Galia
Solomonoff of OpenOffice: art + architecture
collaboration, and David Adjaye of Adjaye/
Associates. In Brown Auditorium at the Museum
of Fine Arts. Call 713/348-4876 or visit
www.rda.rice.edu.

Competitions

The 22nd Antron


Fiber Design Award
Deadline: September 16, 2005
This award program recognizes designers
who are setting new standards in commercial
design through the innovative use of carpet.
Visit www.antron.invista.com/designawards.
Windscape: An Ideas Competition
Envisioning Renewable Energy for
Cape Cod
Deadline: September 30, 2005
The competition challenges participants to
explore the notion of renewable energy and to
better understand the environmental, visual,
and other implications of the infrastructure of
a wind farm. For further information, visit
www.architects.org/windscape.
2005 NSA Sunroom Design Awards
Competition
Deadline: October 31, 2005
Judged in three cost levels as well as type of roof
category, the National Sunroom Association (NSA)
Design Awards Competition recognizes excellence
in design and installation of sunrooms. For more
information, visit www.nationalsunroom.org.

Architecture And
Deadline: September 12, 2005
In celebration of its 125th anniversary, the
Architectural League is seeking proposals for
lecture series, conferences, and public programs
in other formats; for Web projects, electronic
publishing projects, white papers, exhibitions, or
installations. Architecture And is a yearlong
series of programs, offering analysis, demonstration, and proposition about the current
state and future potential of architecture. For
more information, visit www.archleague.org.

2005 Source Awards


Deadline: December 2, 2005
This national lighting design competition, which
focuses on furthering the understanding and
function of lighting as a primary element in
design, is open to all lighting designers, architects, engineers, interior and professional
designers, and consultants who use Cooper
Lighting fixtures in interior or exterior design
projects. Visit www.cooperlighting.com.

2005 AIA New York Chapter Design


Awards
Entry form deadline: September 12, 2005
Deadline for submissions: September 16,
2005
The mission of this design award is to elevate
discussion about architecture and to increase
awareness of todays outstanding architecture

E-mail event and competition information two


months before event or submission deadline to
elisabeth_broome@mcgraw-hill.com. Edited by
Alexandra Gates.

CERSAIE 2005
Bologna, Italy
September 27October 1, 2005
The worlds largest international exhibition of
ceramic tile and bathroom furnishings will
feature more than 1000 exhibitors form 33
countries. CERSAIE 2005 will include the third
annual design symposium, entitled Bologna
Markitecture: Value in Architecture. At the
Bologna Fairgrounds. Visit www.cersaie.it or
www.italiatiles.com.

among the public as well as among architects.


Architecture anywhere in the world designed by
AIA New York Chapter members or registered
architects working in New York City, or architecture
located in New York City designed by registered
architects practicing anywhere, is eligible. Call
212/358-6117 or visit www.aiany.org.

FOTOglas

Dates &Events

FOTOglas by Skyline Design is


a proprietary process which etches
large photographic images permanently into the surface of the glass.
Specially formulated for interior
and exterior applications. Sepia
tone and other nishes available.
SKYLINE DESIGN

www.skydesign.com
888.278.4660

NeoCon East Booth 842

Manufactured in Chicago

The Harry Ransom Center


Architect: Lake Flato
Graphics: Fd2s
Photo: 2004 Hester+Hardaway

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A I A / ARCH I TECTURAL R ECOR D


CONT INU ING EDUCAT ION
Program title: Commercial Buildings Open Their Windows, Architectural Record (09/05, page 161).
AIA/CES Credit: This article will earn you one AIA/CES LU hour of health, safety, and welfare credit. (Valid for credit through September 2007.)
Directions: Select one answer for each question in the exam and completely circle appropriate letter. A minimum score of 70% is required to earn credit.
Take this test online at http://archrecord.construction.com/continuinged/default.asp
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Check one:
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For certicate of completion: As required by certain states, answer test questions, fill out form above, and mail to above address, or fax to 609/426-5592. Your test
will be scored. Those who pass with a score of 70% or higher will receive a certificate of completion.
Material resources used: Article: This article addresses issues concerning health and safety.
I hereby certify that the above information is true and accurate to the best of my knowledge and that I have complied with the AIA Continuing Education
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A I A / ARCH I TECTURAL R ECOR D


CONT INU ING EDUCAT ION
Program title: Low-Slope Commercial Roofing: Roof Cover Boards Provide Outstanding Performance, (09/05)
AIA/CES Credit: This article will earn you one AIA/CES LU hour of health, safety, and welfare credit. (Valid for credit through September 2007.)
Directions: Select one answer for each question in the exam and completely circle appropriate letter. A minimum score of 70% is required to earn credit.
Take this test online at http://archrecord.construction.com/continuinged/default.asp
1.
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Middle Initial or Name

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Address

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AIA ID Number

Zip

E-mail
Completion date (M/D/Y):

Check one:
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STRENGTH

Composite steel joists combined with


poured concrete = great diaphragm

SPANS

Design alternatives
increase with 43 spans

FIRE RATINGS

U/L Ratings up to 3 hours

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PRODUCTNEWS
Kitchen Design Booklet

TO ADVE RTISE: Contact Deidre Allen


T: (212) 904-2010 / F: (609) 426-7136
deidre_allen@McGraw-Hill.com

Thin Stone Cladding Systems

1 General data

4 Masonry

Blanco

Stone Truss Systems, Inc.

Introducing a booklet from BLANCO


featuring a step-by-step process for
designing the most frequently used area
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Thin lightweight natural stone wall


cladding by THIN STONE SYSTEMS, LLC
offers economical solutions for new
construction and renovation, for both
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panels of natural granite, marble, or
limestone are applied to a structural
framing system of extruded aluminum.
Weighing only 6-lb.-psf, the wall system
provides many advantages including
speed and simplicity of installation.

800-451-5782
www.blancoamerica.com

212-838-7667
www.thinstonesystems.com

Circle Reader Service #150

Commercial Grade Outdoor Furniture

Circle Reader Service #153

Crystallized Glass Ceramic Architectural Panels

2 Site construction

4 Masonry

Modern Outdoor

Technical Glass Products

High style, clean-lined simplicity, short


lead times, environmentally conscious
materialsthese are the attributes
of Modern Outdoora producer of
top quality outdoor furniture with a
definitive modern aesthetic. The Modern
Outdoor Collections are commercial
grade products designed for the
restaurant, hospitality, and resort
industries, with an aesthetic that is
perfect for a residential client's backyard
setting. The entirety of the Collection is
made from Ipe, Electropolished Stainless
Steel and Natural Composite materials.
Modern Outdoor offers attractive pricing.

Neoparis and Neoparis LT are lighter


yet stronger than granite. Commonly
used for cladding interior and exterior
walls, flooring, and counter or tabletops,
they are virtually impermeable and not
subject to freeze-thaw damage, penetration by rust, mortar or other staining
substances. Contact Technical Glass
Products at 888-397-3473 or
www.fireglass.com.

