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ONLINE

JUJUY REDUX
Marcelo Spina and Georgina Huljich of P-A-T-T-E-R-N-S and Maximiliano
Spina of Maxi Spina Architects designed this multifamily mid-rise. Its
located in a post-industrial neighborhood of Rosariothe Spina brothers
hometown and one of Argentinas fastest-growing cities.
BROOKLYN NAVY YARD CENTER
To create an anchor for a 300-acre redevelopment along New Yorks
East River, Workshop/apd and Beyer Blinder Belle restored the 1857
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ENZO FERRARI MUSEUM
A new museum in Modena, Italy, exemplies the paradoxically organic
yet technical vision of the late Jan Kaplick of Future Systems. Won in
competition before Kaplicks untimely death, the commission was
nished by his disciple, Andrea Morgante, now of Shiro Studio in London.
114
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16 DIALOGUE
Some thoughts on the occasion of Robert
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25 FRONT
An indiferent reaction to the revised 1 World
Trade Center by Aaron Betsky, the state of the
concrete market, Libeskind transforms Seoul,
and much more
41 PRODUCTS
Architects pick their favorite cladding, a
close look at Preston Scott Cohens canopy for
Goldman Sachs, Blaine Brownell attends Rios
Green Nation Fest, and lots of new products.
55 AIARCHITECT
Shipping container construction in Kenya,
research on justice architecture, and how to
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152 PAST PROGRESSIVES
New Orleans Main Library, designed by Curtis
and Davis: a 1957 P/A Award citation.
66 THE CZAR
Roger K. Lewis visits with Santiago Calatrava at
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and sculptures in St. Petersburg, Russia.
76 DOUBLE WHAMMY
Only 16 percent of the AIAs membership is
female, and women make up only 17 percent of
principals and partners at architecture rms.
Would more women be in architecture if more
women were in development?
88 CONTINUING EDUCATION
Structural insulated panels can seem like
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102 THE ARCHITECT 50
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HAIL AND FAREWELL TO ARCHITECT ROBERT VENTURI,
ON THE OCCASION OF HIS RETIREMENT.
MORE OPINIONS AT ARCHITECTMAGAZINE.COM
AVE ATQUE VALE
ONE OF THE BEST PRESENTS Ive ever received
is a pair of silver candlesticks that Robert
Venturi designed in 1984. My aunt and uncle
got them for one of their anniversaries, if
memory serves, and having little inclination
for postmodern decorative arts, they eventually
passed the candlesticks on to me.
Never has there been a ner regift.
The candlesticks sit on a side table in
my living room, and Ive been obsessing
over them since Venturi announced his
retirement this summer. The architect and his
still professionally active wife and partner,
Denise Scott Brown, have been heroes of mine
from adolescence, when I bought a copy of
Venturis treatise, Complexity and Contradiction
in Architecturemostly because I liked the
pictures. The writing proved just as interesting.
Until that point, I hadnt realized that
architecture could embody an idea. Feelings,
sure, such as the sense of uplift I got as a kid,
standing at the base of Eero Saarinens Gateway
Arch, or the solemnity that would wash over
me in the sculpture hall of Cass Gilberts St.
Louis Art Museum. But fully baked intellectual
concepts? In a building? Whod have thought?
Great architecture speaks equally to the
heart and mind. To hear the voice of a Venturi
Scott Brown & Associates building is rather
like having Oscar Wilde whisper in your ear.
Venturi and Scott Brown are a rare breed:
architects whose wit translates intact into built
form. If you share their sense of humorironic,
semantic, cerebraltheir buildings have the
capacity to make you laugh out loud.
Both Wilde and Venturi are tweakers of
convention. The poet and playwright upended
Victorian morality with scripts such as The
Importance of Being Earnest, and he drove his
points home with extremely clever wordplay
Work is the curse of the drinking classes
being one of my favorites. Venturi, for his part,
exposed the single-mindedness of postwar,
corporatized Modernism in Complexity and
ofered a delicious alternative in 1962, in the
form of the house he designed for his mother,
with its miscegenistic wedding of Orthodox
ribbon window and heretic pitched roof.
Venturis famous quip Less is a bore
intellectually justied a careers worth of such
architectural conceits. He never hesitated to
reuse the best ones: the split pediment, the
familiar pattern applied in a strange context,
the silhouette of a traditional form. One can
trace a direct line from the squashed Cape Cod
elevation of the Vanna Venturi House, through
the Georgian silhouettes of my candlesticks,
to the sequentially attened classical faade
of the Sainsbury Wing of the National Gallery
in London (which Prince Charles derided as a
monstrous carbuncle). The addition proved to
be the high-point of the couples career.
Alas, in the past decade or so, someone or
other decided that the jokes were getting old.
The architectural intelligentsia went looking
for a shiny new paradigm, another form of
complexity. And, just possibly, Venturi wore
out his welcome. He and Scott Brown are true
gentlefolk, but theyve never backed down
when they perceived a threat to the integrity of
their work. During the course of their careers,
they walked away from some seriously plum
commissions. The commissions, perhaps as a
result, started going to other talents.
Today, Frank Gehrys is the name that
leaps to mind in conjunction with the phrase
Americas greatest living architect. Venturi
and Scott Brown are of no lesser caliber. Indeed,
the two practices are ip sides of the same
coin: Venturi and Scott Browns decorated shed
versus Gehrys mighty duck.
Venturi and Scott Brown have had
an undeniably profound inuence on the
subsequent generation, even if the Herzog & de
Meurons and OMAs are too hip to acknowledge
their indebtedness. But then Venturi himself
has an uncertain relationship with the
movement he and his wife helped launch,
together with their late partner Steven Izenour.
Ten years ago, Venturi wrote an essay for me at
Architecture with the title, I Am Not Now and
Never Have Been a Postmodernist. History will
be the judge of that.
Whats certain is that Venturi and Scott
Brown fomented a revolution in architecture,
one that reawakened the discipline to its long,
proud heritage. Ill never stop learning from
them, and from their candlesticks.
GREAT ARCHITECTURE
SPEAKS TO THE MIND
AS WELL AS THE
HEART. TO HEAR THE
VOICE OF A VENTURI
SCOTT BROWN
& ASSOCIATES
BUILDING IS RATHER
LIKE HAVING OSCAR
WILDE WHISPER IN
YOUR EAR.
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DIALOGUE
DuPont and Corian are trademarks or registered trademarks of E.I. du Pont de Nemours and Company.
Circle no. 287 or http://architect.hotims.com
American Exceptionalism, July, page 12
I appreciate your calling attention to our
collective national lack of knowledge of
this important pre-Columbian society, its
architectural importance, and the reasons
for its collapse. The Cahokia developed great
architecture while simultaneously exhausting
their natural resources.
WILLIAM MILLER, FAIA, SALT LAKE CITY
I direct your attention to a book that mirrors
your concerns, Collapse: How Societies Choose
to Fail or Succeed by Jared Diamond.
DAVID BERKOWITZ, AIA, BOSTON
You might want to read 1491 by Charles Mann;
it is illuminating and upsetting.
LENORE LUCEY, FAIA, WASHINGTON, D.C.
Your editorial on the Cahokia is appropriate to
us and our times. Its nice to see an intellectual
thrust with sustainability at the heart.
JAMES P. CRAMER, NORCROSS, GA.
I had to sort through peripheral, academic,
and elitist items about the Cahokia Mounds,
womens issues, global warming, architecture
as social agency, and more such slanted
rubbish in hopes of nding a practical and
helpful article and images of beautiful designs.
MARK HOPKINS, AIA, ARLINGTON HEIGHTS, ILL.
Making the Mold, July, page 35
I have enjoyed the change from Architectural
Record to ARCHITECT as the magazine of the AIA.
But I am disappointed that you would allow
Deborah Berke to name Elizabeth Diller as an
architect. Diller is not registered. This oversight
dilutes the credentials that all registered
architects have worked hard to achieve.
PHILIP MITROPOULOS, AIA, DOUGLASTON, N.Y.
Correction: In the June article Seventeen Days
Later, we incorrectly spelled Bill Hanways name
and misidentied his title. He is the executive
director for AECOM in the United Kingdom.
ARCHITECT regrets the error.
Contact Us:
Letters, c/o ARCHITECT
Hanley Wood
One Thomas Circle N.W.
Ste. 600
Washington, D.C., 20005
letters@
architectmagazine.com

Deepika Padam
@bashless_: If you
arent following
@architectmag you
must! I struggle not
to RT almost every
story they publish!
Perkins+Will
@perkinswill_PHL:
Mainstream rms
are strategically
integrating
#probono design
at unprecedented
levels. @johncary
via @architectmag:
ow.ly/d6pzA
Mudeo @MUDEO:
Another merger,
seriously? Come on,
Perkins+Will, stop
trying to take over
the world. j.mp/
PrkpZK // via
@architectmag
LETTERS
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ROGER K. LEWIS, FAIA, is a practicing architect
and urban designer, a professor emeritus of
architecture at the University of Maryland,
College Park, and an author and journalist.
After earning degrees from MIT and
working as a Peace Corps volunteer architect
in Tunisia, Lewis joined the faculty at the
University of Marylands new School of
Architecture in 1968. Simultaneously, he
launched a diversied, award-winning
architecture and planning practice based in
Washington, D.C. For both private and public
sector clients, he has designed residential,
educational, cultural, and institutional projects.
His work has also encompassed community
planning and urban design.
Since 1984, The Washington Post has
published his illustrated column on architecture
and urban design, Shaping the City. His
unique, award-winning columns have been
republished nationally and internationally, and
his drawings for Shaping the City have been
widely disseminated and exhibited, including in
an exhibition at the National Building Museum
in 1999. Lewis is the author of numerous journal
articles and books, among them Architect? A
Candid Guide to the Profession (The MIT Press)
and Shaping the City (The AIA Press).
Serving often on design review
committees and juries, Lewis has been a
professional adviser for numerous national
and international design competitions. He is
a Design Excellence peer reviewer for the U.S.
General Services Administration; a member
of the government-appointed Design Review
Board for the Carlyle and Eisenhower Avenue
districts of Alexandria, Va.; and a design
consultant to several other government
agencies and private development entities.
Lewis serves as a monthly guest
commentator on the Kojo Nnamdi show,
broadcast by WAMU-FM, the National Public
Radio af liate in Washington, D.C. Currently,
Lewis is a National Childrens Museum
trustee and Building Committee chair for a
new museum at National Harbor in Prince
Georges County, Md., as well as a Peace Corps
Commemorative Foundation trustee.
See Lewiss review of the Santiago
Calatrava exhibition at Russias
Hermitage Museum on page 66.
ROGER K. LEWIS

CONTRIBUTORS
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FRONT
DESCENT INTO
MEH-NESS
ONE WORLD TRADE CENTER IS ONLY
WORTHY OF AN INDIFFERENT SHRUG.
THERE IS NOT going to be a spire on 1 World
Trade Center. Instead, what was once to be the
Freedom Tower, twisting itself up to an attempt
at symbolism at 1,776 feet above sea level, will
now be a tall box with an antenna on top. There
could be no better symbolism for both Ameri-
cas and architectures lack of daring.
When Daniel Libeskind, AIA, won the com-
petition for the redesign of ground zero back
in the Stone Age, there was some hope that we
would see something inspiring and beautiful.
But there were already many questions about
whether New York needed or would ever be
able to absorb the millions of square feet of of-
ce and retail space. There were also questions
about how Libeskinds particular vision might
develop. It might have been better to think of
the area as being a tapered edge to the nancial
core, efecting the transition to waterfront liv-
ing that was beginning to rise up from Battery
Park to the Lincoln Yards. It might also have been
good to fundamentally rethink the relationship
between public space and imagery and private
construction and use.
The vagaries of insurance settlements,
however, combined with Libeskinds inability to
control the designs development, and Americas
wounded pride and sense of bravura led to a
call for more of the sameonly bigger. Despite
some inventiveness in the original scheme, the
results (as yet unnished) promise to be, more
than anything else, blander. Not bad, not good,
but just there.
The loss of the spire, which originally twist-
ed out of a tower that worked hard to decompose
its massive girth into planes shooting up toward
that culmination, speaks of a complete capitula-
tion to both fear and greed. Now the top is to be
just another at buzz cut surmounted by a node
in the telecommunications and data empires
swirling around us. Perhaps that is appropriate:
Modernism at its core wants to be so abstract,
so governed by function, so rationalized, and so
transparent that it disappears into nothing. All
of those forms reduced to their basics, just place-
holders for that eventual disappearance.
For now, though, the spire will remind us
of nothing so much as the fact that we have
given up trying to answer the world of instant-
everything-everywhere with monuments or
objects of memory. We do not make something
out of etherspace, we let it unmake the mean-
ing of our physical world. We would rather have
safety than possibilities, anonymity rather than
memory, communication rather than vision,
and comfort rather than a reminder of what we
do not know or cannot yet make. The spire is a
beacon in a landscape of meh. AARON BETSKY
TIMELINE OF COMPROMISE
2001
New York City Mayor Rudy Giuliani and New
York Gov. George Pataki create the Lower
Manhattan Development Corp. (LMDC).
May 2002
The LMDC selects Beyer Blinder Belle and
Parsons Brinkerhof to consult on a planning
study for the World Trade Center site.
July 2002
The rst round of the design competition for
a new World Trade Center is launched, but
the submissions are roundly criticized.
December 2002
Seven seminalists, including Daniel
Libeskind, AIA, emerge from a second-round
design competition.
February 2003
The LMDC selects Daniel Libeskind to design
the World Trade Center site.
July 2003
SOMs David Childs, FAIA, is selected to
design the Freedom Tower.
July 2004
Mayor Michael Bloomberg dedicates the
cornerstone of the Freedom Tower.
April 2006
Larry Silverstein relinquishes rights to
develop the Freedom Tower as ground is
broken on its construction.
June 2006
Childs presents the nal design for the
Freedom Tower.
March 2009
The Port Authority changes the buildings
name to 1 World Trade Center.
April 2012
The height of 1 World Trade Center passes
that of any other building in New York City.
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AS THE COMPETITION HAS DEVELOPED, WEVE COME TO REALIZE THAT WE ARE
TALKING ABOUT ACTUAL ARCHITECTURAL ELEMENTSSUCH AS SUSTAINABILITY,
WHICH IS APPLICABLE TO A ZOMBIE APOCALYPSE. THE PROCESSES OF YOUR DAILY
BUILDING BECOME MUCH MORE VITAL [WHEN ZOMBIES ARE ATTACKING YOU].
SHEA TRAHAN, ASSOC. AIA, FOUNDER OF THE ZOMBIE SAFE-HOUSE COMPETITION
OK COMPUTER
Researchers at Germanys Fraunhofer
Institute and Irelands MicroPro have
collaborated to create a wood-based
computer. Although this might at rst
sound like an awkward replacement
for the sleek aluminum or plastic cas-
ings of todays devices, the Iameco
computer features an elegant design
with a touchscreen interfaceand
the device boasts a low carbon foot-
print to boot. BLAINE BROWNELL
MORE TECHNOLOGY AT ARCHITECTMAGAZINE.COM
48.4
July 2012
Architecture Billings Index
2.8 pts from June Commercial
46.6 49.1 51.4
Multifamily Residential Mixed Practice Institutional
JULY AUG SEPT OCT NOV DEC JAN FEB MAR APR MAY JUNE JULY
70
65
60
55
50
45
40
Inquiries
Billings
48.7
Diller Scodio + Renfro have released renderings for a new medical and educational
facility for Columbia University Medical Center in Upper Manhattan. Designed
in collaboration with Gensler, the building will house 100,000 square feet of
classrooms and social spaces. These various programs will be connected by a
circulation core the architects have dubbed the Study Cascade, so named for its
generous landings that also provide spaces for social interaction and quiet study.
The south faade alternates indoor rooms with transparent glazing and open-air
terraces along the full height of the building. DEANE MADSEN, ASSOC. AIA
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At Columbia University s Interdisciplinary Center, they are hidden in the exterior
wall and in the interior floor, walls and ceiling. How? Our state-of-the-art seismic
covers allow you to inset the surrounding finishes. C/S joint covers can accept
drywall, stone, metal and virtually any other material you can think of. So if you
want to see how we can hide your expansion joints, call Construction Specialties
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ARCHITECTS AND BUILDERSfrom tornado-
ravaged Joplin, Mo., to waterlogged New Or-
leansspec concrete to create disaster-resistant
structures. Many of the construction methods
employed in new construction lean toward
concrete to meet strength requirements in new
codes, says Pierre Villere, senior managing part-
ner of Allen-Villere Partners in Mandeville, La.
On the other end of the spectrum, theres
been an upsurge in decorative concrete nishes
that replace materials such as carpet, tile, and
VCT. The concrete structural oor is attractive
enough to be the nished product, explains
David Shepherd, AIA, director of sustainable de-
velopment for the Portland Cement Association.
An additional benet is [that] the exposed con-
crete surface is appropriated for radiant-heating,
passive-solar, and thermal-mass strategies.
Concrete itself is becoming more sustain-
able. There has been a strong push to develop
mix designs that can utilize alternative materials
to reduce the extraction of natural resources and
minimize environmental impact, notes Don
Brown, manager of Raleigh, N.C.based Stewart
Engineerings construction services department.
Concrete has a long life span and a seemingly
innite number of ways to reuse or recycle it.
MARGOT LESTER
CONCRETE
$22 billion
$11 billion
-9.9%
0%
4%
Ready-Mixed Concrete
Precast Concrete Annual Revenue
Ready-Mixed Concrete Market Annual
Growth, July 2012
Increase in Ready-Mixed Concrete
Production, 20092010
Increase in Precast Concrete Production, 20092010
MORE NUMBERS AT ARCHITECTMAGAZINE.COM
GIO PONTI EN POINTE
Like his contemporary, Frank Lloyd Wright, Gio Ponti
preferred to design both a house (Milan, 1957) and its
furnitureincluding an angular upholstered armchair re-
issued by Molteni&C and Rubelli in Ponti-designed fabrics
(Punteggiato, shown). To look but not buy, see Vivere alla
Ponti: Experiments of Domestic Life and Architecture for
Home and Work at Rubellis headquarters during the
Venice Biennale. Through Sept. 28. rubelli.com L.M.R.
DESIGNED FOR SHAKING
Which is more important: sculptural form or building performance?
The Toronto Design Exchanges exhibition Considering the Quake:
Seismic Design on the Edge highlights architecture that achieves
both. A model of OMAs CCTV Tower in Beijing (shown) and other
relevant projects are on exhibit, alongside demonstrations of seismic
technology and the as-yet-unreleased documentary REM by Tomas
Koolhaas. Through Nov. 9. dx.org LINDSEY M. ROBERTS
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such as demonstration projects and indepen-
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I FIND THE ANTIHIGH
LINE POSITION TO
BE PRETENTIOUSLY
CONTRARIAN, FULL OF
INVERSE SNOBBERY,
AND UNCONVINCING.
TWISTED
Belgian shock-artist
Wim Delvoye found
himself in a heap of
trouble back in the
00s for tattoing live
pigs. The sculptures
on view at the Muse
du Louvre may not
squeal, but theyre
still provocative. The
thing that raises
eyebrows in the
show, which
features Gothic
architectural
distortions made
with laser-cut steel, is
the craftsmanship.
(That, and the 36-
foot-tall sculpture
modeled after a
suppository.) Through
Sept. 17. louvre.fr
KRISTON CAPPS