818-838-7060
www.modernoutdoor.com

888-397-3473
www.fireglass.com

Circle Reader Service #151

Thin Brick Products

Circle Reader Service #154

Railing Systems

4 Masonry

5 Metals

Boulder Creek Stone

HDI Railing Systems

You put a lot of care into your home or


building. So do they. Every one of their
thin brick products are made with only
the finest materials and are designed
to withstand the test of time while
providing a cost-effective and versatile
alternative to traditional applications.

The high-end d line railing system from


Denmark, is now available in the U.S.
exclusively through HDI Railing Systems.
d line is made of the highest quality
stainless (AISI 316) for use in any
environment. Features include custom
bending, modular engineering for fast
on-site installation, and quick order
turnaround to meet construction
deadlines.
Complete
supply
and
installation service is available throughout North America, which includes
inox, CIRCUM, HEWI Nylon and d line
railing systems.

www.hdirailings.com

Circle Reader Service #152

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09.05 Architectural Record

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PRODUCTNEWS
Aluminum Flooring

TO ADVE RTISE: Contact Deidre Allen


T: (212) 904-2010 / F: (609) 426-7136
deidre_allen@McGraw-Hill.com

Cedar Roofing & Sidewall

5 Metals

7 Thermal & moisture protection

Power Stretch

Cedar Shake & Shingle Bureau

Aluma Floor is manufactured with


3/16-in. solid aluminum . A "Floor of
The Future" is now here. Let your
creativity run. Call 630-628-0226 or visit
www.aluminumfloors.com.

The Cedar Shake & Shingle Bureau


provides installation instructions and
AIA Continuing Education Seminars.
Member
manufacturers
produce
Certi-label brand cedar shakes and
shingles for roofing and sidewall
applications.
To
ensure
quality,
independent third party inspections are
conducted, plus quality assurance by the
CSSB Cedar Quality Auditor. Certi-label
brand products are a renewable resource,
durable, impact- and wind-resistant, and
available with either pressure-impregnated preservative or fire retardant
treatment, in either pre-stained or
pre-primed finishes.

630-628-0226
www.aluminumfloors.com

604-820-7700
www.cedarbureau.org

Circle Reader Service #156

Architectural Columns, Balustrades & Mouldings

Fiber Cement Boards

6 Wood & plastics

7 Thermal & moisture protection

Circle Reader Service #159

Melton Classics, Inc.

Cement Board Fabricators

Melton Classics provides the design


professional with the most comprehensive
selection
of
quality
architectural
products in the industry, including
architectural columns, balustrades,
mouldings, cornices, and a wide array of
architectural elements. Architectural
columns are available plain or fluted,
load-bearing or column covers, round or
square in fiberglass, fiberglass/marble
composite, synthetic stone, cast stone,
GFRC, and wood for paint or stain. Melton
Classics offers a maintenance-free
balustrade product ideal for any application.

Cement Board Fabricators (CBF) represents the Minerit and Cembonit lines
with a full range of flat and corrugated
high-performance building products for
any climate with total disregard for the
elements. Time-tested, as well as
environmentally friendly, for use in
residential, commercial, institutional,
and industrial settings. The flat boards
can be utilized for entire wall systems, or
as an infill panel between masonry,
glass, or metal. Continuous development
ensures the product line outperforms
other fiber cement boards.

800-963-3060
www.meltonclassics.com

502-744-5757

Circle Reader Service #157

Snow Guards

Circle Reader Service #160

Shingles

7 Thermal & moisture protection

7 Thermal & moisture protection

Alpine SnowGuards

CertainTeed

Alpine SnowGuards' snow guards set the


standard for performance and design.
Designed for slate, flat tile, cedar, and
other shingle style roofs, the #10 snow
guard is both functional and aesthetically pleasing. Ease of installation and minimal maintenance make it a favorite to
customers all over the world. The #10 is
available in copper, lead-coated copper,
zinc, galvalume, aluminum, and painted
aluminum which makes this snow guard
the perfect complement to any roofing
material. Layout and installation recommendations are available from Alpine's
sales staff.

CertainTeed's Landmark TL is a
substantially thick shingle that boasts
the look and depth of classic wood
shakes. Featuring three laminated layers
of the industry's most durable materials,
the heavyweight Landmark TL exceeds
the industry's toughest performance
standards and gives homeowners
long-lasting peace of mind. Contact
CertainTeed at 800-233-8990 or visit
www.certainteed.com.

888-766-4273
www.alpinesnowguards.com

800-233-8990
www.certainteed.com

Circle Reader Service #158

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Architectural Record 09.05

ADVERTISEMENT

PRODUCTNEWS
Metal Building Components

TO ADVE RTISE: Contact Deidre Allen


T: (212) 904-2010 / F: (609) 426-7136
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UL-Approved Glass Flooring

7 Thermal & moisture protection

8 Doors & windows

Metal Sales Manufacturing


Corporation

Artwork in Architectural Glass

With 19 branches throughout the United


States, Metal Sales Manufacturing
Corporation is one of the building industry's premier providers of metal building
components. They produce metal roofing, siding panels, and accessories for
agricultural, commercial, architectural,
industrial, and residential building projects of every shape and sizenew construction or retro-fit. Metal Sales has a
40-year history of providing cutting-edge
products, impeccable service from highly
trained professionals, and the largest
sales force in the industry.

Looking for a UL-approved, anti-slip glass


flooring product that provides maximum
daylighting, no interruption to the line of
site, engineered to meet ANSI and ASTM
safety code regulations, and easy to specify along with quick lead times? Artwork
in Architectural Glass (AAG) is your
answer. AAG glass flooring is ULapproved in accordance with UL410,
standard for slip resistance of floor surfaces. AAG has more than 75 years of
expertise in architectural, cast, slumped,
fused, and bent glass combined with
more than 45 years of professional creative design experience.

800-406-7387
www.metalsales.us.com

770-266-7134
www.artworkinglass.com

Circle Reader Service #162

Rainscreen Systems

Circle Reader Service #165

Extreme Performance Commercial Insulated Glass

7 Thermal & moisture protection

8 Doors & windows

Pohl Inc. of America

AZON USA Inc.

Pohl has provided the AEC industry with


true Rainscreen cladding systems in a
variety of metals for over 27 years.
Systems include custom-formed wall
panels, column-wraps, beam-ties and
architectural accents. Visit their Web site
for product information. Fax number
801-988-1311

Warm-Light spacer from Azon creates a


warm-edge glass unit that reduces thermal conductivity in any climatic condition. The result is a dramatic reduction in
condensation on the glass surface in cool
climates and less heat transfer in warm
climates, as well as lower utility costs
and a more comfortable interior environment. The polyurethane core in WarmLight spacer is 100 times less conductive
than stainless steel or conventional aluminum spacer. Also enables design flexibility for a variety of building types,
window sizes and styles, with standard
and custom colors.

801-988-1305
www.pohlusa.com

800-788-5942
www.warmedge.com

Circle Reader Service #163

Roof Penetration Flashings

Circle Reader Service #166

Walkable Laminated Safety Glass

7 Thermal & moisture protection

8 Doors & windows

SBC Industries

General Glass International

SBC Industries has developed a complete


line of easy-to-install roof penetration
flashings that replace pitch pans known
to require maintenance and commonly
cause roof failure. They are approved and
endorsed for use in warranted roofs by a
number of system manufacturers. These
stainless steel flashings are compatible
with most materials and are the answer
to problems with flashing of angle irons,
I and H beams, pipes, square tubing,
channels, conduits, coaxial and lightning
cables, and struts. Available in either a
split or a slipover design.