Wiel Arets
Dean, Illinois Institute
of Technology College of
Architecture
Jenna McKight
Editor-in-Chief,
Architizer
Bob Peck
Southeast Regional
Director of
Consulting, Gensler
Julie Iovine
Executive Editor,
The Architects
Newspaper
Alan Brake
Executive Editor,
The Architects
Newspaper
Wanda Bubriski
Executive Director,
Beverly Willis
Architecture Foundation
Dan Meis, FAIA
Global Director,
Woods Bagot Sport
Robert Venturi, FAIA
Founder,
Venturi, Scott Brown
and Associates
MORE DAILY NEWS AT
ARCHITECTMAGAZINE.COM T
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BIG MOVES ON
THE CAREER LADDER
TWITTERSPHERE
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Actual size.
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INNOVA3

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today and it sets the standard for the future. This 3" continuous insulation panel delivers
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Studio Daniel Libeskinds Archipelago 21 master plan for Seoul, South
Korea, covers much of the railyard surrounding Yongsan Station. The
area in question is just outside the historic city center on the bank of the
Han River, with 40 million square feet of new development in the form
of 66 new buildings, 24 of which will be skyscrapers.
The commission for the Yongsan International Business District
(YIBD) began with a competition held in 2005 between ve shortlisted
rms. What distinguished his teams proposal from the rest, says
principal Daniel Libeskind, AIA, was that theirs was the only entry
that didnt feature a megastructure: To me, its more about a city with
intimacy and grandeur, he says. Its not just about creating the tallest
building in the worldbut we have one of those, too!
Libeskinds experience with New Yorks World Trade Center site
has informed his subsequent planning projects, including YIBD: The
approach is about human beings, and creating a place with humanistic
values, he says. Ground zero is a very diferent project, but also a
really high-density project with hundreds of stakeholders. D.M.
TEN YEARS AFTER HIS
PLANS FOR GROUND ZERO,
LIBESKIND TAKES ON SEOUL
An at-home gunmaker by the name of HaveBlue has createdand redwhat may
be the rst 3D-printed gun. He used a Stratasys 3D printer, the kind architects might
use to print models, to create the lower receiver, then added it to an AR-15 rie part.
He successfully red more than 200 rounds unscathed. L.M.R.
THE PERILS OF 3D PRINTING
CEMENTITIOUS MATERIALS IN CONCRETE:
PERFORMANCE AND SUSTAINABILITY IN CONSTRUCTION
This course surveys how concrete has been used to support sustainable
construction and outlines the manufacturing process and sourcing of
cement and other cementitious materials used to make concrete.
(1 AIA HSW/SD)
METAL FABRICS IN ARCHITECTURE: FORM AND FUNCTION
An introduction to the use of metal fabrics in architecture, this course
looks specically at diferent types of materials and attachments avail-
able for design solutions. Expect an in-depth look at the applications
of metal fabric, design intent, and performance, as well as the overall
sustainability benets. (1 AIA CEH)
MARVINS HARMONIZING WITH HISTORY
This learning unit presents common challenges that architects face
for projects requiring historically accurate window design or the
replacement of historic windowsor both. Using case studies drawn
from U.S. universities, K12 schools, and municipalities with issues
of historic sensitivity, the course reviews a number of considerations
for both matching historic styles as well as ensuring modern-day
performance. (1 AIA HSW/SD)
CARPET TESTING METHODS
This is a one-hour course that ofers detailed technical information on
carpet testing requirements and methods. (1 AIA CEH)
THE FINE ART OF BLOGGING AND OTHER NEW MEDIA MARKETING STRATEGIES
The best clients are searching for a relationship that clicks, and they
vet this judgment increasingly on the cyber persona that a rm projects.
This course will discuss new-media strategies for rms that want to
put their best digital foot forward. (1 AIA)
HOT UNITS
MORE CONTINUING EDUCATION AT ARCHITECTMAGAZINE.COM
CONTINUING ED
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EEEEEEEEEEEEcccoobbuuiilldd America and iittss ccccoooo---lllooocccaaattteeedddd
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High Performance through High Technology
Question? Call 1-800-996-3863
Register today at: www.aecEcobuild.com
SPECIAL OFFER TO SUBSCRIBERS
Free ticket to expo or $200 conference savings!
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FFFFFFFFFFFFFFFFFFFFFFFFF rrrrrrrrrrrrrrrrrrrrrrrrr $$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$22222222222222222222222222222000000000000000000000000000000000000000000000000000000000000000000000000000 ccccccccccccccccccccccccccccccccccccooooooooooooooooooooooooooooooooooooonnnnnnnnnnnnnnnnnnnnnnnnffffffffffffffffffffffffffffffffffeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeerrrrrrrrrrrrrrrrrrrrrrrrrrrrreeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeennnnnnnnnnnnnnnnnnnnnnnncccccccccccccccccccccccccccccccccccceeeeeeeeeeeeeeeeeeeeeeeeeeeeeeee sssssssssssssssssssssssssssssssaaaaaaaaaaaaaaaaaaaaaaaaaaaavvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvviiiiiiiiiiiiiiiiiiiiiinnnnnnnnnnnnnnnnnnnnnnnngggggggggggggggggggggggggggggggggggsssssssssssssssssssssssssssssss!!!!!!!!!!!!!!!!!!!!!!!! eeeeeeeeeeeeeeeeeeeeeexxxxxxxxxxxxxxxxxxxxxxxxxxxxxxppppppppppppppppppppppppppppppppppppppoooooooooooooooooooooooooooooooooooooooo oooooooooooooooooooooooooooooooooooorrrrrrrrrrrrrrrrrrrrr eeeeeeeeeeeeeeeeeeeeeeeeeeeeee tttttttttttttttttttttttiiiiiiiiiiiiiiiiiiiiiiiiccccccccccccccccccccccccccccccccccckkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeettttttttttttttttttttttt ttttttttttttttttttttttttoooooooooooooooooooooooooooooooooooooo eeeeeeeeeeeeeeeeeeeeeeeeeeeexxxx rrrrrrrrrrrrrrrrrrrrrrrrrrrreeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeee
Conference: December 3-7, 2012
Exhibition: December 5-6, 2012
Washington Convention Center
Washington, D.C.
THE FEDERAL
DESIGN & CONSTRUCTION
OUTLOOK CONFERENCE
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ARCHITECT Newswire is a FREE
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www.omeda.com/arch/1M1ENBD
Something in
the Water
DESIGNING A FLOOD-RESISTANT water-bottling
facility might seem like an odd joke, but thats
exactly the challenge that Chilean rm Pan-
orama faced. Its recent Glacial Water Bottling
Plant, which is sited just outside Queulat Na-
tional Park in the Patagonia region of Chile, lies
adjacent to a glacial waterfall that oods in the
winter months.
By resting the building atop a tapered soil
base, Panorama hopes to keep the exterior waters
at bay. The 324-square-meter (3,888-square-foot)
plant reects its mountainside surroundings
with its steel-supported curtainwall of toughened
glass, which also withstands a harshly broad
spectrum of seasonal climate shifts.
Inside, the bottling process occurs within
a double-height space that allows ample room
for equipment. Of ces for the plant are opposite
the processing zone in single-height, wood-
clad spaces with observation areas above. Large
windows ofer views of the nearby cascades,
reminding plant workers of their livelihoods
source; its exact location, however, like many
natural springs, remains purposely vague. D.M.
Designed by Chilean rm Panorama,
a glass box in the mountains of
Patagonia bottles pure glacial runo.
POP-UP PORTOBELLO
Seattle rm Olson Kundig
Architects was looking
for ways to engage the
community when 21
nearby shops in its area
were boarded up in 2009.
Firm principals rented
out one and opened the
pro bono [storefront] to
host exhibitions, design
studios, and architectural
installations. In Mush-
room Farm (shown)
earlier this year, the rm
designed a greenhouse to
grow mushrooms on used
coee grounds. Up next: a
poetry laboratory. L.M.R.
TODAY, THERES A 40-ACRE
LOT WHERE THE TAMPA
[HIGH-SPEED RAIL] TERMINAL
WOULD HAVE STOOD.
AND WHEN REPUBLICANS
ARRIVE FOR THEIR NATIONAL
CONVENTION IN ABOUT A
WEEK AND CATCH A GLIMPSE
OF IT, THEYLL LIKELY SEE A
BIG WIN. IN FACT, THE GOP
WILL FIND A LOT OF THINGS
IN TAMPA THAT EXEMPLIFY
THEIR COMMITMENT TO NOT
INVESTING IN THE FUTURE.
WILL DOIG, SALON
MORE ARTS AND CULTURE COVERAGE
AT ARCHITECTMAGAZINE.COM
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Circle no. 571 or http://architect.hotims.com
FREDERICK STEINER isnt shy about his ambi-
tions for the National Academy of Environmen-
tal Design. The dean of the University of Texas
at Austin School of Architecture and president
of the forthcoming design academy compares
it to the National Academy of Sciences or the
National Institutes of Healthinstitutions that
drive research in their respective elds.
The National Academy of Sciences was
established during the Civil War to provide a
link between science and decision making,
Steiner says.
The National Academy of Environmental
Design has opened a search for an executive
director, who will guide its launch in 2013.
Further, the nonprot organization has signed
an agreement with Spotsylvania County, Va., to
open a permanent of ce there, in Ni Village.
The proximity to Washington is very
important, Steiner says. The commitment to
environmentalism is very important. The Center
for Green Technology and Sustainability is very
important, he says, referring to the building
where the new academy will be a tenant. And
the money is important, he addsSpotsylvania
pledged $500,000 to bring the organization to
the county. K.C.
INTRODUCING THE
NATIONAL ACADEMY FOR
ENVIRONMENTAL DESIGN
NOW BOARDING
Firms can specialize in residential, multifamily,
government, orif youre Denvers Fentress
Architectsairports. Six of Fentresss airports
(Denver International, shown) are part of The
Architecture of Flight at the Denver Art Muse-
um. Airports have come a long way from simple
grassy bus stops for planes; they can now be
points for cities to pivot around, or mini cities in
themselves, with retail, hotels, and restaurants.
Through Oct. 7. denverartmuseum.org L.M.R.
SEE MORE ESTO IMAGES AT ARCHITECTMAGAZINE.COM
BRUTALITY EXPOSED
Gordon Bunshafts building for the Hirshhorn
Museum and Sculpture Garden (pictured) is safe
from the wrecking ball poised to destroy so many
of its counterparts. Major Brutalist buildings in
Chicago, Baltimore, Goshen, N.Y., could all be torn
down. Esto photographers make the case for
Brutalism in a slide show of historical images that
capture the austerity of the buildings. K.C./D.M.
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The number of Ohio workers
employed in clean energy,
by 400 companies across
22 sectors. This gure is
the equivalent of Ohios
employment in agriculture/
forestry and mining combined.
25,
000
SOURCE: ADVANCED ENERGY ECONOMY INSTITUTE
36
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edge
DONT JUST KEEP YOUR
SHARPEN IT DAILY.
Visit architectmagazine.com every day for dynamic
access to industry news, culture, real-life design, business
insights, blogs, and much moreall designed to
recharge your creative batteries and help you stay sharp.
See for yourself today at architectmagazine.com
USER-GENERATED ARCHITECTURE
PUBLISH YOURSELF AT
ARCHITECTMAGAZINE.COM/PROJECTS
A TALK WITH PHIL HARRISON
What is RoccoVidal Perkins+Will?
We are building what we think is the rst true global design practice
in Brazil.
Will the merger change the work at Rocco, Vidal + arquitetos?
They [Rocco and Vidal] have their own reputation in the So Paolo region.
Theyre known. Its a union of complementary rms. It will look and feel like
a Brazilian company. Theyll have access to the full resources of Perkins+Will.
We want to be as sensitive as possible to the needs of the market.
How do you forecast the success of moving into Brazil?
The opportunity is large, but its potentially risky. Were going in with a
very intuitive sense of 200 million people, who have needs for every type
of building, every type of planning, every type of urban district. Brazil is in
a position to invest in its infrastructurenot nearly with the speed that
China is doing, but still. Its a relatively frontier position, with a fairly high
degree of risk. Success would be that we would both benet and grow.
Who is the Western client base for RoccoVidal P+W?
Theres a tremendous amount of global investment in Brazil right now.
Thomson Reuters, Goldman Sachs, Microsoft. Virtually every industry is
involved in Brazil. Those companies are used to doing business with a cer-
tain speed. Companies like Goldman Sachs are much more comfortable
working with global design rms. This is a big chunk of our current busi-
ness and what we expect to be our business as it grows.
Why P+W and not Perkins+Will?
We prefer names instead of acronyms, but [here] weve been advised by
a number of people. It [the phrase Perkins and Will] has a sound that is
displeasing [in Portuguese]. Its just an indication that when you work in
a global marketplace, you have to adapt to that marketplace. K.C.
Perkins+Will CEO Phil Harrison, FAIA, breaks down the latest big
merger, with So Paolos Rocco, Vidal + Arquitetos.
The Brooklyn Detention Center
1100 Architect/Ricki Greene
ROPE Pavilion
KNE Studio
TIFF Bell Lightbox
Kuwabara Payne McKenna Blumberg
Architects
Valley Performing Arts Center at
California State University, Northridge
HGA Architects and Engineers
Ningxia International Conference Center
Tvsdesign
MORE INTERVIEWS AT
ARCHITECTMAGAZINE.COM
COMICALLY SURREAL
On a farm in north Auckland, New Zealand, sits a most bizarre
sculpture that fools the eye into seeing the landscape in comic-book
fashion. Neil Dawsons metal-and-steel Horizons is 118 feet long,
four stories high, and at rst glance, seems two-dimensionallike a
giant piece of paper dropped from the sky. Or like a Roy Lichenstein
drawing on a hill. Or like God, in a playful mood, drew on the sky
with a pencil. gibbsfarm.org.nz L.M.R.
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FRONT
SOLUTI ON
Metal Sales custom
T16E prole utilizing
Coronado Red and
Raucous Orange
draws warmth to the
otherwise edgy,
industrial landscape
a striking matrix that
stirs the imagination.
RESULT
Metal Sales embraced
our design, creating a
nonstandard wall panel
just for this project. The
striking nature of the
panel, with added benets
of durability, recyclability,
and shading creates a
smart, stand-out building
exterior.
Lorcan OHerlihy, FAIA
Principal
Lorcan OHerlihy
Architects (LOHA)
Los Angeles, CA
CHALLENGE
Design a facade for
Formosa 1140 housing
unit that is as bold
and unique as its West
Hollywood location.
s o l v e d
Circle no. 444 or http://architect.hotims.com
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Circle no. 24 or http://architect.hotims.com
PRODUCTS
VAPOR
Innovation extends far beyond the auto industry in
Michigan. Ypsilanti-based Sensitile Systemsknown for
creating cutting-edge materials that literally dazzle when
illuminatedrecently launched Vapor, an acrylic-resin