Bi-Step Structural Glass Flooring by BGT


offers design freedom for artful expression while meeting the functional needs
of any project. It is a walkable laminated
safety glass for use in floors, bridges,
landings, and stairs. It offers code compliant slip-resistant friction values and
proven structural integrity.

800-228-2580
www.sbcflashings.com

800-431-2042
www.generalglass.com

Circle Reader Service #164

Circle Reader Service #167

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09.05 Architectural Record

227

ADVERTISEMENT

PRODUCTNEWS
Glass Stair Treads & Tiles

TO ADVE RTISE: Contact Deidre Allen


T: (212) 904-2010 / F: (609) 426-7136
deidre_allen@McGraw-Hill.com

Decorative Glass

8 Doors & windows

8 Doors & windows

Goldray Industries Ltd.

Nathan Allan Glass Studios Inc.

Glass stair treads and flooring tiles are a


new trend in the architectural world, and
Goldray has made their own mark on
this new market with the development
of their new "Traction Control Frit." This
coating has aggressive traction properties which yield a superior slip coefficient as a safety feature for stair treads
and glass flooring. Visit Goldray's Web
site for more information on this and
other innovative products from Goldray
Industries.

The latest in "Glass Edge" technology,


"Sphere Glass" is now in production at
Nathan Allan. Designed for wall partitions, feature walls, backbars, sidelites,
doorlites, water features, and overhead
suspended panels. The Spheres are produced in standard diameters of 1-1/2-in.,
2-in. and 3-in., and can be produced in
diameters up to 24-in. Standard Sphere
colors include Clear, Crystal Clear, Blue,
Bluegreen, Aqua Blue, Green, Grey,
Bronze and Gold. Custom colors are also
available. View their Web site for
full specs.

604-277-8533
www.nathanallan.com

www.goldrayindustries.com

Circle Reader Service #168

High-Performance Translucent Building Systems

Retractable Roof Enclosures & Skylights

8 Doors & windows

8 Doors & windows

Circle Reader Service #171

Kalwall Corporation

OpenAire Inc.

Gathering LEED points through daylighting can greatly impact any project.
Kalwall's highly insulating, diffuse-light
transmitting, translucent skylights, wall
systems and replacement windows are
uniquely suited to achieve the desired
results. The use of Kalwall can contribute
points in the categories of Sustainable
Sites, Energy & Performance, Materials &
Resources, and Indoor Environmental
Quality.

Custom-designed retractable roof structures and operable skylights capable of


spanning up to 140-ft. At the touch of a
button, motorized panels retract to open
up to 50% or more of the roof area.
OpenAire can span up to 140-ft. and do
custom designs (domes, barrel vaults,
biparting, etc.) using its exclusive maintenance-free, thermally broken aluminum framing. These enclosures and
operable skylights are perfect for indoor
waterparks, pools, atria, and anywhere
that you want to bring the outside in.

800-258-9777
www.kalwall.com

www.openaire.com

Circle Reader Service #169

Special Purpose Doors & Windows

Circle Reader Service #172

Electronically Tintable Glass

8 Doors & windows

8 Doors & windows

Krieger Specialty Products Co.

SAGE Electrochromics, Inc.

For over 60 years, Krieger has been custom manufacturing acoustical, blast, bullet, security, radio frequency shielding,
thermal shielding, stainless steel, and
other special purpose doors and windows. Their custom designed and manufactured doors and windows are utilized
by leading architects in premier installations such as the Kodak Theater, Disney
Concert Hall, Hollywood Bowl, Max
Fisher Performing Center, Boeing
Integration Center, The Getty Museum,
L.A. Zoo, Basketball Hall of Fame, the
Pentagon, and various other U.S. government, military, and embassy buildings
throughout the world.

In the making for over a decade; durable,


tested glass that tints at the push of a
button. SageGlass electronically tintable
glazing eliminates having to choose
between a design that maximizes the
positive attributes of the sundaylight,
view, connection to the outdoorsand
one that attempts to minimize its drawbacksheat gain, glare, and fading. You
get unprecedented solar control without
the need for blinds, so the view and your
design intent are preserved.

www.KriegerProducts.com

Circle Reader Service #170

877-724-3321
www.sage-ec.com

Circle Reader Service #173

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Architectural Record 09.05

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PRODUCTNEWS
Wood Interior Windows & Doors

TO ADVE RTISE: Contact Deidre Allen


T: (212) 904-2010 / F: (609) 426-7136
deidre_allen@McGraw-Hill.com

Granite & Limestone Materials

8 Doors & windows

9 Finishes

Weather Shield Windows &


Doors

Ancor Granite Tile Inc.

Engineered with unique features and


built for unparalleled performance, the
Weather Shield Legacy Series is simply
one of the best window and door lines
available for custom and luxury homes.
Available in tilt double-hung, casement,
awning, and direct-set windows and
French doors, the premium windows feature elegant wood interiors in a variety of
wood species from Weather Shield's
Custom Wood Interiors Collection.

Ancor Granite Tile is now pleased to


afford you the design freedom and distinction you have been denied to date.
Think of custom sizes: 12-in. by 16-in.,
12-in. by 18-in., 16-in. by 24-in. in over
100 granite and limestone materials.
Ancor is pleased to offer tiles up to 24-in.
by 24-in. and sizes in between from 3/8in. to 1-1/4-in. in thickness, in a variety of
finishes from high polish to matte, textured and antiqued. Put their 20 years' of
specialization to work for you. Usher in a
new age of stone design. Contact Ancor
to discuss an upcoming project idea;
they look forward to hearing from you.

800-477-6808
www.weathershield.com

www.ancor.ca

Circle Reader Service #174

Doors for Interior Architecture

Circle Reader Service #177

Ceiling Accents

8 Doors & windows

9 Finishes

Woodfold-Marco Mfg., Inc.

Architectural Products by
Outwater, LLC

Some will say that nothing is more


beautiful than wood. Woodfold-Marco
would agree. Woodfold custom made
accordion and roll-up doors (available in
hardwood and non-hardwood finishes as
well) are both functional and beautiful.
Woodfold-Marco has models available
for use as sight, security and acoustic
applications. Its solid hardwood roll-up
doors coil conveniently overhead. And to
assure on time completion of your
projects, Woodfold-Marco has the
industry's best production cycle.
Fax number 503-357-7185

Ceiling Focus, a dramatic accent, is available for any large or high ceiling. Suited
for residential and commercial use in
new construction or renovation applications, Ceiling Focus can be used "right
out of the box" or easily adapted for use
with chandeliers or other lighting fixtures by merely drilling through its center. Produced of lightweight, extremely
durable high-density polyurethane,
Ceiling Focus comes factory primed, and
is ready to be painted, glazed or faux finished the same day as installation.
Ceiling Focus is available in two sizes: 48in.(w) by 72-in.(l) by 5-in.(d) and 60-in.(w)
by 84-in.(l) by 4-1/2-in.(d).

503-357-7181
www.woodfold.com

800-835-4400
www.outwater.com

Circle Reader Service #175

Ornamental Plaster Ceiling Tiles

Circle Reader Service #178

Linear Metal Ceilings

9 Finishes

9 Finishes

Above View Mfg, By Tiles, Inc.

Chicago Metallic Corp.

ABOVE VIEW ornamental plaster ceiling


tiles are fabricated from a non-toxic,
non-combustible, proprietary composition. They drop into any standard 15/16in. T-Bar grid system. There are more
than 50 standard designs, custom design
work, and 1300 custom colors and faux
finishes available upon request.

Design attractive curvilinear ceilings in


virtually any interior or exterior space
with Planar. Flat and curved ceilings
are made from durable aluminum in
4-in., 6-in. and 8-in. widths in a wide
range of painted colors, wood and
reflective finishes. Lighting, air distribution and acoustical performance are
integrated for uninterrupted linear
appearance. Contact Chicago Metallic for
samples and product literature or visit
their Web site.

414-744-7118
www.aboveview.com

800-323-7164
www.chicagometallic.com/planar

Circle Reader Service #176

Circle Reader Service #179

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PRODUCTNEWS
Sculpted Panel System

TO ADVE RTISE: Contact Deidre Allen


T: (212) 904-2010 / F: (609) 426-7136
deidre_allen@McGraw-Hill.com

Authentic Terrazzo

9 Finishes

9 Finishes

Formglas Inc.

Surface Elements

Using 3D modeling and CNC Technology,


Formglas Inc. has transformed a TVS flat
geometric design into a curved 14-ft. by
9-ft. sculpted diamond panel system.
Suspended on rods, the panels form an
intricate 3D vaulted surface. For more
information on Formglas products please
visit them on the Web.

Terrazzio is an Authentic Terrazzo used


for floors, counter tops and as an exterior wall panel. Terrazzio is first manufactured as a 4-ft. by 8-ft. by 1/4-in. bisque
then polished and cut to your specifications. With twelve 'time tested' traditional colors, and twenty-two vibrant
contemporary colors, Terrazzio has the
beauty and durability of traditional terrazzo with today's warm tones and
refreshing colors. Terrazzio is ideal for
schools, dazzling 'up scale' restaurants
and retail stores.

931-845-3434
www.Terrazzio.com

www.formglas.com

Circle Reader Service #180

Decorative Wall Panels

Circle Reader Service #183

Thin-Set Waterproofing

9 Finishes

9 Finishes

Kemlite Company

The Noble Company

frpDesign Solutions is a family of decorative wall panels that provides an alternative to traditional wall coverings such as
ceramic tile, wood paneling or vinyl wall
coverings. Offering both functionality
and design, products in the frpDesign
Solutions line are made of a moistureresistant frp panel with a decorative finish that includes myriad colors, patterns,
and woodgrains, as well as a tile-look
panel. Available with over 500 hundred
choices, frpDesign Solutions is easy to
install and maintain. For more information, visit Kemlite on the Web.

NobleSeal TS is a thin, sheet membrane


for waterproofing and crack isolation of
thin-set tile or stone. TS can be bonded to
a vertical or horizontal substrate, and tile
can be bonded to TS. It's ideal for shower
floors, walls and drying areas. NobleSeal
TS can be flood tested as soon as the
bonding agent has cured (usually
overnight). This helps insure watertight
installations. TS is recommended for
wheelchair accessible showers and other
applications where a full mortar bed is
not desired.

888-332-6377
www.frpdesignsolutions.com

www.noblecompany.com

Circle Reader Service #181

Cork & Linoleum Floating Floors

Circle Reader Service #184

Clay Floor Tiles

9 Finishes

9 Finishes

Nova Distinctive Floors

Viva Ceramica

Nova Cork and Linoleum Floating Floors


embrace design, function, and environmental consciousness. Manufactured in
1-ft. by 3-ft. "klick" (glueless) system
planks, Nova Distinctive Floors boasts 28
designer patterns in cork and nine bold
linoleum colors with accent tiles.
Harvested from forests that meet
environmental, social and economic
standards, Nova products have received
the "Green Spec" distinction from
Building Green, Inc. as well as FSC and
SCS certifications. They offer a 20-year
residential and 10-year commercial
warranty. Call 866-576-2458 or visit
www.novafloorings.com.

Colors meet the purest clays forged and


pre-compacted in a higher than normal
thickness (12-mm). Complete penetration between body and color grants lasting optical results, maximum ultimate
tensile strength, absolute resistance to
acids, scratches, frost, and dirt. The totally environment-friendly manufacturing
process is assured by ISO9001 quality
system. The XILO series is guaranteed 20
years for private homes and ten years for
public areas. For further information
please consult the Viva updated price list
and sales conditions on their Web site.

www.novadistinctivefloors.com

www.cerviva.it

Circle Reader Service #182

Circle Reader Service #185

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230

Architectural Record 09.05

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PRODUCTNEWS
Precast Concrete & Terrazzo Products

TO ADVE RTISE: Contact Deidre Allen


T: (212) 904-2010 / F: (609) 426-7136
deidre_allen@McGraw-Hill.com

Adjustable Shelves

10 Specialties

10 Specialties

DEX Studios

Rev-A-Shelf

DEX manufactures precast architectural


concrete and terrazzo products for commercial, multi-unit, and residential
applications. Superior finishes and colors
in both cast concrete and terrazzo are
available in sinks, bathtubs, shower
pans, tile, bar and countertops, tabletops
and fireplaces. All DEX products are polished to a hard dense finish and sealed
to protect the finished product. DEX
offers a wide range of standard products,
custom design capabilities and several
Green products using post consumer
recycled aggregates.

With birch/maple wood construction and


chrome rails, the 448 Wall Series has 3
adjustable shelves and a bonus chrome
rail set that can be mounted to the top
shelf providing up to 5 surface areas for
36-in. or 42-in. applications. Additional
features include their technologically
advanced patent pending "tri-slides"
that prevent side-to-side motion and
provide complete stability and their
adjustable door mount brackets that
allow up to 5-in. of flexibility for troublefree installation on any door style. The
448 Series is available in 2 sizes for wall 9
and
wall
12
cabinets.
Email
hlogsdon@rev-a-shelf.com

404-753-0600
www.dexstudios.com

800-626-1126
www.rev-a-shelf.com

Circle Reader Service #186

Architectural Bird Control

Circle Reader Service #189

Ceiling Fans & Lighting

10 Specialties

11 Equipment

Nixalite

G Squared

NIXALITE is a simple, direct and humane


solution to bird problems. Often copied
but never duplicated, Nixalite is the
exclusive development of Nixalite of
America. Nixalite is an easy-to-install,
long lasting and virtually maintenancefree, all 316 stainless steel bird barrier
needle strip, suitable for all birds.
Inconspicuous, Nixalite functions as an
integral design component blending naturally with structural features and protecting the original design of a structure.
NIXALITE keeps the birds flying.

Clean and simple, the Flyte ceiling fan is


a GOOD DESIGN Award winner. View
brushed nickel with mahogany blades
and all white versions on their Web site.
Includes 100W dimmable light and touch
control system, remote control available.
Cap for non-light use included. Whisper
quiet, powerful and beautifully made,
this timeless design can be used on 81/2-ft. ceilings or on cathedral ceilings
with optional downrods up to 6-ft.
Suitable for sloped ceilings up to 29.
Lifetime warranty. To buy high-design
architectural fans and lighting please call
or visit their Web site.