panel clad with overlapping mirror or iridescent patterns
that display a spectrum of colors when backlit. Six patterns
(Meteor shown) are available. sensitile.com Circle 100
FOR MANUFACTURER INFORMATION ABOUT ANY OF THE PRODUCTS SHOWN HERE, GO TO ARCHITECT.HOTIMS.COM
41
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FUSIN WOOD
PANELS
Reclaimed wood appeals
for its warmth, natural
variations, and embedded
history. Architectural
Systems combined wood
salvaged from wine
barrels with other natural
materials to create these
4'-by-8' panels for walls
and millwork.
archsystems.com
Circle 101
FLOW I
The shipping container
trend has reached wall
accessories with
Le Mounton Noir & Co.s
shelf, whose shape alludes
to a ship. Comprising
layers of sanded maple
plywood, the 48"-by-
9"-by-2" shelf turns
books and tchotchkes
into small-scale freight.
lemoutonnoirandco.com
Circle 104
GREENSTAR BLOX
Mason Greenstar combines Texan newspapers, phone books, lottery tickets,
cement, and organic additives to create 10"-by-14"-by-4" building blocks that are
65% recycled cellulose. Resistant to re, water, termite, mold, and ballistics, Blox
provides an insulation factor of R3.2 per inch of thickness. With the appropriate
nish coat, it can be used indoors and outdoors. masongreenstar.com Circle 102
STYLEX BROOKS CHAIR
O ce-environment and
furniture designer Paul Brooks
has created modern seating
pieces for many manufacturers.
His latest includes this stackable
chair for Stylex, which has
no exposed fasteners and is
available upholstered or non-
upholstered, and in arm and
armless congurations. The
Greenguard-certied chair can
be recycled. stylexseating.com
Circle 103
42
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PRODUCTS
SOY-BASED ADHESIVES
M A R K E T O P P O R T U N I T Y S U M M A R Y
M A R K E T O P P O R T U N I T Y S U M M A R Y
Soy delivers lower costs, lower VOCs and higher profts
to the wood products industry.
2012 United Soybean Board For more information, visit: soynewuses.org
THE PRODUCTS
Soy-protein-based wood adhesives have been used for centuries.
Since World War II, they have been largely replaced by petroleum-
based adhesives with superior performance and economics. Current
research is focused on developing and commercializing two soy products.
1. A soy/phenol-resorcinol-formaldehyde (PRF) system for use in oriented
strand board (OSB) and plywood.
2. A soy meal/four formaldehyde-free adhesive to replace UF adhesives.
EMERGING MARKETS
There appear to be emerging new markets for soy in heat-resistant
adhesives, biobased composites and enzymatic processing for new soy
hydrolyzates. Soy adhesives do perform very well in high-heat testing
of structural engineered wood products like fnger joints and I beams.
These adhesives have been shown to have superior heat resistance,
prolonging the structural integrity of the wood structure in a fre.
Soy proteins are being developed as a binder to provide a renewable,
plant-fbers-composite particleboard and medium density fberboard.
These composites could be a cost-competitive, formaldehyde-free
solution to traditional wood composite particleboard and medium
density fberboard.
Iowa State University has developed an enzymatic approach to
making soy hydrolyzates that can be tailor-made to be used with phenol
formaldehyde resins in OSB and softwood plywood. The new approach is more
environmentally friendly and less expensive than the traditional use of caustic
and high-temperature and high-pressure approaches.
New applications have been found in the construction adhesives and
sealants markets. Bondafex has introduced products that were developed
by replacing petrochemical polyols with soy-based alternatives in urethane
adhesives. The soy component has been shown to offer improved adhesion
on a wide variety of substrates.
STATE OF THE ART
Most USB-sponsored research has concentrated on either reducing
formaldehyde emissions in UF-produced wood composites or reducing
the costs of using phenol in structural wood composites such as OSB
and softwood plywood.
RELATIVE ECONOMICS/SUPPLIES
The major adhesive resins used for wood-composite panels contain phenol
or urea, plus formaldehyde. Formaldehyde is made from methanol, which
is made from natural gas. Phenol is derived from benzene and cumene,
which are made from petroleum and propylene, which is made from
natural gas in most of the world. Urea is a product of ammonia, which is
primarily made from natural gas and carbon dioxide.
Formaldehyde pricing is dependent on methanol, which has fuctuated
greatly in the last few years based on shortages worldwide. Urea pricing
rose due to increased costs of ammonia then dropped signifcantly during
the economic situation early in 2009. The costs of phenol are attributed to the
cost of the base stock petroleum, which has followed the same trends as urea.
Soy meal/four costs have remained fat for many years, but they recently
increased due to increased demand for soy meal/four. In spite of these
recent price increases, soy meal/four remains an inexpensive raw material
for wood adhesives.
ADVANTAGES AND THE PATH FORWARD
New soy adhesives promise both improved performance and economics
to the wood products industry. They also have shown to be excellent
alternatives to urea-based products for interior applications where
legislation now restricts emissions of formaldehyde.
USB supports research and testing to commercialize these products and
ensure they meet industry standards. Working with industry partners, USB
helps develop standard industry practices, an infrastructure to supply the
products and acceptance of the resulting end products at all levels.
Circle no. 224 or http://architect.hotims.com
Text by Brian Libby
FOR CENTURIES, BUILDING WALLS HAD ONE BASIC PURPOSE: TO HOLD UP A ROOF. THE
INVENTION OF THE MODERN GLASS CURTAINWALL IN THE 19TH CENTURY EXPANDED
THE CAPABILITIES OF A BUILDING EXTERIOR TO ADDRESS ISSUES SUCH AS SITE
CONTEXT, PERFORMANCE, AND AESTHETICS. FOUR ARCHITECTS SHARE THE SYSTEMS
THAT HAVE WORKEDOR THAT THEYVE MADE WORKFOR THEIR NEEDS.
ARCHITECTS CHOICE
Face to Faade
MIC JOHNSON
Principal, AECOM
CHRISTOPHER KNOTZ
Senior associate architect,
Friedmutter Group
SANDY MENDLER
Principal, Mithun
TODD SLOANE
Principal, Payette
BAGUETTES, SHILDAN
Take Bridgewater State Colleges Marshall Conant Science and Mathematics Building, a Y-shaped
facility facing three diferent contexts: a grassy pedestrian quad, a wooded grove, and an indus-
trial area. Boston rm Payette wrapped the entire building with a glass curtainwall system that
stands behind a series of baguette clips made from terra-cotta, metal, or wood depending on the
elevation. The baguettes, manufactured by Shildan, act as a sun-shading system, but also helps
each faade reect the environment it exists in, principal Todd Sloane, AIA, says. Its a cost-
efective solution to solving each faade as a design problem.
CUSTOM CURTAINWALL, FAR EAST GLASSWARE
Las Vegas rm Friedmutter Group also sought to tweak a conventional curtainwall for its design of
the Cosmopolitan hotel and casino on the Strip. The Cosmo is one of the few casinos that engage
the street, says Christopher Knotz, AIA. Its made of hundreds of glass panels at all diferent
angles. The aluminum mullions of the 80-foot-tall curtainwall, by Far East Glassware, contain
steel tubes to meet Seismic Zone 2B requirements. A more typical strategy, Knotz says, would
utilize a distinct, secondary steel system behind the curtainwall. Its rare having steel inside the
mullions, but it was required because of how far the panels had to extend.
CEMENTITIOUS RAINSCREEN PANELS, TAKTL, AND PHOTOVOLTAIC PANELS, SANYO
Tradition wasnt enough of a starting point for a new 96-bed dormitory at Chatham University
in Pennsylvania. Among the United Statess rst non-single-family houses to seek Passive House
certication, the project was a challenge for Mithuns San Francisco of ce. Taktl cementitious rain-
screen panels clad the double-skin, wood-framed faade. To achieve net-zero energy, the building
also features Sanyos bifacial photovoltaic panels. The rooftop photovoltaic system folds down
and creates a faade layer to the south, says principal Sandy Mendler, AIA. People think of Pas-
sive House [as] just for houses. But it does make a lot of sense for institutional-scale buildings.
GLAZED TILES, METROBRICK AND TRIKEENEN TILEWORKS
AECOMs Minneapolis of ce also enlivened another longtime cladding material: brick masonry.
For the Mercy Health-West Hospital in Cincinnati, AECOM and local rm Champlin Architecture
were inuenced by Ohios ceramic-arts tradition and designed a colorful mosaic of glazed brick
over an insulated precast panel system. Each of the 160,000 tilesmanufactured in 19 sizes be-
tween 2 and 8 inches square by Metrobrick and glazed by Trikeenen Tileworksis mapped across
the faade in a pattern of blue and green hues. Theres a greater playfulness, says AECOM princi-
pal Mic Johnson, AIA. And Ive yet to nd people who dont like a little bit more color in buildings.
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ITS HOW WE APPLY THE TERRA-COTTA, THE WOOD, OR THE
CORRUGATED PANELS THAT MADE EACH WING UNIQUE.
TODD SLOANE, PAYETTE
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Circle no. 57 or http://architect.hotims.com
VECTR FAADE AND WALL PANELS
Taktls ultrahigh-performance concrete mixture
overcomes conventional concretes lack of exural
strength and freeze-thaw resistance. Suitable for cladding
and rainscreen applications, these
1
/2"-thick panels come
in eight colors and textures (Reed is shown). taktl-llc.com
Circle 109
CERAMIC COAL
After researching global
design trends, Amtico
International increased the
number of stone and wood
patterns in its Spacia vinyl
ooring line, which now
includes Ceramic Coal. The
12"-square, 18"-square, or
12"-by-18", low-VOC tile can
be returned to Amtico for
reclamation and recycling
at the end of its useful life.
amtico.com Circle 108
CLEAR
In classic entrepreneurial
fashion, IdeaPaint was
conceived in a Babson
College dorm room in
2002. The coating, which
turns wall surfaces into
whiteboards, became a
reality through the sheer
will of 20-somethings,
following years of research
and failure. Clear turns
smooth surfaces into
whiteboards or, more
accurately, colorboards
that allow the surfaces
original color to show
through. ideapaint.com
Circle 106
WALK THE PLANK
Departing from the square
modular carpet tiles that
Interface helped popularize,
the 25cm-by-1m Walk the
Plank emulates timber
boards. Made entirely from
non-virgin yarn, it can be
laid out in a herringbone
or coursed ashlar pattern.
interface.com Circle 107
MURANO
Murano, Italy, became a
glassmaking hub in the
1200s when Venice ordered
all glassmakers out of its
limits under the guise of
reducing re hazard. Using
historical techniques,
Miami-based Surfaces
hand cuts and hand fuses
individual glass strands
to create wall tiles, which
range in size from
2" square to 3" by 12".
surfaces.net Circle 105
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Circle no. 424 or http://architect.hotims.com
DESIGNING AN ARCADE CANOPY may seem like
a modest undertaking, but when the client is
Goldman Sachs and the site is North End Waya
bustling, 11,000-square-foot pedestrian passage-
way within blocks of 1 World Trade Centerthe
stakes quickly become high.
Design architect Preston Scott Cohen anted
up with project architect Pei Cobb Freed & Part-
ners (PCFP) and architect-of-record Adamson
Associates to create a luminous glass canopy
that The New York Times architecture critic
Michael Kimmelman has heralded to be as in-
spiring as the nave of a great Gothic cathedral.
Opened to the public this spring, the canopy
comprises three tilted glass triangles wedged be-
tween Goldmans 200 West Street building and
the Conrad Hotel. Made from 948 laminated-
glass lites from supplier J.E. Berkowitz, the
double-glazed triangular forms have an upper
and lower plane of glass serving as the arcades
roof and ceiling, respectively. The glass surfaces
sandwich the canopys structural and cross-
bracing members.
Early design iterations called for only an
upper plane of glass, leaving the canopys struc-
tural members exposed from below. The repeti-
tion of those ribs generated the efect of a comb,
Cohen says. When you looked up, there was too
much visual information. Since the three trian-
gles are, in combination, trying to evoke a curve,
it was very important for the glass to be as con-
tinuous on the surface as possible.
TO COVER A GENTLY BENT PASSAGEWAY THROUGH NEW YORKS
FINANCIAL DISTRICT, PRESTON SCOTT COHEN ENVISIONED AN
ABSTRACT FORM THAT SOARS IN MANY WAYS.
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Text by Wanda Lau

DETAIL
Arcade Canopy, Goldman Sachs
ELEMENT
The skewed shapes of Planterworxs metal planter
series were inspired by ocean jetties that jut
audaciously into rough waters. Made from Cor-Ten
steel or powdercoated aluminum, Element comes
in three polygonal shapes and colors, including
Cor-Ten (shown), and stands 16" or 19" tall.
planterworx.com Circle 110
DIRECTIONAL PERFORATED ACCESS
FLOOR PANEL
For data center ventilation systems that enlist a
raised-oor plenum, Tate Access Floors created this
panel, which can direct 93% of its airow into the
faces of server racks and cool more than
8 kW per rack. tateinc.com Circle 111
The slight bend of the
passageway on the
southern end was already
suggestive of something
that would not be able to
simply extrude through
the space. Rather, it would
have to move through
the space, says design
architect Preston Scott
Cohen. Being below it,
you would experience that
transition, and it would be
momentous. Landscape
architect Ken Smith
designed a granite bench,
which has become popular
for people-watching.
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Circle no. 175 or http://architect.hotims.com
Sizing and installing the metal structural
members were the projects greatest technical
challenges, says PCFP partner Michael Flynn,
FAIA. Spaced 4 feet on center and varying in
length from 19 to 35 feet, the 86 wide-ange
members were all custom-made by American
Architectural Inc. The care and precision with
which they were made and placed determine
the sheerness of the top and bottom surfaces of
the glass, Flynn says.
Careful to never touch the Conrad Hotel, the
cantilevered edge of the canopy is also stabilized
by stainless steel tension rods, while the xed
edge meets the Goldman building at a horizontal
level, where a gutter hides above a reveal. The
canopy is separated visually from both buildings
in a way, giving it an independent character,
Cohen says. The geometry is really about nego-
tiating the site conditions and creating the efect
of movement at the same time.
A frit on the lower glass lites difuses light
and masks the inevitable buildup of dirt, which
hasnt diminished the quality of space, Cohen
says. The site requires the canopy to adapt. It
has diferent tempos and diferent types of use.
Its very urban in that sense.
SECTION