800-624-1189
www.nixalite.com

877-858-5333
www.g2art.com

Circle Reader Service #187

Electronic Lockers

Circle Reader Service #190

Dual-Sided Filing Cabinet

10 Specialties

12 Furnishings

Penco Products, Inc.

Aurora from Richards-Wilcox, Inc.

Penco Product's SmartLocker eliminates the need for conventional locks


and keys. It can use employee/student ID
cards or proximity devices to grant or
restrict access. The locker system is networked to a central computer in an
administrative office, where usage can
be monitored and access codes controlled. Applications for SmartLocker
includes schools, health clubs, recreational facilities, retail establishments,
police departments, and many more.

Aurora Products introduces the 2-Tier


Times-2, a new twist on storage and
filing. At only 29.5-in. high, the 2-Tier
Times-2 is a perfect desk companion,
providing dual-sided filing in a locking
cabinet that rotates. The Times-2 is
small, but mighty: it holds as much as
one 4-drawer 30-in. lateral file in a
footprint that's just 36-in. wide by
25-in. deep. A variety of accessories
accommodate all types of multimedia
storage and filing. Use the 2-Tier for
personal storage and filing, or between
two work stations for shared filing.
Email sniemiec@richardswilcox.com

800-562-1000
www.pencoproducts.com

800-877-8456
www.timestwo.com

Circle Reader Service #188

Circle Reader Service #191

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231

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PRODUCTNEWS
Wear-Resistant Furniture

TO ADVE RTISE: Contact Deidre Allen


T: (212) 904-2010 / F: (609) 426-7136
deidre_allen@McGraw-Hill.com

Elevator Systems

12 Furnishings

14 Conveying systems

Kwalu

Custom Cab Industries

Kwalu wall protection is the newest


addition to a collection of virtually
indestructible, scuff- and scratch-resistant furniture, tables and casegoods.
Combining unsurpassed excellence in
design with a 10-year warranty on
construction and finish, Kwalu wall
protection systems are ideally suited to
the most challenging environments
where striking elegance and effortless
functionality is the dream. Call, or visit
the Web site.

Turn
your
Residential/Commercial
Elevator Dreams into reality. CCI will turn
your dreams into reality. They have the
resources to design, manufacture, and
install your dream Elevator system.

800-405-4331
www.kwalu.com

619-205-1000
www.customcabsind.com

Circle Reader Service #192

Shutters

Circle Reader Service #195

Elevator Door Facings

12 Furnishings

14 Conveying systems

Linetec

Gage Corporation, Intl.

Polywood plantation shutters are used in


office parks, restaurants, hotels, and
multi-family dwellings to provide ultimate control of temperature, light, noise,
and privacy. The Polywood shutter is one
of the best window treatments on the
market due to its class-A fire rating,
moisture resistance, and architectural
grade paint finish by Linetec. When you
spec Polywood on your next project, you
can be assured that it will never warp,
crack, split or discolor. And it's guaranteed for life.

ECO-NOR offers six distinctive pre-decorated elevator door facings in 18-ga.


stainless steel. ECO-NOR is competitively
priced, making it an ideal choice for
remodeling or budget sensitive projects.
Finishes of all designs complement
existing or new #4 stainless steel frames.
ECO-NOR offers prompt lead times without the need for prior specification. ECONOR is a product of Northern Engraving
Corporation. Fax number 608-269-7622
Email gage@centurytel.net

888-546-3832
www.polywoodshutters.com

800-786-4243
www.eco-nor.com

Circle Reader Service #193

Curved Church Pews

Circle Reader Service #196

Vertical Wheelchair Lifts

12 Furnishings

14 Conveying systems

New Holland Church Furniture

Inclinator Company of
America, Inc.

Curved pews are "Round For A Reason"


and are designed and manufactured by
New Holland Church Furniture. Curved
pews are designed for maximum seating,
curved for efficient use of space,
designed to enhance worship, created for
community, uniting the family of God.
New Holland Church Furniture is a certified member of the Architectural
Woodwork Institute (AWI), so you can be
assured of the very highest quality.
Email nhcw@newhollandwood.com

Inclinator's
SpectraLift
Vertical
Wheelchair Lift is the only fiberglass
wheelchair lift in the industry. That
means it won't rust, dent, or make those
rattling metal noises. The fiberglass construction allows for rounded corners and
recessed panels for a more attractive
look. All electrical components and connections are completely waterproof. And,
SpectraLift comes in 28 standard colors.
The sealed hydraulic lift provides a
smooth 54-in. ride. SpectraLift comes
with an industry-leading two-year parts
warranty. Indoors or out-it doesn't matter.
Inclinator stocks many standard colors.

800-220-1465
www.newhollandwood.com

Circle Reader Service #194

www.inclinator.com

Circle Reader Service #197

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Architectural Record 09.05

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PRODUCTNEWS
Code Compliant Insulation

TO ADVE RTISE: Contact Deidre Allen


T: (212) 904-2010 / F: (609) 426-7136
deidre_allen@McGraw-Hill.com

Sheer Glass Fixtures

15 Mechanical

16 Electrical

Armacell LLC

Charles Loomis, Inc.

For the first time, a closed cell elastomeric foam insulation, the ideal material to
prevent moisture intrusion on cold systems, meets 25/50 flame spread and
smoke developed index ratings in 1-1/2in. wall thickness. New code compliant
AP Armaflex is suitable for the extreme
temperatures and humidity associated
with commercial refrigeration and some
cold water systems. The thicker AP
Armaflex from Armacell conforms to
NFPA 90A and 90B for materials in air
return plenums and ASTM C 534 standards. All Armaflex elastomeric foam is
fiber free.

Capture radiance, fashion, and drama


with bauble designer Charles Loomiss
premier introduction to a line of sheer
glass fixtures. Bauble combines classic
glamour with contemporary chic. For
details please contact Charles Loomis,
Inc. at 800-755-0471

800-866-5638
www.armacell.com

800-755-0471
www.charlesloomis.com

Circle Reader Service #198

Metal Plumbing Fabrication

Circle Reader Service #201

Exterior Emergency Lighting

15 Mechanical

16 Electrical

Diamond Spas, Inc.

Concealite Life Safety


Products

Diamond Spas specializes in metal


plumbing fabrication. The DSI line consists of soaking baths, whirlpool baths,
Japanese baths, shower pans, lavatories,
kitchen sinks and spas/hot tubs. What
sets Diamond Spas apart from other
manufacturers is their ability to customize. Every bath fixture or spa is
designed and built specifically for the
client. Your visions become reality when
Diamond Spas is part of your project. DSI
has the talent and expertise to create
artistic, sophisticated, highly durable
products for the upscale home.

Hydro-Lume is a 12 V, electronic metal


halide emergency lighting system
designed to illuminate long pathways to
and from a building that conventional
exterior lighting systems cannot adequately light. Hydro-Lume incorporates
Concealite's exterior, weatherproof
technology with high output lamps to
provide an exceptional illumination
pattern for the challenging situations
found in exterior lighting. Hydro-Lume
can be customized to meet any
application. For more information and
specifications, visit www.concealite.com
or call 605-542-4444.
605-542-4444
www.concealite.com

www.diamondspas.com

Circle Reader Service #199

Air Conditioning Grilles

Circle Reader Service #202

Custom Light Fixtures

15 Mechanical

16 Electrical

Worth Home Products

CP Lighting

Worth Home Products provides an


attractive alternative to stamped metal
grilles. Worth's computer-aided design
ensures high efficient air flow and won't
void mechanical warranties like site built
grilles. This patent-pending product is
made from paint-grade Poplar and Birch
woods and discreetly blends into ceilings
or walls. Its locking system provides a
safe and easy installation. Over 36 standard wooden grille sizes and custom
services are available for quick delivery.

CPLIGHTING
introduces
the
newGROWTH chandelier. Custom fabricated from brushed aluminum, these UL
listed fixtures are a modern sculptural
interpretation of fallen branches. Like
real trees, no two newGROWTH fixtures
are ever alike. Each fixture is built to suit
your specific project needs utilizing linevoltage type JCD halogen bulbs. Please
visit their Web site to see their complete
line of modern light fixtures designed by
Christopher Poehlmann including the
recycled acrylic Popsicle Pendant series.

www.WorthHomeProducts.com

Circle Reader Service #200

866-597-4800
www.cplighting.com

Circle Reader Service #203

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233

TO ADVERTISE: Contact Diane Soister


T: (212) 904-2021 / F: (212) 904-2074
Diane_Soister@McGraw-Hill.com

CLASSIFIED ADVERTISING

AUCTION

CEO

POS IT IONS AVAILABLE


SENIOR ARCHITECT AND
PROJECT MANAGER

Deutsch Associates, a professional architectural


design firm, has an immediate opening for a Senior
Architect and Project Manager. Applicant should
have a minimum of 5+ years professional experience
with Bachelors degree in architecture. Diversified
experience in project management, mentoring of
technical staff and strong client interaction capabilities. Requirements: Arizona registration; Contact:
send resume to HR@ 2929.com or fax to 602-8406646; Firm info: Deutsch Associates is a
Phoenix-based architectural design firm providing
services to both public and private sector clients since
1981. Market sectors include: government, education, high tech, bio, industrial, and retail.
INTERIOR ARCHITECTURE

San Francisco area commercial interiors firm


established in 1988 with a solid book of repeat
clientele plus many emerging opportunities.
Owner is looking toward reduced involvement over
the next 5 to 8 years and seeks a licensed individual
architect, or firm, for exploring the mutual goal of
a gradual ownership transition. Send Inquiries to:
iagamedes@yahoo.com
INTERIOR DESIGNER

Evaluates furniture trends to determine upcoming


market styles or trends. Plans and designs furniture. Req B.S. Interior Architecture & 1 yr. exp in
job. Send Resume: Ron Thames, Riverforks
Imports Inc., 500 S. Greenwood St., Geneva, AL
36340 (jobsite).
234

Architectural Record 09.05

ARCHITECT

Reynolds, Smith and Hills, Inc., a national


Architecture and Engineering firm, currently has
an opening for a dynamic and multi-faceted
Architect in our Tampa, Florida office. Candidates should be proficient in AutoCad with
experience in design, production, and construction administration; should be ready to assume
project management duties; and should have
excellent communication skills. Candidates must
be licensed and interested in professional growth
and advancement in the Architectural profession.
RS&H offers a competitive salary and comprehensive benefit package. All interested candidates
should submit resume by applying online at
www.rsandh.com. EOE/AAP/M/F/V/D
ARCHITECTURAL DESIGNER

Determine functional & other requirements of


arch. design & planning. Prep. info on design
specs, material, color, equipment, costs & schedule in keeping with zoning & bldg. codes. Prep.
design using VIZ, Illustrator & Photoshop. Prep.
final plans & contract documents using CAD, &
integrate engineering elements into unified
design. Research & Catalog design trends for use
by architects. Req: Master in Architecture. 40
hrs/wk. Job site: Santa Monica, CA. Fax resume to:
Kristi @ WWCOT (310) 453 9432.
INTERIOR DESIGNER

Worksite: Various locations in Bergen County.


Assoc. Deg. in Interior Design. Send ad/ resume to
Danon Group, Attn: Owner, 15 Beekman Place,
Fair Lawn, N.J. 07410

A leading architectural and engineering firm


with two offices in West MI and gross annual sales
of 10 million is actively seeking an experienced
and energetic Chief Executive Officer.
Qualifications for this critical position are: exceptional communication & leadership skills; 10-15
years experience in the capacity of a CEO or
equivalent executive mgmt position; strong
results oriented; a proven history of driving positive change and measurable returns; ability to
cultivate team working environments; proficient
strategic planner. Position requires: knowledge or
experience in design/construction industry.
Minimum 4 year degree. Professional 5 year
degree or MBA preferred. Licensed architect or
engineer in MI a plus. Knowledge in project management for projects of all sizes beneficial. Send
resumes to: Human Resources, PO Box 3508,
Kalamazoo, MI 49003-3508. EOE/M/F/V/D
ARCHITECT

Master planning and building design. Coordination of different jobs in progress & construction.
Hand & computer drawings of construction documents. Administration of contracts, codes,
regulations (federal and local) and permits. Team
work in different projects; client liaison.
Coordination and subdivision of projects. BA
required. Full-time. $35,443/yr. Send resume to :
John Morton, Morton Verges Architects, 320 N.
Carrollton Ave., # 100, New Orleans, LA 70119.

archrecord.construction.com

CLASSIFIED ADVERTISING

MULTIPLE POSITIONS

ARCHITECTURAL DRAFTER

Van Tilburg, Banvard & Soderbergh, AIA, an award


winning Architectural and Planning design firm in
Santa Monica is seeking talented individuals at junior, intermediate and senior levels in Design,
Production and Project Management. Fax resume to
310-394-2424.

F/T; exp. w/ marker renderings, AutoCad 2004, 3D


Studio Max, Rhino 3D, Adobe Photo Shop, & Ulead
DVD Workshop. Req. BS in architecture & 2 yrs.
exp. Send resume to: Winston H. Henderson
Architects, 1555 E. Flamingo Rd., Ste 350, Las Vegas,
NV 89119

ARCHITECT

ARCHITECTURAL VISUALIZATION DESIGN


SPECIALIST

Must have exper. in concrete structures, lg. urban


design, mixed-use dev'p & univ. campuses; exper.
w/foreign cultures and arch.; Bachelor's in Arch. &
4+ yrs. exper.; and proficiency in AutoCAD, Adobe
In-Design, Photoshop and Illustrator. Send
resumes to: ZNA, 700 Massachusetts Ave.,
Cambridge, MA 02139
ARCHITECTS - ALL LEVELS / ALL SPECIALTIES

JR Walters Resources, Inc. specializing in the


placement of technical professionals in the A&E
field. Openings nationwide. Address: P.O. Box
617, St. Joseph, MI 49085 Tel: 269-925-3940 Email: jrwawa@jrwalters.com Visit our web site at
www. jrwalters.com
ARCHITECTURAL PRODUCTION STAFF

For Architect Design co. Pasadena, CA. Respon. for


CAD, coordinate plans, elevations, walls etc. for
commerical/residental. Computer use. Fax resume
to: F & A Architects 626-351-2511

Design, render + develop multi-dimensional


architectural design visualizations for residential
+ commercial projects. Req. BA in Architecture +
exp. Must have exp. w/AutoCAD, 3D Studio Max,
Adobe Premiere. Resumes to: A. Barry, Company
39, 999 Third Ave, Ste. 2200, Seattle, WA 98104.
By mail only. EOE

SPACE FOR LEASE


SPACE FOR LEASE:

Waltham-Landmark Bldg up to 240,000 Sq. Ft . will


upfit. Great Natural Light 5,000 windows- 20 min.
to Boston on the Charles R. Join other arch. and
Engin. Call owner 781-893-7616.