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TUBE CHANDELIER
Designed in 2002 by London studio Michael Anastassiades, the
Tube Chandelier illustrates the beauty that can result from reserved
gestures and simple forms. Three tilted tube lamps form the prole
of the 1m-tall luminaire, which comes in gold (shown) or black-plated
stainless steel. michaelanastassiades.com Circle 114
Stainless steel tension
rods spaced 20' o.c.
Steel ribs spaced
4' o.c.; painted
nish
7
/16" laminated,
fully tempered
2'x2' glass lites
with 40% white
frit (typ.)
9
/16" laminated,
fully tempered
2'x4' glass lites
(typ.)
Gutter
FORK, KNIVES, SPOONS
Inspired by the work of Italian painter Giorgio
Morandi, product designer Erin Adams created this
stained-glass mosaic tile for New Ravenna Mosaics.
Suitable for interior vertical applications, the mosaic
comes in three colors (white is shown) and is hand-
crafted in Virginia. newravenna.com Circle 113
WEDGE TABLE
In this Ikea-meets-
Eames-House-of-Cards
piece by Amsterdam-
based designer Andreas
Kowalewski, three
interlocking base pieces
and a screw-in top surface
create a 380mm- or
450mm-tall wood table
that can store at for
easy transport or storage.
andreaskowalewski.com
Circle 112
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CALL FOR ENTRI ES
The P/A Awards recognize unbuilt projects that
demonstrate overall design excellence and innovation.
60
th
Annual P/A Awards
What do Philip Johnson, Michael Graves, and Steven Holl have in common? Theyve all won Progressive Architecture Awards.
Enter today for your chance to join their ranks.
DETAI LS
Projects must have a client and a completion date after January 1,
2013. Judging will take place in November 2012. Winners will be
notied in December 2012 and published in the February 2013
issue of ARCHITECT, and honored at a ceremony in New York the
same month. For more information and rules and regulations,
visit paawards.com
DEADLI NES
Regular: October 26, 2012
Late: October 31, 2012 (additional fee required)
I NFORMATI ON
Email: [email protected]
REGI STER AT PAAWARDS. COM
1.9
Text by Blaine Brownell
Illustration by Peter Arkle
MIND & MATTER
Rio
Strides
in Green
THIS SUMMER, several events drew attention
to the tropical metropolis of Rio de Janeiro. In
June, the Rio+20 conference set out to make
progress in global environmental policy. In
August, Brazilian entertainers and celebrities
previewed the Rio 2016 Olympic Games.
Amidst the hubbub, the inaugural Green
Nation Festan event organized by the Center
for Information, Culture and Environment to
promote sustainable community development
and livingslipped in. Designers and manu-
facturers from Brazil and beyond presented a
compelling picture of contemporary and envi-
ronmentally progressive product development.
Three pioneering individuals stood out.
Extensive travels in her native country
have taken Brazilian artist Heloisa Crocco to
the Amazon rainforest, where she researched
indigenous natural bers. A student of pre-
Columbian art, Crocco makes decorative panels
and surface treatments from discarded wood
ofcuts. Rather than homogenizing the mate-
rial, in the spirit of engineered lumber, Crocco
celebrates the grain and character of each
piece, creating richly layered surfaces that she
calls topomorfose, or transformation of the
top cut of timber. An advocate for community-
based arts and crafts endeavors, Crocco also
cofounded Piracema Design Lab, which brings
together design professionals and traditional
crafts people to collaborate on projects.
German microbiologist and fashion de-
signer Anke Domaske discussed her method
of creating natural textiles entirely from milk.
While searching for a fabric alternative for
allergy-prone clients, Domaske developed a
process that transforms the casein protein in
milk into a bio-compatible textile. Similar in
texture to silk, the quick-drying, anti-allergenic,
antibacterial, and durable Qmilch requires
much less energy, water, and human labor than
the manufacture of other textiles. Because its
bers can embody diferent properties and
textures, Qmilch is an open platform for future
experimentation. Domaske is currently scaling
up Qmilch manufacturing to meet increasing
demand from the fashion industry.
Also from the world of fashion, New York
designer Elizabeth Olsen exhibited shoes made
from repurposed postindustrial materials. In
a heartfelt story about the inspiration behind
her Olsenhaus Pure Vegan line, Olsen de-
scribed her obligatory visits to slaughterhouses
to select leather and other animal-based ma-
terials for shoe manufacture. Appalled by the
inhumane conditions that she witnessed, she
wrote on her website, These industries thrive
on lies and prot from the sufering of sentient
beings. Making use of materials like recycled
polyurethane, rubber, and canvas in place of
leather, her collections of shoes are none the
worse for the substitute.
These designers have followed less-trav-
eled paths to develop goods that do good and
look good. While the Rio+20 talks stagnated,
and with Olympic planning hampered by in-
frastructure challenges, Green Nation Fest
emerged as the summers most invigorating
testament to design and environmental prog-
ress in the city.
GREEN FOR ALL
The rst-ever Green
Nation Fest, held from
May 31 to June 7, featured
presentations and
debates by speakers in
lm, new media, fashion,
architecture, food,
academia, and art. (Crocco
Studios Aparas is shown
above.) The free event also
oered interactive events,
including a live quiz show
on the environment, a
bicycling competition
to generate energy, and
a weather simulator in
which attendees could
experience extreme
climatic events.
The number,
in millions, of
metric tons of
nonmarketable
milk discarded
by Germanys
agricultural sector
each year
enough to ll
roughly 9 million
55-gallon drums
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SOURCE: QMILCH
MORE PRODUCTS AT
ARCHITECTMAGAZINE.COM
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Visit us at Greenbuild, booth #4353N
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J NOW 57 KNOWLEDGE 59 FEATURE 60 PERSPECTIVE 62
While completing his M.Arch. at Washington State University, Scott Jones
started the Trive Project, packing books, computers, tools, and building
materials into a 400-square-foot shipping container bound for Eldoret,
Kenya. Jones plans to build out the shipping containerand others after
itinto a vocational training center. What makes this different from
shipping-container initiatives for other countries such as Haiti or Malawi?
Capacity, says Jones. You think about what a container is, and there is
so much untapped potential to use every square inch.

you go through case studies and you spend a lot of time
understanding the existing paradigms of shipping-container
adaptability. I really appreciate the modularity of using them,
but there are a lot of unexplored areas with containers in terms of
adaptation. Dont get me wrongIm very impressed with what
people are doing with containers. But how can the container evolve
once more? How much can we feasibly do with a single container?
What will have the highest impact for the lowest investment?
Finally, how can we create space?
I approached this design problem with a box of Legos in mind.
Our site in Kenya is about a mile from the big eastwest railroadso
we have a lot of access to containers. Te rst one will be shipped
from the U.S., however, and contain trusses that will span the
distance between the container drop site and the building site about
100 yards away. Subsequent containers will ll in the distance, and
Im hoping to use between nine and 15 from in-country. As more
containers are secured, they build out from the original container
and stack horizontally atop it. Containers can be arranged to
maximize otherwise negative space to create outdoor classrooms. But
the key is to create a permanent structurethe idea of permanence
in Kenya is important because it is a community driver.
With any Tird-World project, when complexity goes up,
the success rates go down. Te projects that are successful are
straightforward in naturenot simplistic, but straightforward. So, in
moving ahead, it has been important to show a level of condence in
our project, to have a substantial team on the ground in Kenya, and to
cultivate a good understanding of Kenyan building culture.
So its been a multilateral effort. Tere are risks and shipping
security problemsespecially when the container arrives in Kenya.
A lot of our equipment is a huge target for theft. So its been about
nding a balance. Tis is totally outside the realm of what I thought
architecture was. When I nished my undergraduate degree, I
traveled around East Africa, and by the time I started my M.Arch.,
the opportunity to positively impact people seemed clear. Ive done a
lot of work in architecturefrom big-box retail to residential design/
buildand the thing that drives me is how the end user is impacted.
As told to William Richards
making the most with the least game changer |
AIAVOICES
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colleaguesa valuable professional resource to draw upon, and a powerful, collective voice
to advocate for a stronger economic climate for architects nationwide. AIA membership
is an essential investment in your own future at every stage of your career.
www.aia.org/join
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* Details on the free convention registration promotion and sweepstakes rules can be reviewed at www.aia.org/join.
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5 Asbury Park
AIA New Jersey
Sept. 13
2 New/Old Digs
AIA Miami
Sept. 15
4 Standard Bearer
IDP
Sept. 24
6 Seven Billions
a Crowd
2013 Latrobe Prize
Oct. 1
across the institute
AIANOW
2. New/Old Digs. Work is under way this month for the new Miami
Center for Architecture and Design, which will occupy a downtown
post o ce designed in 1912 by Oscar Wenderoth with Kiehnel and
Elliott. Tis isnt the rst time the building has changed its stripes,
having once housed a federal courthouse, the rst government-
chartered savings and loan, and the Miami Weather Bureau. Allan
Shulman, FAIA, and his rm, Shulman + Associates, led the centers
renovation, which is slated to be completed early next year. Te center
will include exhibit and retail space as well as the o ces of AIA Miami,
which was instrumental in the projects planning.
n Learn more at aiamiami.org.
1 Preservation Nation. Can you guess
where the nations rst historic district
is located? Boston? Washington, D.C.?
Chicago? New York? Guess againit was
Charleston, S.C., in 1931. Since then, the
Old and Historic District has grown to
include more than 4,800 contributing
structures. Join the Association for
Preservation Technology International
and the Preservation Trades Network
in Charleston for Cornerstones:
Collaborative Approaches to
Preservation, which runs from Sept. 30
to Oct. 4. Te conference centers on the
intersection of preservation technology
and art with a series of presentations
and tours.
n Learn more at apti.org.
3 Holl Pass. Virginia Commonwealth
University recently announced plans
for the Institute for Contemporary
Art (ICA)a state-of-the-art facility
designed by Steven Holl Architects.
Te ICA will serve as a new gateway to
the university and bring cutting-edge
contemporary art exhibits to the city
of Richmond. See Holls watercolors
and more than 30 study models for
the project in Steven Holl Architects:
Forking Time at the Virginia Center
for Architecture from Sept. 13 through
Oct. 18.
n Learn more at virginiaarchitecture.org.
4 Standard Bearer. Getting your
architecture license can seem daunting,
but luckily some rms help make it
easier through the Intern Development
Program (IDP), co-sponsored by the AIA
and the National Council of Architectural
Registration Boards. Since 1991, the
program has recognized shops that
are committed to integrating licensure
and work culture. Applications for the
IDP Firm Awards are being accepted
through Sept. 24.
n Learn more at aia.org/IDPFirmAward.
5 Greetings from Asbury Park.
Asbury Park, N.J., has gone through its
share of ups and downs since Bruce
Springsteens 1973 debut album put it
on the map. Celebrating the boardwalk
communitys resurgence, AIA New
Jersey will host its annual Design
Conference there on Sept. 13, and
feature a mix of speakers and tours
to highlight the Garden States
design ethos.
n Learn more at blog.aia-nj.org.
6 Seven Billions a Crowd. In March, the
U.S. Census Bureau announced that the
global population crossed the 7 billion
markcontinuing an exponential growth
trend. Its no mystery why one of the
greatest global challenges in the coming
century will be natural resourcesand
the AIA College of Fellows wants to know
how architects can respond in the 2013
Latrobe Prize call for submissions, which
will close on Oct. 1. Recipients of the prize
will receive $100,000 to conduct research
on the critical issues around resource
scarcity and the environment.
n Learn more at aia.org/practicing.
Compiled by William Richards
3 Holl Pass
AICA
Sept. 13Oct. 18
1 Preservation Nation
Conference
Sept. 30
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lines of inquiry
An architecture student going where
the evidence takes her.
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it has been said that the best possible outcome of research
is to watch two questions grow where only one grew before; to nd
the possibilities and replace mere notions with points of reference for
a fuller understanding.
If we were to look to research and see what it shows us about
how people react to different spaces, says Erin Costino, the 2012 AIA
Academy of Architecture for Justice (AAJ) research scholar, then
slowly but surely, if architecture is done correctly, generationally
you would eventually be able to see changes on the macro level.
Te changes she wants to see, though, have to do with a
public realm that most people simply dont see in their everyday
lives: courthouses, correctional and detention centers, and law
enforcement facilities.
To that end, Costino is currently developing a comprehensive
database for AAJ that allows users to search for information, trends,
and best practices in the design of those spaces. Te database
draws from AAJs trove of research, much of it published in the AIA
Knowledge Communitys annual Justice Facilities Review.
For AAJ, its a necessary step to streamlining best practice
research for architects across the country. For Costino, its a natural
evolution of her multidisciplinary background, which includes a
large-scale research project in the Psychology and Law Research Lab
at the University of California, Irvine, where she interviewed inmates
who violated their probation. It was during this time that she rst
became interested in justice design.
In 2011, she completed her M.A. in political science at UC Irvine,
which resulted in a study on how the architecture and interior
design of city council chambers inuence politically relevant
behaviors, such as participation in local politics and perceptions of
government, she says. Costino believes that architecture, aided by
evidence-based design, can assist in changing societies, a view that
consistently appears throughout her studies.
Costino, who is now pursuing her M.Arch. at Te New School
of Architecture and Design in San Diego, has a strong research
background. Tis also helped to make her an impressive candidate,
says Jay Farbstein, FAIA, who helps oversee her scholarship work. Her
background in the social sciences has also given her a more nuanced,
balanced perspective of the practice of justice design. Te reason
I went into architecture is because it is the eld of application for
everything that Im interested in, and its a way for me to explore
these sorts of ideas in a very tangible way, she says.
Costino will wrap up her graduate studies in 2014. Afterwards, she
aims to land a job with a rm that specializes in justice architecture
mirroring the hopes that members of AAJ have for her. Erin is very
excited about her growing knowledge of justice facilities, and told
me recently that she believes it will be a career-long commitment,
says Farbstein. In the meantime, she continues to sort volumes of data
into a robust, practical resource for architects interested in justice
planning and design, and participating in the AIA as a student allied
member of the San Diego chapter, in which she encourages other
students to take part.
Ive had an amazing experience so far because Ive been able to
be in contact directly with several people who are doing what I want
to do, she says. Without getting in touch with the AIAand AAJ
specically, for meI would have felt lost, so its given me a form of
direction. Jennifer Pullinger.
adapting prisons for a changing social landscape
AIAFEATURE
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illustration: viktor koen
as the u.s. economy tilted away
from manufacturing in the last quarter
century, it didnt take long for archi-
tects and developers to convert factory
oors to loft apartments. Another build-
ing type which is just as ubiquitous
has proven more di cult to reimagine,
however. Prisonsboth urban and
ruralcarry a much stronger moral
charge than factories in terms of what
they represent and their function in society. Prison-reform
politics aside, states increas-
ingly face oversized prison systems.
New York just closed seven;
Colorados closing two; Michi-
gan in the last decade has closed
22, says Tracy Huling, a Soros
Justice Fellow who helps govern-
ments, justice advocates, and rural
community leaders identify and
spread best practices in closing and
repurposing prisons. Stricter sentencing and other policies made us
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AIAFEATURE
too quick to lock people up, says Liz Minnis, AIA, a Massachusetts
deputy commissioner for planning and design, and chair of the AIAs
Academy of Architecture for Justice (AAJ).
Despite the closings, there are currently more than 2 million
Americans behind bars, on parole, or on probation. As prison popula-
tions grew in the last decade (Bureau of Justice Statistics notes an
average annual increase of the federal prison population of 1.6 percent),
larger prisons came along.
So now, says Minnis, as the rate of incarceration is decreasing
in many states and the federal government, we have these sites that
are hard to redevelop.
For the rst time in 40 years, the population in prisons has
leveled off, says Stephen Carter, a city planner and president of the
CGL Companies Development Services Division, a justice facilities
consultancy. Carter, who writes a column for Correctional News, says
these massive facilities may stay less crowded as economic straits
and smaller police forces mean fewer arrests. He also points out that
the notion that prison is an effective deterrent for crime has slowly
shifted. Tere has been a gradual adjustment in the attitude of
Americans to conclude that incarceration alone has not worked.
Te sites of old prisons are unforgiving. Supermax prisons, so-
called for their high level of security and 5,000 or more beds, have
lost traction in state budgeting over the past few years as governors
reassess their costs and scholars reappraise their effects. Te culture
of crime and punishment now in the U.S. is about re-evaluating the
idea of locking up convicts for life in huge rural prisons.
Its a set of social questions as well as architectural ones. How do
new models of prisoner rehabilitation inform the physical form of
correctional facilities and their landscapes? If states mothball some of
their prisons, can those vast, fortress-like facilities have a new life?

Good Bones
Incarceration is not a new idea. But the architectural forms it has
taken have shifted in the last 200 years. Facilities such as Eastern
State Penitentiary in Philadelphia (based on Jeremy Benthams
Panopticon), Sing Sing in Ossining, N.Y. (based on the Auburn
system, which favored prisoner isolation), and through the efforts
of social reformers like Alexander Paterson (who favored open,
community-based arrangements), the dual concepts of punishment
and rehabilitation became inextricably linked.
Across the board, architects have strong feelings about the ethics of
incarceration, and a majority opposes involving their profession in the
design of prisons. But what about the design of prisons for new uses?
Older urban lockups have retained enough of their grandeur to
be adapted for todays downtowns. Te handsome granite walls of
Bostons Charles Street Jail, designed by Gridley J.F. Bryant and com-
pleted in 1851, now contain the luxe Liberty Hotel (ironically named)
withamong other amenitiesa bar called Clink. But most of todays
budget-minded prisonsurban or otherwise, built over the last 25
yearsare designed with less nobility, Spartan nishes, and humble
(if expensive) materials. Carter notes that the biggest conundrum is
the often steel-reinforced concrete wall systems, which are not really
designed for anything beyond containing bodies securely. Of course,
Gridley Bryant might not have envisioned a future hotel space when
he designed the Charles Street Jail, but if you start with good bones
you have a better chance of adapting them.
If newer supermax prisons go the way of the Liberty Hotel, however,
their reuse is more fraught than it might be for historic structures such
as San Franciscos Alcatraz and Philadelphias Eastern Penitentiary.
Carter suggests their most obvious adaptation is as a storage facilityas
U-Haul and other companies have done with industrial buildings across
the country. Another possibility is data-storage or data-processing cen-
ters, given the high degree of environmental control that prisons offer.
Other options include community colleges (once cells are removed) and
artist studios (in which individual cells may be an asset).

Process-Oriented
Before a programmatic reorientation, though, prisons are subject to
economic and social reorientation. Identifying the best possible use of a
former prison (in terms of everything from job creation to environmental
impact) is a multiyear process that centers on larger questions about
private enterprise and the public good.
Tracy Huling speaks admiringly of the mayor of Warwick, N.Y., for
creating a citizens advisory panel that interviewed everybody from
local merchants to police to nd a path forward for the Mid-Orange
Correctional Facility, which closed in 2011. Te closure was part of
the states $50 million reinvestment initiative to stoke development
around obsolete prison sites. Its important to demonstrate that
prisons can be closed without destroying communities, says Huling,
noting research showing thatwhile the presence of prisons does
long-term harmin the short-term, communities are concerned
about the loss of jobs and benets. In some states, that concern has
led to bringing public prisons back on line or selling closed public
facilities to for-prot prison corporations, instead of carefully
considering non-prison options.
To date, private prison companies, including Corrections Corpo-
ration of America and the GEO Group, operate upwards of 250
facilities across the United States, including existing structures and
new buildings. While these for-prot companies can be cheaper
alter natives for cash-strapped states, Huling notes that they com-
plicate the question of long-term good for communities. Trough
her Soros Fellowship, Huling has begun championing a deliberative
process for deciding what to do with decommissioned prison property
in terms of producing the best possible outcomes for communities
economically, socially, physically, and spiritually. She points to the
redevelopment of former military bases, and to the work of architects
like Raphael Sperry, AIA, another new Soros fellow and principal
at San Franciscobased Simon and Associates, as well as of the New
Orleansbased planning and design rm Concordia.
Still, there seems to be a new opportunity somewhere between
privatizing a prison (and conjuring a more robust model of incarcera-
tion that centers on rehabilitation) and redeveloping a prison site for
other uses. Tere are benets to prerelease counseling and re-entry
training, says Minnis. And when this is the focus, you want to
build more-normative environments, such as storefronts and halfway
houses, which is very different from most of what was built in the
expansion. Minnis and her colleagues in the AAJ will take up this
theme in next months Community Dialogue, a conference to be
held in Toronto that will focus on how justice facilities hold up a
mirror to the societies that build them.
But in the long view for prisons, adaptive reuse is going to be about
social reform as much as it will be about planning reform. Just as most
people have the capacity to shift gears, most building typesincluding
prisonshave the potential for reinvention. Alec Appelbaum
n To learn more about AAJs fall conference, visit aia.org/aaj .

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repositioning the profession
AIAPERSPECTIVE
when i was running for aia president, i said that getting
the word out about what architects do and how architecture
affects everyone had to be among the AIAs highest priorities. A
conversation earlier this summer with a member of the national
staff underscored the challenge were up against. Her story
also points a way forward. She sang in the chorus that concluded
last Mays convention program honoring Americas Architects of
Healing. In addition to their love of music, the singers, she told me,
shared something else: None were or had been trained as architects.
Because their part in the program was at the very end, the singers
listened to all the presentations. Tey heard what the rebuilding of
the World Trade Center meant to those playing a part in the healing
the memorial, the museum, the individual buildings, the transporta-
tion center, and the overall urban design. Tose being honored spoke
in personal terms about the creative process that guided their design
decisions, and pointed to the larger objectivein the place of darkness
and despair, renewed life and hope for a better future.
Te narrative that afternoon was not about aesthetic abstractions;
those who presented spoke about memory, hope, human needs, com-
passion, and service. Tey spoke to the core values of our profession.
As the architects told their stories, the singers snapped pictures
with their phones and shared them with friends outside the
convention centers ballroom. While they were texting, they were
listening carefully, very carefully, to what was being said. I know
this because the staff member I spoke to told me that singer after
singer came up to her and said: I had no idea this is what architects
do. Here was a very small subset of the larger public, and they were
moved to a deeper appreciation of the profession.
What I heard conrmed the importance of the Institutes
repositioning initiative, launched earlier this year. Te goal of this
initiative is simply stated but powerful in its implications: to help all
of us hear each other better, talk more effectively with one another,
and meaningfully engage with the public as well as our collaborators.
Te overwhelming response we received from the initial research
phase of this projectover 10,000 people took part in last Aprils
online surveywas a clear indication that AIA members wanted to
take a fresh look at how we communicate. How do we make the case
for the value of architecture? What makes for effective advocacy in
the legislative arena? And what should the Institute look like to help
the profession do this?
Te task is not to change negative perceptions. Rather, we need
to work together to gure out how best to initiate and lead the con-
versation about the impact and benets of architecture to clients
and society. How we do that describes the next phases of the reposi-
tioning project. As this information takes shape, it will be shared
for your comments. In the meantime, each of us should seize every
opportunity to deliver a message about the importance of architecture,
such as the story I heard from the Canadian architect Bing Tom.
In a conversation, he spoke about a 9-year-old girl whose parents
had brought her to an opening of one of his newest projects. When
she walked into the large entry space, she stopped, looked around,
andwithout prompting, but within earshot of the architectsaid,
I want to be an architect.
When we talk about architecture, when we tell our stories, when
we show our work, we have an opportunity to share the passion
for the good we do each day in our communities. Whatever the
scale, these are wonderful stories. Tey speak to why we joined the
profession. Teyre too good to keep to ourselves.
n Join our conversation at aia.org/ repositioning .

Jeff Potter, FAIA, 2012 President

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Circle no. 268 or http://architect.hotims.com
Roger Lewis meets Santiago Calatrava 66 Would more women developers mean more women architects? 76
How to spec structural insulated panels 88 The results of the fourth annual ARCHITECT 50 102
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Pure Geometry, a
sculpture from Santiago
Calatravas exhibit in
St. Petersburg, Russia.
THE CZAR
CRITIQUE
THE WORK OF SANTIAGO CALATRAVA FINDS AN OPULENT MATCH IN THE STATE HERMITAGE MUSEUMS
WINTER PALACE IN ST. PETERSBURG, RUSSIA. THERE, AN EXHIBITION OF THE ARCHITECTS MODELS,
DRAWINGS, AND SCULPTURES EXAMINES HIS INVESTIGATIONS OF MOVEMENT AND ORNAMENTAND
REVEALS THE APPROACH TO DESIGN THAT MOTIVATES HIS KINETIC, ORGANIC WORKS.
PLACING SANTIAGO CALATRAVAS work inside
Russias State Hermitage Museumspecically,
inside the Elizabethan Baroquestyle Winter
Palace, the seat of Russias czarist Empire
juxtaposes two radically diferent kinds of
architecture. But what a pairing of panache
and exuberance. For museum-goers, this
unprecedented aesthetic union, between
St. Petersburgs ornately wrought Winter
Palace and Calatravas structurally expressive
civic projects, is a match made in heaven.
For Calatravas critics, it may seem like the
restoration of the czar.
Whatever you think of Calatravas work,
you cannot help being impressed and perhaps
seduced by the scope, aesthetic complexity, and
extraordinary craftsmanship of the exquisite
models installed in the Winter Palaces grand
Nicholas Hall. Santiago Calatrava: the Quest
for Movement is a tting rst contemporary
architecture retrospective for the Hermitage.
(More are planned.) Indeed, the exhibits 105
models, sculptures, paintings, and drawings
convincingly demonstrate that Calatrava,
recipient of the AIA Gold Medal in 2005, is an
artistic and technological polymatharchitect,
structural engineer, sculptor, painter.
Photographs in the exhibit catalog show
that Calatravas railway stations, museums,
pavilions, stadiums, and urban towers are all
typically monumental in scale and located
strategically on sites in or near cities, or, in the
case of his bridges, spanning rivers in urban,
suburban, and pastoral landscapes. But the
exhibit itself does not illustrate context with
photographs. Rather, visually and physically
dynamic models of Calatravas built and unbuilt
projects ll the galleries. None of the exquisite
models, which can be illuminated and put into
motion when visitors activate switches, were P
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Calatrava donated his
model for the Church of St.
John the Divine, an unbuilt
project for New York, to the
permanent collection of
the Hermitage, along with
several other works.
Text by Roger K. Lewis, FAIA
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made at Calatravas Zurich workshop explicitly
for the exhibition. Clients lent them.
OVER AN ENTIRE LIFETIME of practice, few
architects are ever hired to design projects
comparable to Calatravas in scope, budget,
visual prominence, or aesthetic potential.
During our conversation in St. Petersburg prior
to the exhibits summer opening, Calatrava
talked about his work and his process. He
acknowledged that he works only for clients,
periodically as a result of design competitions,
who are strongly committed to acquiring a
Calatrava because they love what he does and
have the means to pay for it, just as clients
hire Richard Meier, FAIA, or Frank Gehry, FAIA,
because they admire their aesthetic brands and
are willing to buy them. Yetand this is what so
distinguishes Calatrava from his peersmany
of Calatravas clients are public or nonprot
organizations, including government and
civic entities. He claims that, notwithstanding
perceptions, most of his clients and the
projects they sponsor have had constrained
budgets. Constrained for Calatrava may mean
not unlimited. For most architects, it means
something diferent. Constrained for Calatrava
could mean the Winter Palace.
For example, we talked briey about how
he justies some of his complexly congured,
long-span structures, such as the beautifully
shaped Liege-Guilleman TGV Railway Station in
Liege, Belgium, completed in 2009. The stations
soaring, visually powerful column-free span
did not need to be completely column-free. He
explained that such structures can be justied
in part through savings realized by eliminating
columns, thereby ofsetting the extra expense
attributable to roof system complexity. This
explanation may convince clients. But architects
know that shorter spans with intermediate
columns generally cost less than elaborate, long-
span roof structures, especially ones that move.
Calatrava stretches credibility when he
ofers economic justications for his exotic,
technologically sophisticated designs. Any
competent civil engineer could design a less
expensive, more structurally ef cient bridge
than a Calatrava bridge. But not any engineer
can make a Calatravadesign imagery that has
become synonymous with his name. Likewise,
given the same site and building program as
Calatrava, any competent architect could design
a more sustainable projectbeing green is not
a high priority for Calatravacosting much less
and functioning as well as a Calatrava building.
But it would not be a Calatrava.
The Quadracci Pavilion addition to the
Milwaukee Art Museum, a model of which is
in the Hermitage exhibit, demonstrates the
costs and benets of a Calatrava. Designed and
Calatrava sculptures such as Eye combine the physical
investigation of Kenneth Snelsons tensegrity sculptures
with the futurist solutions of Constantin Brncuis work.
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Circle no. 386
or http://architect.
hotims.com
built at the edge of Lake Michigan between
1994 and 2001, the pavilion has become an
icon for the city. Superimposed on top of the
pavilions sloping glazed roof is a movable
sunscreen, known as the Burke Brise Soleil, a
curved exoskeleton emulating a birds paired
wings. Comprised of 36 ns and weighing
115 tons, each wing is hinged on an inclined,
spine-like axle along the roof centerline, and
the two wings can rotate and swing upward.
Picture-postcards of the pavilion typically
show the wings lifted or in motion through
time-lapse photography. The extra cost of this
extraordinary sunscreen system undoubtedly
ran to seven gures; an equally efective
method of solar control would have cost orders
of magnitude less. And yet the Quadracci
Pavilions value to Milwaukee is priceless.
CALATRAVA IS ON FIRMER GROUND when he
sticks to poetic and aesthetic justications for
his work. Artistry of boldly expressed, three-
dimensional form, of kinetic composition
ofering implied or actual movement, is
what he sells successfully. Every remarkable
Calatrava bridge or building is unfailingly a
giant sculpture rendered in steel, concrete, and
glass, and each manifests his personal design
philosophy. In fact, seeing the Hermitage
exhibition helps to illuminate that philosophy
better even than visiting one of his projects.
Collectively, the models reveal his primary
design motifs and constructional vocabulary.
And among these, organic geometric
formscurvilinear volumes, surfaces, and
elements inspired by the natural and structural
patterns of animals and plantsare the
most apparent. Often in Calatravas work,
symmetrical volumes and spaces are shaped
and encompassed by systematized structural
skeletons and enveloping surfaces, crafted as
grids, lattices, ligrees, and webs. These are
assembled rhythmically using nonstandard,
sculpted structural members: columns,
beams, ribs, ns, braces, bents, buttresses.
Tall masts and multiple cables, which marry
A view of the Calatrava exhibit in the Winter Palaces Nicholas Hall, with the model of the World Trade Center Path
Terminal, currently under construction, in the foreground. Visible in the background, within the arch, are two egg
sculptures: Almost Spring (left) and In Paradise (right).
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compression and tension, support and stabilize
his structures, frequently with dramatic
cantilevers.
Calatrava is fascinated by the way that
compressive and tensile forces interact and
function in nature, especially in animals. In the
human arm, for example, bones (compressive
members) work together with muscles,
tendons, and ligaments (tensile members),
enabling the arm, a long and relatively thin
limb, to ex, push, pull, lift, and carry weight;
and to rigidly extend straight out from the
body. For Calatrava, the arm serves as an
organic model suggesting how a large-scale,
elegantly proportioned structure could be
designed to be load-bearing and stable, yet
movable. Similarly, structural characteristics
of spines and rib cages, trees, owers, and
seashells suggest how buildings could be
shaped and structured.
Limb and spine metaphors are especially
apparent in a number of Calatravas sculptures
on display in the Hermitage exhibit. Seemingly
defying gravity, such sculpturesBeak,
Cascade, Featherare stabilized and made
rigid by sometimes invisible rods or wires
passing through and rmly connected to the
individual segments. Like his project models,
Calatravas intricately crafted sculptures elicit
a wowand then invite closer inspection to
understand what keeps them standing.
Tenerife Auditorium, designed and
constructed between 1991 and 2003 and among
Calatravas least rational, most organically
symbolic works, solicits the same wow by
diferent means. Unlike other edices on
display in the exhibit or pictured in the catalog,
the Tenerifes structure is not legible. No cables,
columns, or structural networks appear to be
visible. The building is composed to express
opacity and mass rather than transparency
and skeleton. Cantilevering up and curving
outwardly over the collage of rounded volumes
enclosing the auditorium is an immense,
sharply pointed projection. Like a breaking
wave, it hovers threateningly over the complex.
Or could it be some creatures claw or n? What
supports it, and why is it there? The Tenerife
design, bizarre as it is, does successfully
illustrate one aspect of Calatravas quest for C
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Spinning Helmet, a
Calatrava sculpture on
display in the exhibit.
His work in sculpture
merited a stand-alone
show at New Yorks
Metropolitan Museum
of Art in 2005.
CENTER
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2012 modularArts, Inc.