SPECIAL SERV ICES

ARCHITECTURAL INTERN, SR.

Research, plan, dsgn & administer bldg projects


for clients, applying knowl of dsgn, construction
procedures, zoning & bldg codes & bldg materials.
2 yrs exp reqd. BS in Architecture. Resume to:
WHR Architects, 1111 Louisiana St., 26th fl.,
Houston, TX 77002.

archrecord.construction.com

09.05 Architectural Record

235

ADVERTISERS INDEX

Bold: Indicates Page Number. Italic: Indicates Reader Service Number. Y: Indicates Sweets Marketplace Participation

Y MBCI

211

104

Academy of Art University


academyart.edu

74

54

Doug Mockett & Company Inc


mockett.com

24

207

111

Acme Architectural Walls

180

82

215,216

66

48

AFG Glass
afgglass.com

Doug Mockett & Company Inc


mockett.com

McGraw-Hill Construction
construction.com

81

114

AIA
aia.org

Dow Corning
dowcorning.com

209

214

McGraw-Hill Construction
construction.com

28

19

Y DuPont SentryGlas

212

224

AIA
aia.org

McGraw-Hill Construction
construction.com

Y DuPont Tyvek

237

188

AIA
aia.org

McGraw-Hill Construction
construction.com

Y Easi-Set Industries

74

55

Y Eldorado Stone

20

12

22

13

6-7

Metal Initiative, The


themetalinitiative.com

50

34

Mitsubishi Chemical America Inc


alpolic-usa.com*

42

27

Modern Fan Co, The


modernfan.com

62

42

68

49

Y Alcan Composites USA Inc


alucobond.com*

75

56

16
63

43

cov2-1

104

72

Y Alcoa Architectural Products

dupont.com/safetyglass

71

tyvek.com

84

65

easiset.com

186

89

eldoradostone.com

alcoacladdingsystems.com

44

Architectural Record
archrecord.construction.com

91

Architectural Woodwork Institute


awinet.org

85

Y Armstrong
armstrong.com

52

EXPO CIHAC 2005


68

ATAS International Inc


atas.com

cov-4

110

Audi
audiusa.com

80

61

34

Autodesk
autodesk.com

181

84

35

Autodesk
autodesk.com

64

45

Avonite Surfaces
avonite.com

14-15

128

B-K Lighting
bklighting.com

56

33

165
47

77
31

63

202

96

205

99

Y Belden Brick Company, The

208

101

Y Benjamin Moore

benjaminmoore.com

184

88

Bentley Systems Inc


bentley.com

58-59

40

72

53

Blanco
blancoamerica.com

106

74

76

57

Y BR 111

BR111.com

Build Boston
buildboston.com

213
41

26

Y C/S Group

c-sgroup.com

203
105

97
73

CaesarStone
caesarstoneus.com

Y Cambridge Architectural Mesh

In-O-Vate Technologies Inc


dryerbox.com

Y Inclinator Co of America

mortarnet.com

220

National Building Museum


nbm.org

158

75

Y InPro Corporation
Y InterEdge Technologies

201
210

95
102

Italian Trade Commission


marblefromitaly.com
Joel Berman Glass Studios
jbermanglass.com

ntma.com

70

51

Y Noble Company, The

8-9

Y Oldcastle Glass

160

76

52

36

Y Owens Corning

80

62

Y Pemko

238

112

Y Pilkington

30

noblecompany.com
oldcastleglass.com

pemko.com
pilkington.com

93

69

Y Johns Manville

194

92

Y Julius Blum & Co Inc

18

11

Y PPG

180

83

Y Rakks

170

79

RHEINZINK
rheinzink.com
Roseburg Forest Products
rfpco.com

specjm.com

ppgglass.com

juliusblum.com

89

67

Kim Lighting
kimlighting.com

Y Knauf

rakks.com

35

Kolbe & Kolbe Millwork Co Inc


kolbe-kolbe.com

197

93

206

100

KraftMaid Cabinetry
kraftmaid.com

182

86
33

79

60

CEDIA
cedia.org

31

20

Y Ceilings Plus

ceilingsplus.com

knauffiberglass.com

mailboxes.com

38

23

Y Kusser Aicha Graniteworks USA

65

46

Y Lafarge North America

55

39

Y Schott Corporation

39

24

Y Sherwin-Williams

95

71

Simplex Ceilings
simplexceilings.com

221

107

Skyline Design
skydesign.com

43

28

Y Sloan Valve Company

kusserUSA.com

CENTRIA Architectural Systems


centria.com

218

105

169

78

Decoustics
decoustics.com

183

87

Dell
dell.com

210

103

Delta
deltafaucet.com

54

38

187

90

Lutron
lutron.com

36

[21]

10-11

Marvin Windows & Doors


marvin.com

37

[22]

80

70

50

Design Guide
designguide.com

94

70

Y Dietrich Metal Framing

dietrichmetalframing.com

@Last Software
sketchup.com

Y Laticrete International Inc


laticrete.com

Leviton Manufacturing Co
leviton.com

Y Lonseal

lonseal.com

Samsung-Digital Information Tech Div


samsungproav.com
us.schott.com

lafargenorthamerica.com

14

175

Y Salsbury Industries

49

23

167

Portland Cement Association


cement.org

46

51

Cedar Shake & Shingle Bureau


cedarbureau.org

OMNIA
omniaindustries.com
owenscorning.com

Cascade Coil Drapery


cascadecoil.com
109

Neoporte Modern Door


neoporte.com

94

cov-3

Y National Terrazzo & Mosaic Assn

198

firesafe-glass.com

Invision/J&J Industries
invisioncarpet.com

Y National Gypsum Company


nationalgypsum.com

64A-64H 149

12

architecturalmesh.com

64

Hunter Douglas Contract


hunterdouglas.com

Y Mortar Net

Mz Metal Laminates
mozdesigns.com

inprocorp.com

37

BNi Building News


bnibooks.com

Y Hunter Douglas Contract

Y MechoShade Systems Inc

204

inclinator.com

53

235

Historical Arts & Casting Inc


historicalarts.com
hunterdouglas.com

BCM Architectural
shimmerscreen.com

113

Y High Concrete Structures Inc


highconcrete.com

59

157

Headwaters Resources
flyash.com

MDC Wallcoverings
mdcwall.com
mechoshade.com

Y Haworth

haworth.com

78

beldenbrick.com

Hambro
hambrosystems.com

Y McNichols Co

mcnichols.com

Y Ginger

motiv.us

222-223 108

mbci.com

Y Ferrari Textiles Corporation


soltis-textiles.com

66

15

sherwin-williams.com

sloanvalve.com
Steelcase
steelcase.com
Steelcase
steelcase.com

For additional information on these advertisers, circle corresponding number on Reader Service Card, or go to archrecord.construction.com/products.
To reserve your 2005 Sweets call 1-800-442-2258
236