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movement: creating visually dynamic forms
that dont actually move.
In addition to movement, there is another
visual principle in the Hermitage exhibit that
characterizes all of Calatravas design work:
ornament, and its value in making good
architecture. Note that he believes profoundly
that expressing a buildings inherent structure
and structural components, not applying
supercial decoration such as that festooning
the Winter Palace, is the way to provide all the
necessary ornamentation. This is not a new
idea. Historic precedents, such as Greek temples
and Gothic cathedrals, as well as any number
of modern buildings, show how expressed
structure can overtly shape architecture.
Calatrava said that Ludwig Mies van der
Rohe and Eero Saarinen expressed structural
patterns and forms: Mies in composing the
curtainwalls of the Seagram Building in New
York, Saarinen in shaping the Dulles Airport
terminal and Yale University hockey rink.
The Hermitage provides few clues about
Calatravas method of design. When I asked him
to describe his approach to a project, he said
he visits the project site and talks extensively
with the client. As any good architect does.
Then came the answer I sought: Calatrava
produces dozens of intuitive gesture sketches
right-brain scribbles and ideogramsmade
without reference to budgetary objectives or
client aspirations. Eventually one appears that
captures his fancy, the eureka sketch. Gestating
that concept is a job undertaken by his staf,
some having been with him for 25 years, who
interpret his sketches, nurture the embryonic
idea, and generate digital models and drawings
that evolve into the nal design.
After studying architecture in Spain,
Calatrava moved to Zurich, where he earned a
Ph.D. in engineering and established his rm.
Today his studio and workshop remain in
Zurich, although he no longer lives there, for
reasons involving a model displayed centrally
in the Hermitage exhibit. He and his family
reside permanently in New York, allowing him
to keep close tabs on his Path Train terminal
and transportation center at ground zero. The
terminal is still under construction nine years
after he designed it. The patience that Calatrava
asks of his clients, it would appear, is another of
his personal talents.
EVERY REMARKABLE
CALATRAVA BRIDGE OR
BUILDING IS UNFAILINGLY
A GIANT SCULPTURE
RENDERED IN STEEL,
CONCRETE, AND GLASS,
AND EACH MANIFESTS HIS
DESIGN PHILOSOPHY.
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DOUBLE
WHAMMY
THE PROFESSION
WOULD THERE BE MORE WOMEN IN ARCHITECTURE
IF THERE WERE MORE WOMEN IN DEVELOPMENT?
IT WAS A browneld site, an old car dealership
in New Orleanss Warehouse District. Five years
ago, Angela OByrne, AIA, envisioned something
more there: a mixed-use, 10-story, carbon-neutral
redevelopment, the rst of its kind in the city.
She would develop as well as design
the project, she decided. Taking on both roles
made sense. After all, OByrne, president of
Perez, a New Orleansbased architectural and
engineering rm, had earned a masters in real-
estate development at Columbia University and,
decades earlier, had developed smaller projects.
She also had $1 million in cash as collateral.
Her architectural, business, and civic bona
des were clear. A past president of AIA New
Orleans and founder of the nonprot City-
Works, she was one of the most successful and
recognized architects in the city, a Hispanic
woman in a profession with no shortage of
white men.
Still, the banks werent inclined to lend
her $40 million for the project, and so she
began wooing more established developers,
almost all of whom happened to be men. She
hit the golf course with one prospect. With
another, who had especially good connections
in the banking world, she went on an overnight
shing trip. She was the only woman in the
group of veI didnt even know how to sh,
she recalls.
OByrne caught the biggest sh (they
were all delighted), but not the bank loan,
despite two years of due diligence. Someone
else closed on the property. She is quick to
note that her development experience may
have been too dated, that she probably hadnt
networked long or hard enough with key
players. I had not spent enough time building
that network, and then I walked in and wanted
to do a [big] deal, she says.
Danielle Dignan (left)
of DM Development
and Anne Fougeron of
Fougeron Architecture
are an industry rarity: a
woman developer and
woman architect who
are collaborating on a
projecta condo-and-
retail development in San
Franciscos Hayes Valley.
Text by Amanda Kolson Hurley
Photo by Noah Kalina
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COULD THE GREATER INCLUSION OF WOMEN IN REAL-ESTATE
DEVELOPMENT FOSTER A MORE INCLUSIVE ARCHITECTURE?
Circle no. 30 or http://architect.hotims.com
Still, she couldnt help but wonder: Had she
lost out because she was a woman?
The Gender Imbalance
Architecture is a mans game. Only 16 percent
of the AIAs membership is female. Forty-nine
percent of architecture students and 39 percent
of interns are women, but just 17 percent
are rm principals and partners, according
to a 2012 AIA survey of 2,805 member rms.
For some reason, while theyre ascending
the architectural career ladder, thousands of
women hit a glass ceiling, leave the profession,
or get pushed out.
Real-estate development sufers from a
similar gender imbalance, as OByrne discovered
rsthand. According to the Commercial Real
Estate Women network (CREW), just 30 percent
of all development professionals are women. In
fact, developers account for only about 4 percent
of CREWs 8,000 (mostly female) members
around the country and are far outnumbered by
lawyers, brokers, and property managers.
Both architecture and development lag
behind law, medicine, and accounting in the
percentage of women represented in each
profession, according to research by Catalyst, a
nonprot that promotes women in business.
There are, of course, prominent women-led
architecture rmsincluding those headed by
Julie Snow, FAIA; Andrea Leers, FAIA, and Jane
Weinzapfel, FAIA; and Ann Beha, FAIAall of
which have been celebrated for their award-
winning cultural and education projects. Yet
women architects have had a much harder time
landing developers as clients, with Jeanne Gang,
FAIA, and her Aqua Tower project in Chicago a
notable exception.
Architecture and development are tied
together in a close and sometimes uneasy
symbiosis. Architects complain that theyve
ceded the role of master-builder to developers,
yet depend on them for work. For developers,
the architect is only one performer (albeit a
key one) amid a host of contractors. But smart
developers know that hiring the right architect
can make a project, just as hiring the wrong one
can doom it.
Many studies over the years have
investigated the gender imbalance in
architecture, but few have explored the
CENTER
78
curve
STAY AHEAD OF THE
THE
INSIDE TRACK
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Whats next? Whats now? Track the trends anytime at
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it certainly gives you the inside track.
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potential connections with the male-dominated
world of development. Does the prevalence
of male developers help perpetuatesubtly
or indirectlythe lack of woman architects?
Why arent there more projects led by women
developers and women architects? Could
greater inclusion of women within real-
estate development, just maybe, foster a more
inclusive architecture?
The Rarest Of Species
As a journalist who has covered architectural
practice for several years, Ive come across
only a handful of women who have been the
principal architects on developer projects. Its
a stereotype that women architects gravitate
toward interiors and custom home design, yet
there is also some truth to it, in part because
women are often subtlyand not-so-subtly
steered into those specializations.
Bay Area architect Anne Fougeron, FAIA, is,
like Gang, one of the few exceptions. Fougeron,
who founded her own practice in 1986, recently
designed a condo-and-retail project in San
Franciscos Hayes Valley for DM Development,
headed by Danielle Dignan and Mark
McDonalda project that makes Fougeron that
rarest of species: a woman architect who has
designed a project for a woman developer. (At
press time, the projectcalled Wavehouse, a
joint venture between DM Development and
a New York City development rm called DDG
Partnerswas in CDs.)
Wavehouse was Dignans rst experience
working with a female architect as the design
lead. She describes Fougerons architecture as
forward-thinking and cutting-edge, and
says, Regardless of whether she was a man or a
woman, I would have hired her in a heartbeat.
But she adds, Its impossible to separate
that completely. Heres this fantastic architect
doing the exact kind of work we want to do. For
me, its a huge bonus that shes a woman.
Indeed, Dignan clearly grasps the social
signicance of her collaboration with Fougeron.
Im glad my daughter gets to see me as the
head of a company. If she were a little older,
Id be proud for her to understand what Anne
has done, and what we collaborated on. I think
role modeling is incredibly important [for
young women].
Social signicance aside, such
collaborations may also lead to better design
work, says Romy Goldman, the founder of Gold
Development in New York. Goldman bought
land for her rst building, in Harlem, in 2005,
after a stint consulting for another New York
developer and several years at a design/build
company in San Francisco, where she ran four
projects at a time as a project manager. Her
second project at Gold Development was 48
Bond Street, designed by Deborah Berke, FAIA.
(The project architect was a woman, tooChika
Yamada of GF55 Associates.)
The idea that women design and respond
to spaces diferentlythat a feminine
architecture exists, or ought toremains
17
Percentage of architecture rm
principals and partners who are
women, according to the AIA
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controversial and dif cult to quantify. But
Goldman argues that women, because of the
attention they tend to give to details that make
a place more livable, can make a qualitative
diference on a project. Real-estate decisions
often come down to stark math: How many
units can we t into this footprint? If there
were more women in real estate, Im sure
wed have nicer product, Goldman says. For
instance, all the bathrooms at 48 Bond have
linen closets, which she regards as a selling
point; to a male developer, they might seem
like wasted square footage.
Yet signicant barriers remain for most
architects, not to mention women architects,
who attempt to land developer projects, says
Audrey Matlock, AIA. Matlock designed the
Chelsea Modern, an 85,000-square-foot condo
building that opened in Manhattan in 2008,
for developer client Madison Equities, and
also designed the recently sold-out boutique
condo at 57 Irving Place, developed by Robert
Gladstone. To compete for such work, architects
usually need experience designing at the
requisite scale. I believe its very dif cult to
make that hurdle into doing larger projects,
Matlock says of young architects. Where do
you learn to do them?
Matlock learned at Skidmore, Owings &
Merrill (SOM). During her seven-year tenure
at the rm, she also helped with hiring for the
design department and made a special efort
to recruit female talent. It was tough. When
Id nd someone really good, they wouldnt
accept a job, she says. They saw a big male
bureaucracy, and wanted to go somewhere
where theyd have more autonomy. Women
who shun male-dominated corporate rms,
she says, may be inadvertently making it more
dif cult for themselves to gain the experience
they need for developer projects.
That is, if a woman architect is inclined to
pursue such projects in the rst place. Working
for a developer client can entail higher risk
than designing for, say, a university or a local
government. As the recent recession made
clear, when nancial markets plunge (or level
of), construction nancing freezes up, and so
can an architects work. A developer might ask
an architect to do preliminary studies for a deal
under consideration. Sometimes such work is
paid, but sometimes its not, on the assumption
that the architect will be hired if and when
a deal is made. The prevalence of spec work,
plus higher exposure to the uctuations of the
market, could make developer projects less
appealing to designers with certain personality
types or personal circumstanceshaving a
young family to support, for instance.
Plenty of critics may question gender-
based paradigms, but a number of academic
8
The percentage of
architecture rms
that are locally or
state-recognized
women-owned
businesses,
according to a
2012 survey of AIA-
member rms
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studies have found that women are, on the
whole, more risk-averse than men. (One
commonly cited study with that nding,
Gender Diferences in Risk Taking, was
published in 1999 in Psychological Bulletin.)
Development work may favor certain
personalities better than others, as Romy
Goldman puts it. [Youre] on a jobsite with all
men; its dirty; youre not dealing with a formal
environment. You have to be very comfortable
with risk and the unknown, because thats what
it is on a daily basis, she says. Danielle Dignan,
for instance, notes that she has always been
drawn to high-risk, high-reward pursuits: As a
licensed Coast Guard captain, she used to race
boats in San Francisco Bay. And though shes
hesitant to suggest a correlation, she cant help
but wonder if some women are put of by the
risk inherent in development.
More important may be the question of
access to capital. Abby Hamlin, president of
Hamlin Ventures in New York, argues that
theres a stubborn cultural bias against lending
women money to build, on the assumption that
its not what women do. Theres evidence to
back up the assertion that women have a harder
time securing nancing. The Ewing Marion
Kaufman Foundation, a Kansas Citybased
nonprot that supports entrepreneurship,
released a study this year titled A Rising Tide,
which was based on a nationwide survey. The
study found that men who started businesses
raised, on average, about 80 percent more
capital in their rst year than women did, and
were more willing or more able to raise funding
from external sources.
Theres also the question of the glass
ceiling that women face in development.
Studies by CREW do report increased gender
diversication at real-estate companies,
including in development roles. The growing
number of women graduates from Master of
Real Estate Development (MRED) programs is
creating an important pipeline: 30 percent of
current MRED students at Columbia University,
for example, are women.
But women still are having a dif cult
time moving up the ladder, much like their
counterparts at architecture rms. According
to a 2010 CREW study, women are well
43
The percentage of
all commercial real
estate professionals
in the United States
who are women,
according to CREW
CENTER
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Unit clicks open and closed by gently pressing the front of the lid.
Five standard congurations. Custom congurations available.
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represented in junior level development
positions, but become scarcer with each step
up the pay scale, representing just 9 percent
of C-level employees. Women rarely rise to
senior executive positions at large real-estate
rmsmaking it dif cult for them to gain the
experience necessary to strike out on their own.
Fixing The Diversity Problem
If women arent becoming decision-makers
and equity-holders, they cant act as inuential
mentors. If women entrepreneurs struggle
to get nancingwhether for a business or
a buildingtheyre less likely to strike out
on their own as architects or developers, and
those who do so could be more vulnerable to
market uctuations.
Some of the giants of commercial real
estate, such as Forest City Enterprises, have
gone public about trying to x their diversity
problem by redoubling their recruiting eforts
and promoting networking opportunities
and workshops that can help recruits make
important connections.
Assuming that the development industry
can make progress in retaining and promoting
mid-career womena big iftodays pipeline
of aspiring female developers could grow and
gain better access to capital than ever before.
Thats good news for women architects. Even if
these new developers are largely gender-blind
when hiring architects, their arrival would be a
wake-up call for design-rm leaders: Retain and
promote women designers, or risk losing out to
the competition.
People often feel more comfortable working
with others who are like them, notes Rena Klein,
FAIA, a management consultant to architects.
Part of the business case for gender diversity
in [architecture] rms is that we are going to be
seeing more diversity among our clients.
In New Orleans, Angela OByrne isnt
waiting for that to happen. Still eager to
develop her own projects, shes trying again
with one diference. She has hired a male
developer with 30 years of experience. Were
going to hatch all sorts of plans, she says. I
gure he will get the nancing more easily
than I will. Hell be the face of the project.
IF WOMEN ARENT BECOMING
DECISION-MAKERS AND EQUITY-
HOLDERS, THEY CANT ACT AS
INFLUENTIAL MENTORS
CENTER
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BEFORE SPECIFYING STRUCTURAL INSULATED PANELS IN THEIR PROJECTS, ARCHITECTS
MUST UNDERSTAND THE POTENTIAL BENEFITS AND SHORTCOMINGS OF THE SYSTEM.
Mahlum Architects
specied SIPs in its
design for Finn Hill
Middle School in
Kirkland, Wash. The
116,000-square-foot
facility had to be
constructed over one
summer break.
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LEARNING OBJECTIVES
1. List the typical material
combinations used in
structural insulated
panels (SIPs).