Architectural Record 09.05

ADVERTISERS INDEX
82

64

continued

Steelscape
steelscape-inc.com

219

106

Stone River Bronze


stoneriverbronze.com

Sun Valley Bronze


svbronze.com

Technical Glass Products


fireglass.com

17

10

Thermador
thermador.com

40

25

Tile of Spain
spaintiles.info

45

29

Y Timely

timelyframes.com

189-193 91

Y USG Corporation
usg.com

182

85

Ventwood
ventwood.com

78

58

Ventwood
ventwood.com

65

47

Verizon Wireless
verizonwireless.com

48

32

Vermont Structural Slate


Company
vermontstructuralslate.com

26

17

Y Viking Range Corporation


vikingrange.com

25

16

Visa Lighting
visalighting.com

27

18

Vistawall Architectural Products


vistawall.com

60

41

VT Industries
vtindustries.com

2-3

Weather Shield Windows & Doors


weathershield.com

178

81

World Exposition of Ceramic Tile


italytiles.com

SALES OFFICES & CONTACTS


EXECUTIVE OFFICES

WEST ( AZ, CA, CO, NM, NV)

James H. McGraw, IV, Group Publisher


(212) 904-4048 Fax: (212) 904-3695
jay_mcgraw@mcgraw-hill.com
Laura Viscusi, VP, Associate Publisher
(212) 904-2518 Fax: (212) 904-2791
lviscusi@mcgraw-hill.com

Bill Hague
(253) 858-7575 Fax: (253) 858-7576
(760) 340-5575 Fax: (760) 340-0439
bill_hague@mcgraw-hill.com
WEST (ID, MT, OR, S.CA, UT, WA, WY)

Bill Madden
(503) 224-3799 Fax: (503) 224-3899
bill_madden@mcgraw-hill.com

Assistant: Pina Del Genio


(212) 904-6791 Fax: (212) 904-2791
pina_delgenio@mcgraw-hill.com

INTERNATIONAL

Glen Wither (Canada)


(888) 836-6623 Fax: (866) 212-2213
glen_wither@mcgraw-hill.com

ONLINE SALES

Paul Cannella, Director


(312) 233-7499 Fax: (312) 233-7490
paul_cannella@mcgraw-hill.com

Martin Drueke (Germany)


(49) 202-27169-12 Fax: (49) 202-27169-20
drueke@intermediapartners.de

CLASSIFIED SALES

Diane Soister
(212) 904-2021 Fax: (212) 904-2074
diane_soister@mcgraw-hill.com

Ferruccio Silvera (Italy)


(39) 022-846716 Fax: (39) 022-893849
ferruccio@silvera.it

NORTHEAST / MID-ATLANTIC

Janet Kennedy (CT, MA, ME, NH, NJ, NY, PA, RI, VT)
(212) 904-3603 Fax: (212) 904-2791
janet_kennedy@mcgraw-hill.com

Katsuhiro Ishii (Japan)


(03) 5691-3335 Fax: (03) 5691-3336
amskatsu@dream.com

Joe Sosnowski (NJ, PA)


(610) 278-7829 Fax: (610) 278-0936
joseph_sosnowski@mcgraw-hill.com

Young-Seoh Chin (Korea)


(822) 481-3411/3 Fax: (822) 481-3414
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(312) 233-7402 Fax: (312) 233-7403
lisa_nelson@mcgraw-hill.com

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deidre_allen@mcgraw-hill.com
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(609) 426-7046 Fax: (609) 426-7087
p64cs@mcgraw-hill.com
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SOUTHEAST / MID-ATLANTIC

Susan Shepherd
(404) 843-4770 Fax: (404) 252-4056
sshepherd@mcgraw-hill.com

REPRINT MANAGEMENT SERVICES

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09.05 Architectural Record

237

50

Years of Record Houses

From the pages of ARCHITECTURAL RECORD

1991

Feverish Dream House


P H OTO G R A P H Y : S C OT T F R A N C E S / E S TO

By Beth Broome

ot restrained by traditional notions of good taste, record noted of the Orange


County, California, home of Joe and Etsuko Price when rst covering it in 1991.
Depicting the house as a vision from a feverish dream, the article said architect
Bart Prince combined craft with a futuristic, almost James Bond sensibility.
Windowless waves of shingles give the Price House the appearance, from the
street, of larger-than-life lichen. Behind its walls lie three levels of fancifully designed
spacesseparated by sliding panels and platforms rather than doorsthat fan out to take
in the ocean view. Visually oating staircases, rock gardens, stained-glass windows, wall-towall sheepskin, and organically carved work areas abound. The space is so copiously
detailed, record reported, it makes your head spin.
The house, like everything Ive done, is responsive to its situation, its site, and the
client, says Prince today. And this was a more unusual client than most. Indeed, Joe Price
became an architectural patron of note after convincing his father, in the early 1950s, to
09.05 Architectural Record

239

Years of Record Houses

This page: A concrete study center


extending from the Japanese teahouse (below) is the only addition to
the original home (above).
Previous page: The homes undulating shape has made it a must-see
tourist attraction in Orange County.

240

Architectural Record 09.05

commission Frank Lloyd Wright to design the Price Tower for his familys oil-services company. Soon after, the younger Price hired Bruce Goff, Wrights friend and admirer, for his
own home, and later recruited Goff to design a Los Angeles study center focusing on Joes
passion, Japanese art. When Goff died, his successor, Bart Prince, completed the study center and went on to design Prices Orange County home. Rather than micromanage the
process, says Prince, this client simply outlined his lifestyle needs. Eschewing a grand statement to the world, he aspired to a jewel-box house just for his family.
A few years after its completion, Price called on Prince to add a small Japanese study
center for visiting scholars. While the original building is primarily wood with some copper
cladding, the study center, for reasons of security and re protection, dictated different materials. The addition appears as a monolith of poured concrete extending from the traditional
Japanese teahouse that the architect had originally integrated into the homes lower level.
Apart from the study center, the Price House appears today much as it did 14 years
agoand the client, who still lives there with his Japanese-born wife, likes it that way. His one
minor complaint, perhaps, is that despite the designs focus on privacy (with each family member granted his or her own world), its eccentricity has made it a must-see on tourist
itineraries, and its proximity to the road gives gawkers easy access. Otherwise, time seems to
have strengthened the bond between the home and its owner. If I could do it again, I
would carry it even further, says Price. Everything is impracticalthe garage doors are a
Rube Goldberg thing to get openbut it all works. And nothing has agedbesides me.

P H OTO G R A P H Y : S C OT T F R A N C E S / E S TO ( TO P ) ;
M I C H E L E M . P E N H A L L ( B OT TO M )

50

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