2. Describe the building
performance benets
of SIPs.

3. Describe the construction
benets of SIPs.

4. Describe how SIPs
contributed to the energy
performance of the three
project case studies.
SIMPLY SIPS
ON THE SURFACE, a structural insulated panel
(SIP) looks quite humble, resembling little
more than an oversized ice cream sandwich.
However, the engineered building product
which comprises little more than an insulating
foam core adhered to two structural facers
can be the key for any architect looking to build
a high-performance project on a tight schedule.
And, in many cases, a designer doesnt have to
sacrice aesthetics in favor of ef ciency.
Like an ice cream sandwich, a SIP can
come in many avors, the most common
of which combines an expanded polystyrene
(EPS) insulation core between two layers of
oriented strand board (OSB). Variants include
extruded polystyrene or rigid polyurethane
insulation for the core, and plywood, precast
concrete, or magnesium board for the
structural facers.
The basic premise behind merging
rigid insulation and structural sheathing to
create structural insulated panels (SIPs) has
been around since the 1930s when the U.S.
Forest Services Forest Products Laboratory
experimented with ways to conserve resources.
The system hit the commercial building
market in the 1970s when SIP manufacturers
began promoting their product as an
alternative to standard dimensional lumber
framing, primarily for the residential market
in the Northeast.
SIPs can simplify and expedite the
building-erection process by supplanting
traditional dimensional lumber framing and
berglass insulation with a prefabricated,
all-in-one panel. Assembled under controlled
factory conditions where waste can be
greatly minimized, SIPs are manufactured as
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CENTER
completely at systems that are void of the
bends and bows that can encumber wood studs.
The panels, capable of handling about 10 pounds
per square foot (psf) of dead loads and live loads
of up to 70 psf, can also be used in roofs and
oors, spanning as much as 18 feet without the
need for additional structural support.
In spite of these benets, SIPs have not
made signicant headway into the framing
market. Lumber has remained relatively
cheapbetween $15 and $30 per square
footand framers arent all that expensive
either. The systems extra up-front costup
to 20 percent higher than lumberdoesnt
help make SIPs an easy sell. Its not a
product you see, so its not like upgrading
to beautiful cabinets, says James Hodgson,
general manager of SIP manufacturer Premier
Building Systems.
But as the conversation in the
building industry turns from initial costs
to long-term value, SIPs are garnering more
attention from the industry. The system
is a high-performance envelope that will
save utility dollars and create a more
comfortable environment, Hodgson says.
Now its becoming more prevalent due to
environmental concerns, the reduction of the
carbon footprint, and the rising cost of energy
sources. Even in todays uncertain housing
market, the SIP industry remains strong. A
survey conducted by the Structural Insulated
Panel Association (SIPA) in 2011 found that
the overall production of SIPs had dropped
4 percent, less than half of the 8.5 percent drop
in the number of single-family housing starts,
the industrys primary market segment.
Unlike wood or metal studs, which can
cause thermal bridging, SIPs are continually
insulated walls. They exhibit greater heat
resistance and less air inltration than stick
framing with berglass batt insulation.
According to SIPA, an Oak Ridge National
Laboratory study determined that a typical
room constructed with 4-inch-thick SIP walls
rated at R14 outperformed a similar room built
with 2x6 stick-framed walls with R19 berglass
insulation. Blower door tests revealed that the
SIP room was ve times more airtight than its
stick-framed counterparta meaningful metric,
considering that as much as 40 percent of a
buildings heat loss is attributed to air leakage.
Manufacturing SIPs also uses resources
ef ciently. OSB comes from fast-growing,
underutilized, and less valuable trees than are
required for dimensional lumber. EPS consists
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Circle no. 511 or http://architect.hotims.com
The design for Finn Hill
Middle School uses a
16-foot SIP module, which
also created a uniform
approach for Mahlum
Architects to size the
facilitys classrooms.
BENJAMIN BENSCHNEIDER
mostly of air; only 2 percent of the foam is
plastic, which can be recycled. Since SIPs come
to the jobsite in precut panels that are custom
t to the project, the wastes associated with
stick-frame construction are eliminated,
leaving almost nothing in the framing process
to be trucked to the landll.
However, before specifying SIPs on their
projects, designers should consider several
erection and performance issues. While SIPA
estimates that a construction team familiar
with the system can erect a project in half
the time it takes to put up a stick-framed
building, workers unfamiliar with the system
may be slower. If this is the rst time youre
going to erect with SIPs, there is a learning
curve, Hodgson says. It adjusts the way
trades workyoure not bringing in a person
to cut holes through studs, because the chases
are already there. Theres no insulation
application.
In addition, project design teams must
take extra measures to manage air quality
and moisture levels in a SIP building. The
highly insulated and tight envelope creates an
interior condition similar to that of a walk-
in cooler; while the enclosure will maintain
constant temperatures well, it also needs
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To capitalize on views, Catalyst Architecture oriented the
San Luis National Wildlife Refuge Complex on a north
south axis, but limited glazing on the longer elevations.
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a robust air-exchange system to keep the
atmosphere fresh and reasonably dry. For this
reason, SIPA recommends that designers work
with qualied HVAC professionals to ensure
that the used airwhich can contain moisture,
fumes from adhesives, and particulatesis
exhausted properly during occupancy.
The reasons for specifying SIPs and the
benets for designing and constructing with
SIPs can vary widely, as the following three
projects illustrate.
San Luis National Wildlife Refuge Complex
Located in the northern San Joaquin Valley in
a vast tract of wilderness outside Los Banos,
Calif., the U.S. Fish and Wildlife Services
(USFWS) San Luis National Wildlife Refuge
Complex encompasses nearly 45,000 acres of
wetlands, grasslands, and riparian habitats, as
well as more than 90,000 acres of conservation
easements on private lands for the protection
and benet of wildlife. The USFWS wanted to
build a new visitors center for the refuge as
well as relocate its existing of ce nearby to
the preserve. The agency hired Arizona rm
Catalyst Architecture to design the nearly
17,000-square-foot facility, which the agency
required to target net-zero energy and LEED
Platinum certication.
Catalyst employed a 55-kilowatt, roof-
mounted photovoltaic array thatwhen used
in combination with passive solar measures,
strategic use of natural light, energy-ef cient
mechanical systems, and LED task lighting
delivered a building that goes beyond net-zero
energy into net-positive territory by returning
more energy to the grid than it consumes.
The project features 12-inch-thick SIPs
for the exterior walls and 8-inch-thick SIPs for
the at and sloped roofs. Each panel comprises
7
/16-inch OSB facers sandwiching EPS foam.
The resulting building envelope achieves
an insulation value of R30, which helped
the project meet its sustainability target.
Catalyst clad some portions of the envelope
with weathering steel panels and others with
plaster on lathing backed with felt to prevent
water inltration.
The use of SIPs on the project did not come
without its complications. In order to open up
the facility to views of the wildlife conservation
areas, the architects had to orient the building
on a northsouth axis. As a result, the buildings
east and west elevations are the longest, a
less-than-ideal orientation for controlling solar
heat gain. To solve this problem, the designers
minimized the amount of glazing on those
walls, which are topped with north-facing roof
monitors to bring ample indirect natural light
into the interior. Not coincidentally, the sloped
surfaces of the roof monitors create an ideal
south-facing platform for photovoltaic arrays.
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Finn Hill Middle
School employs SIPs
in its walls and roofs,
creating a tight
building envelope
that helped the school
become 47 percent
more energy ef cient
than targets set by the
U.S. Department of
Energys Energy Star
program.
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The serrated building prole posed
problems for the SIP construction. The
facilitys wall and roof monitors created
extra on-site sizing and customization that
essentially negated potential ef ciencies
in erection time. What weve learned
from working with SIPs is that you want to
eliminate or reduce the number of jigs and
jogs in the envelope, says Catalyst partner
Matthew Ackerman, AIA. In our experience,
theyre more suited for boxier buildings.
Compounding the complexity of the
envelope, the building required additional
structural bracing to meet seismic load
requirements; the site is located in a
liquefaction zone adjacent to a major fault
line. The construction team had to carve
channels through the SIPs on site to thread
steel beams throughout the structure.
That was a coordination issue,
Ackerman says. If we had been more aware
of how SIPs worked, that coordination would
have fallen in our lap before it became a
problem on site. SIPs were still an excellent
choice, given the clients goals; it just takes
understanding the product and what its
limitations are.
Finn Hill Middle School
In Kirkland, Wash., the Lake Washington
School District wanted to replace Finn Hill
Junior High Schools multibuilding facility
with one single-story building that would
become Finn Hill Middle School. The district
challenged Seattle-based Mahlum Architects
to deliver a new 116,000-square-foot facility
capable of accommodating 750 students on
the same site as the existing facility.
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96
Logistically, construction on the new
facility would have to wait until after the
old school was demolished. Then the project
would have to be completed in its entirety
within one summer break. The district also
wanted the new school to further its goal of
becoming the most energy-ef cient school
district in the state. These goals led Mahlum
to specify SIPs.
To optimize construction ef ciency,
Mahlum based its design on a 16-foot SIP
module, a height that the panels can span
without requiring additional structural bracing.
The one exception was the school gyms high
ceilings, which called for additional metal-stud
support embedded in the walls.
The 16-foot module also created a uniform
approach to sizing the classrooms. One of the
cool things about the SIP design process is that
you get shop drawings for whole building,
says Anjali Grant, AIA, Mahlums project
architect. It all comes out numbered and
panelized. You can see the entire building laid
out and see how it will arrive on site.
Given the Pacic Northwests wet climate,
water intrusion was a major concern. If there
is moisture, you dont want it trapped at the
sheathing plane, Grant says. Rainscreens and
air barriers are appropriate when cladding this
system. Mahlum specied a uid-applied-
membrane air-barrier system clad with painted
ber cement board and concrete masonry units.
Finn Hills tight envelope helped the
school to be 47 percent more energy ef cient
than targets set by the U.S. Department of
Energys Energy Star program. The facility is
set up to be net-zero energy; currently, it is
outtted with 1,452 photovoltaic panels that
generate 42 percent of the schools energy
needs. The facility has a south-facing roof
area that can accommodate more panels to
generate the balance of the schools electrical
consumption in the future.
Chicago Parks District Field House Prototype 1
While OSB SIPs currently dominate the
commercial and residential markets, precast-
concrete SIPs, which were rst produced
in the 1960s, are making headway in the
industry. Though they employ the same
insulating materialtypically EPSas their
OSB counterparts, precast SIPs can be used
architecturally as well as structurally. They also
ofer a durability ideal for high-traf c projects,
such as public facilities and schools.
It carries loads, creates a good durable
nish, doesnt burn or mold, and the insulation
gives you high R-values, says Brian Miller,
managing director of business development
at the Precast/Prestressed Concrete Institute
(PCI), an industry organization based in
Chicago. Precast SIPs also possess thermal
mass, he says, allowing them to absorb and
release energy slowly. While ofering R-values
similar to those of OSB SIPs, the precast panels
combination of thermal mass and insulation
creates a high-performance wall system that
can create up to 25 percent savings on heating
and cooling costs, according to PCI.
Chicago-based architecture rm Booth
Hansen chose precast concrete SIPs for its
design of a eld-house prototype for the
Chicago Parks District, which mandated that
the project achieve LEED Silver certication.
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with the potential to expand another 12,000
square feetcontains administrative and
support functions, a gymnasium, and several
tness rooms.
One challenge that the designers faced
in using precast SIPs for this project was the
looming wall heightsup to 31 feet in the
gymnasium. In order to provide adequate
structural support within the panels to
manage the walls dead loads, the SIPs were
fabricated with concrete-composite ribs that
tie together the exterior and interior concrete
wythes. Because concrete is a poor thermal
conductor, the risk of thermal bridging due to
the connectors is not signicant.
On the other hand, using precast SIPs
allowed for fast erection timeseven faster
than those possible with conventional OSB SIPs;
not only can the structures precast envelope
and insulation be installed in one fell swoop,
but precast SIPs can also be prefabricated
with interior and exterior wall nishes
already applied. The concrete can be molded
to resemble brick, wood grain, or nearly any
texture the designer can imagine. It can also be
embedded with nishes such as brick veneer.
At the Field House Prototype 1, the
exterior nish of the precast SIPs is exposed
concrete with aggregate; form liners created
articulated shadow lines, adding texture and
a sense of permanence that is appropriate to
a civic building. The nished interior wall,
also exposed concrete, provides durability
and eliminates the need for painting.
Saving Energy and the Environment
Structural insulated panels ofer yet another
instrument in a designers toolkit to create
high-performance, economically ef cient,
and environmentally sensitive buildings.
Along with creating tighter envelopes than
are possible with traditional stick framing,
SIPs combine the reliability of an engineered
product complete with the waste-reducing
benets of prefabrication.
With the proper coordination
and experience among the design and
construction teams, SIPs can also lead to
signicant time savings on site and become
a source of long-term energy savingsno
small feat for todays budget- and eco-
conscious clients.
25
The percentage
of potential
energy savings
generated by
building with SIPs
due to reduced
heating and
cooling loads
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Project Shown: Southeast Georgia Health System; Brunswick, Georgia; Architect: Gresham, Smith & Partners
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CENTER
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To earn credit and
obtain a certicate
of completion, visit
go.hw.net/archceu and
complete the online quiz
for free. Follow the Click
here to start this course
link to launch the quiz for
this story. If you are new to
Hanley Wood University,
create a free learner
account; returning users
log in as usual.
QUIZ
1. Which of the following materials can
be incorporated into structural insulated
panels (SIPs)?
a. Expanded polystyrene
b. Extruded fiberglass
c. Oriented strand board
d. Precast concrete
e. Gypsum board
2. The benefits of prefabricating SIPs
include:
a. The potential for an expedited
construction and assembly process.
b. Installer certification programs.
c. Reduced wholesale cost.
d. Reduced material waste.
3. What is one hindrance to greater
adoption of SIPs?
a. Initial cost
b. Installation cost
c. Prohibitive building codes
d. Insufficient use in the industry
4. Building performance benefits of SIPs
include:
a. Increased thermal bridging.
b. Greater heat resistance.
c. Reduced risk of water damage.
d. Significantly more airtight construction.
5. True or False: Though a construction
team familiar with the SIP system can erect
a project in half the time it takes to erect a
stick-framed building, workers unfamiliar
with SIPs may be slower.
6. True or False: Construction with SIPs
can be extremely airtight to the point
that architects should consult HVAC
professionals to ensure that air is exhausted
properly during occupancy.
7. The San Luis National Wildlife Refuge
(SLNWR) Visitors Center uses SIPs for both
__________ and __________, resulting
in an envelope that achieves an insulation
value of R30.
a. foundation walls
b. exterior walls
c. roofing
d. flooring
8. Two of the challenges and design
considerations related to specifying SIPs at
the SLNWR Visitors Center include:
a. Seismic loading required channels
through the SIPs for steel bracing.
b. The building design had to be rectilinear
rather than curved.
c. The building had to be oriented on a
northsouth axis.
d. The roof slope had to be decreased to
incorporate SIPs.
9. True or False: The tight construction
schedule for Finn Hill Middle School
discouraged architects from using SIPs.
10. Precast concrete SIPs can be used
architecturally and structurally. Identify
other benefits described in relation to the
Field House Prototype 1 project:
a. Precast SIPs have a high thermal mass.
b. Precast SIPs can be installed with wall
finish already applied.
c. Precast SIPs can be erected even faster
than conventional OSB SIPs.
d. All of the above.
Manufacturers of woven wire fabrics for partitions, window
treatments, GuardianCoil blast mitigation screening, and other
ornamental metal applications.
Red Coral Lounge
San Juan, Puerto Rico
Circle no. 81 or http://architect.hotims.com
Success from BIM that drives project and building performance not just coordinated drawings.
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Success achieved through the analysis, simulation, and collaborative workows uniquely possible using
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2012 Bentley Systems, Incorporated. Bentley, the B Bentley logo and ProjectWise are either registered or unregistered trademarks or service marks of Bentley Systems, Incorporated or one of its direct or indirect wholly owned subsidiaries.
Other brands and product names are trademarks of their respective owners.
www.bentley.com/Architect
Building Success
With Information Modeling for
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Circle no. 199 or http://architect.hotims.com
THE ARCHITECT 50
THEY ARE THE POWERFUL AND THE PHILANTHROPIC, THE TALENTED AND THE
PROFITABLE. OUR FOURTH ANNUAL RANKING OF U.S. ARCHITECTURE FIRMS
ANSWERS THE QUESTION: WHO HAD THE BEST YEAR?
Text by Eric Wills and Kermit Baker
Infographics by Catalogtree
THE METHODOLOGY
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How do we determine who makes the list? Each year, ARCHITECT
makes an open call for submissions and sends direct invitations
to rms that have requested entries or participated in the past.
This cycle, 134 rms submitted valid entries for the 46-question
survey, providing data from the 2011 scal year. Because the data
is self-reported, we check for consistency, identify outliers, and
check the facts. Karlin Associates LLC, a third-party research rm
based in New York City, compiled the ranking and assured the
condentiality of the data.
OVERALL SCORE
The overall ranking is based on scores in three separate categories: business,
sustainability, and design excellence/pro bono. Questions in each category are
formulated in consultation with industry experts and practitioners. Each question is
assigned a weight based on its perceived importance and on the distribution of rm
responses. Firms earn points per question based on how well they perform relative to
their counterparts. The three categories are then scored separately. (A possible score
of 100 is assigned to each category based on a rm achieving a perfect score in all of
the component questions.) The scores from the three categories are then added up to
produce a nal tally for each rm. That number is then normalized, with the top rm
scoring 100.
BUSINESS SCORE
The nancial category straightforwardly measures a rms net revenue per employee
and change in net revenue from scal year 2010.
SUSTAINABILITY SCORE
The sustainability category measures the percentage of a rms projects that are
LEED certied or designed to LEED standards; that are certied in other design
programs, such as Energy Star and Living Building Challenge; that pursued a
potable water-use reduction target beyond what is mandated by code; and that
incorporated energy modeling, with rms earning extra credit for collecting energy
data and investigating discrepancies with the model. Other data points included the
percentage of employees with LEED AP and GA credentials; a rms commitment to
sustainability in its own o ce, such as having a timeline for purchasing 100 percent
green power; and participation in the AIAs 2030 program, including the percentage
of overall gross square footage designed to 2030 standards.
DESIGN EXCELLENCE/PRO BONO SCORE
The design excellence and pro bono category measures the awards won by rms,
including AIA and ARCHITECT magazine awards, as well as their commitment to pro
bono work, measured by participation in Public Architectures 1% program as well as
the percentage of billable hours that were dedicated to pro bono work. Other data
points include the percentage of repeat clients, employee benets such as a dened
pension plan and paid family leave, and the scope and range of employees civic
engagement as university professors and board and commission members.
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THE LIST
1. DLR GROUP
Omaha, Neb.
$ $ $ $
OVERALL SCORE 100.00
RANK IN EACH CATEGORY
Business: 41st
Sustainability: 11th
Design/Pro Bono: 5th
DLR Groups Marysville
Getchell High School in
Washington state won
a James D. MacConnell
Award, which honors
leading educational design.
The rm worked pro bono
on an education and
Olympic training facility
in Kenya.
2. WILLIAM RAWN
ASSOCIATES
Boston
$ $
OVERALL SCORE 99.98
RANK IN EACH CATEGORY
Business: 4th
Sustainability: 4th
Design/Pro Bono: 81st
One of the lists smaller
rms, William Rawn
boasted strong nancials
and won an AIA Housing
Award for Northeastern
Universitys Building F.
3. HOK
St. Louis
$ $ $ $
OVERALL SCORE 99.21
RANK IN EACH CATEGORY
Business: 25th
Sustainability: 25th
Design/Pro Bono: 4th
HOK has partnered with
the USGBC to build a LEED-
certied orphanage and
childrens center. The rms
King Abdullah University
of Science and Technology
building in Saudi Arabia
won multiple awards.
4. ZIMMER GUNSUL
FRASCA ARCHITECTS (ZGF)
Portland, Ore.
$ $ $ $
OVERALL SCORE 99.12
RANK IN EACH CATEGORY
Business: 49th
Sustainability: 10th
Design/Pro Bono: 2nd
ZGF excelled in the design/
pro bono category, winning
an AIA Interior Design
award for the John E. Jaqua
Center for Student Athletes
at the University of Oregon.
5. PEI COBB FREED &
PARTNERS ARCHITECTS
New York
$ $ $
OVERALL SCORE 96.22
RANK IN EACH CATEGORY
Business: 20th
Sustainability: 13th
Design/Pro Bono: 21st
Pei Cobb Freed was
honored with the AIAs
25-Year-Award for the
Hancock Tower, Henry
Cobbs profoundly
inuential contribution
to Bostons skyline.
6. WESTLAKE REED
LESKOSKY
Cleveland
$ $ $
OVERALL SCORE 95.39
RANK IN EACH CATEGORY
Business: 59th
Sustainability: 1st
Design/Pro Bono: 27th
Westlake Reed Leskosky
is collaborating with
Farshid Moussavi on the
Museum of Contemporary
Art in Cleveland, and is
also developing a public
website to showcase its
projects predicted versus
actual energy usage.
7. SKIDMORE, OWINGS &
MERRILL
New York
$ $ $ $
OVERALL SCORE 93.13
RANK IN EACH CATEGORY
Business: 16th
Sustainability: 62nd
Design/Pro Bono: 1st
SOM was awarded the
Gold Medal in Architecture
by the National Arts Club,
honoring the rms 75-year
portfolio of iconic buildings.
8. PAYETTE
Boston
$ $ $ $
OVERALL SCORE 92.61
RANK IN EACH CATEGORY
Business: 24th
Sustainability: 6th
Design/Pro Bono: 41st
Payette won a SCUP/AIA-
CAE award for Brandeis
Universitys Carl J. Shapiro
Science Center, and did
pro bono work for the
Sustainable Healthcare for
Haiti project.
9. SMITHGROUPJJR
Detroit
$ $ $ $
OVERALL SCORE 91.52
RANK IN EACH CATEGORY
Business: 64th
Sustainability: 15th
Design/Pro Bono: 10th
SmithGroupJJR, AIA
Arizonas Sustainable Firm
of the Year, was lauded by
the Urban Land Institute
for its design of Chandler
City Hall in Arizona.
10. CANNON DESIGN
Grand Island, N.Y.
$ $ $ $
OVERALL SCORE 90.93
RANK IN EACH CATEGORY
Business: 42nd
Sustainability: 30th
Design/Pro Bono: 8th
Cannon Design converted
the Power House, a historic
St. Louis building, into the
rms own award-winning
LEED Goldcertied of ce
space.
Practice Makes Perfect
Lets be clear: Ranking architecture rms
is equal parts art and science. We rene our
methodology every year. But the goal of the
ARCHITECT 50 remains the same: to reward
accomplishment according to the broadest
possible criteria.
The list is designed to celebrate practices
of all kindspractices that are as adept with
building technology as they are in business,
that can win design awards and also give back
to their communities. Indeed, for the rst time,
this year we included pro bono work and water
modeling in the survey. Given the impact that
the economy, natural disasters, and drought are
having around the country, how rms stack up
in those categories seems especially relevant.
The overall winner? A big hand for DLR
Group, which drew raves in 2011 for its Joplin
Interim High School in tornado-ravaged Kansas.
Other rms that excelled: RBB Architects
topped the business category; Westlake Reed
Leskosky ranked rst in sustainability; and
perennial list-maker Skidmore, Owings &
Merrill led the design/pro bono category. Pei
Cobb Freed & Partners, meanwhile, was the
biggest mover, nishing 5th after missing the
top 50 last year. And Frank Harmon Architect
showed that rms with only a handful of
employees can compete with big multinationals.
We hope this years list will inspire
energetic debates. Dig into the numbers. And
dont be afraid to tell us what you think.
NUMBER OF EMPLOYEES AND GROSS REVENUE SCALE
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$ $ $ $ $ $ $ $ $ $ $ $ $ $ $
110
<999,999
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19.9 million
100499
1099.9 million
500999
100999.9 million
1,000+
1 billion+
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Circle no. 385 or http://architect.hotims.com
11. HDR ARCHITECTURE
Omaha, Neb.
$ $ $ $
OVERALL SCORE 90.92
RANK IN EACH CATEGORY
Business: 23rd
Sustainability: 46th
Design/Pro Bono: 9th
HDRs pro bono group
Design 4 Others, with
more than 100 volunteers
rmwide, works on critical-
needs facilities for poor
communities.
12. KAPLAN MCLAUGHLIN
DIAZ ARCHITECTS (KMD)
San Francisco
$ $
OVERALL SCORE 90.29
RANK IN EACH CATEGORY
Business: 5th
Sustainability: 22nd
Design/Pro Bono: 94th
KMD designed the Bertschi
School Living Science
Building in Seattle as a
pro bono research project
for the Living Building
Challenge.
13. CENTERBROOK
ARCHITECTS AND PLANNERS
Centerbook, Conn.
$ $ $
OVERALL SCORE 89.80
RANK IN EACH CATEGORY
Business: 19th
Sustainability: 43rd
Design/Pro Bono: 14th
Centerbrook won
multiple awards for its
restoration and expansion
of the Addison Gallery of
American Art at the Phillips
Academy in Andover, Mass.
14. PERKINS+WILL
Chicago
$ $ $ $
OVERALL SCORE 89.43
RANK IN EACH CATEGORY
Business: 51st
Sustainability: 31st
Design/Pro Bono: 6th
Perkins+Will demonstrated
its commitment to
sustainability with its new
Atlanta of ces, designed as
a green laboratory.
15. PEARCE BRINKLEY
CEASE + LEE
Raleigh, N.C.
$ $ $
OVERALL SCORE 89.12
RANK IN EACH CATEGORY
Business: 32nd
Sustainability: 31st
Design/Pro Bono: 80th
Pearce Brinkley Cease + Lee
had good showings in the
business and sustainability
categories, winning a COTE
award for the Park Shops at
NC State University.
16. BNIM
Kansas City
$ $ $
OVERALL SCORE 87.45
RANK IN EACH CATEGORY
Business: 118th
Sustainability: 8th
Design/Pro Bono: 3rd
BNIM earned the AIA
Architecture Firm Award,
which honored its
pioneering work in, and
continued dedication
to, sustainable building
practices.
17. FRANK HARMON
ARCHITECT
Raleigh, N.C.
$
OVERALL SCORE 87.34
RANK IN EACH CATEGORY
Business: 103rd
Sustainability: 7th
Design/Pro Bono: 12th
Smaller rm Frank Harmon
excelled in the design
category, winning awards
for its pro bono JC Raulston
Lath House at NC State
University.
18. HGA ARCHITECTS AND
ENGINEERS
Minneapolis
$ $ $ $
OVERALL SCORE 85.46
RANK IN EACH CATEGORY
Business: 47th
Sustainability: 26th
Design/Pro Bono: 22nd
HGA won awards for such
projects as the Minnesota
Zoological Garden, Target
Field in Minneapolis, and
the Napa Valley College
Performing Arts Center.
19. MARK CAVAGNERO
ASSOCIATES ARCHITECTS
San Francisco
$ $
OVERALL SCORE 85.41
RANK IN EACH CATEGORY
Business: 31st
Sustainability: 49th
Design/Pro Bono: 16th
Mark Cavagneros
renovation of the 1969
Oakland Musuem of
California won a Chicago
Athenaeum Museum
International award.
20. RNL
Denver
$ $ $
OVERALL SCORE 83.79
RANK IN EACH CATEGORY
Business: 76th
Sustainability: 5th
Design/Pro Bono: 46th
RNL scored well in
sustainability, winning
a COTE award for its
Research Support Facility
at the National Renewable
Energy Laboratory.
21. EINHORN YAFFEE
PRESCOTT ARCHITECTURE
& ENGINEERING (EYP)
Albany, N.Y.
$ $ $
OVERALL SCORE 83.15
RANK IN EACH CATEGORY
Business: 67th
Sustainability: 20th
Design/Pro Bono: 25th
EYP boasted multiple
education projects, such as
the LEED Gold Integrated
Science Complex at the
College of the Holy Cross.
22. EHDD
San Francisco
$ $ $
OVERALL SCORE 82.61
RANK IN EACH CATEGORY
Business: 69th
Sustainability: 2nd
Design/Pro Bono: 86th
EHDD excelled in the
sustainability category,
its award-winning Marin
Country Day School the
rst net-zero-energy
classroom in North
America.
23.ESKEW+
DUMEZ+RIPPLE
New Orleans
$ $
OVERALL SCORE 82.40
RANK IN EACH CATEGORY
Business: 57th
Sustainability: 42nd
Design/Pro Bono: 15th
Eskew+Dumez+Ripple
has ramped up its pro
bono work post-Katrina,
and won an AIA National
Housing Award for its 930
Poydras Street project.
HOW DID
YOUR FIRMS
NET REVENUE
CHANGE IN
2011 COMPARED
TO 2010?
28% SAID DECREASE
HOW THE TOP 50 FIRMS RESPONDED
6% SAID NO CHANGE
66% SAID INCREASE
10% MEDIAN
PERCENTAGE CHANGE
FOR FIRMS REPORTING
A DECREASE
12% MEDIAN
PERCENTAGE CHANGE
FOR FIRMS REPORTING
AN INCREASE
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The Worlds Most Unique Water Features The Worlds Most Unique Water Features
Circle no. 481 or http://architect.hotims.com
24. NBBJ
Seattle
$ $ $ $
OVERALL SCORE 82.27
RANK IN EACH CATEGORY
Business: 11th
Sustainability: 61st
Design/Pro Bono: 33rd
NBBJ is collaborating
with the University of
Washingtons Integrated
Design Lab on a notable
study to nd ways to
reduce hospital energy
use nationwide.
25. SASAKI ASSOCIATES
Watertown, Mass.
$ $ $
OVERALL SCORE 81.94
RANK IN EACH CATEGORY
Business: 37th
Sustainability: 54th
Design/Pro Bono: 18th
Sasakis Urban Fabric
research initiative is
exploring ways to revitalize
former textile industry
hubs in the U.S.
26. THE MILLER HULL
PARTNERSHIP
Seattle
$ $ $
OVERALL SCORE 81.40
RANK IN EACH CATEGORY
Business: 89th
Sustainability: 9th
Design/Pro Bono: 34th
Miller Hull is designing
a prototype net-zero-
energy home for Habitat
for Humanity, and was
honored by COTE for its
LOTT Clean Water Alliance
Regional Services Center.
27. AECOM
Los Angeles
$ $ $ $
OVERALL SCORE 80.97
RANK IN EACH CATEGORY
Business: 50th*
Sustainability: 63rd
Design/Pro Bono: 7th
AECOM got global
attention for its Olympics
master plan, designed to
revive an impoverished
London neighborhood.
28. LORD AECK &
SARGENT
Atlanta
$ $ $
OVERALL SCORE 80.56
RANK IN EACH CATEGORY
Business: 114th
Sustainability: 12th
Design/Pro Bono: 19th
This rm boasted
numerous award-winning
historic building projects,
including the SCAD
Museum of Art expansion.
29. H3 HARDY
COLLABORATION
ARCHITECTURE
New York
$ $
OVERALL SCORE 80.48
RANK IN EACH CATEGORY
Business: 28th
Sustainability: 34th
Design/Pro Bono: 55th
The rms LEED Platinum
Botanical Research
Institute of Texas is a pilot
project for Sustainable
Sites, a new landscape
design rating system.
30. RBB ARCHITECTS
Los Angeles
$ $ $
OVERALL SCORE 79.88
RANK IN EACH CATEGORY
Business: 1st
Sustainability: 117th
Design/Pro Bono: 74th
Healthcare specialist RBB
led the business category
and contributed pro bono
design work for an East Los
Angeles health center.
31. LMN ARCHITECTS
Seattle
$ $ $
OVERALL SCORE 79.56
RANK IN EACH CATEGORY
Business: 79th
Sustainability: 21st
Design/Pro Bono: 28th
LMNs Vancouver Convention
Centre West was honored by
the COTE Top Ten and AIA
Interior Architecture awards.
32. RICHRD+BAUER
Phoenix
$ $
OVERALL SCORE 79.14
RANK IN EACH CATEGORY
Business: 87th
Sustainability: 19th
Design/Pro Bono: 30th
Smaller rm Richard+Bauer
impressed with its award-
winning South Mountain
Community Library in
Phoenix.
33. LEDDY MAYTUM
STACY ARCHITECTS
San Francisco
$ $ $
OVERALL SCORE 78.60
RANK IN EACH CATEGORY
Business: 85th
Sustainability: 24th
Design/Pro Bono: 31st
The rms Ed Roberts
Campus in Berkeley, Calif.,
an independent-living
facility for the disabled,
won an Urban Land
Institute Global Award.
MEDIAN ANSWERS SUPPLIED BY TOP 50 FIRMS TO THE
FOLLOWING QUESTIONS
*AECOMS DATA REFLECTED ARCHITECTURAL SERVICES ONLY
SUSTAINABILITY
WHAT PERCENTAGE OF
YOUR EMPLOYEES ARE
LEED AP OR GA? 42%
WHAT PERCENTAGE
OF YOUR FIRMS
PROJECTS WERE LEED
CERTIFIED? 42%
HAS YOUR FIRM
ESTABLISHED A TIMELINE
FOR PURCHASING 100%
GREEN POWER?
20% SAID YES
HAS YOUR FIRM
CREATED A POLICY
FOR OFFSETTING FIRM
TRAVEL? 36% SAID YES
IF YOU SIGNED THE AIA COMMITMENT, WHAT
PERCENTAGE OF YOUR WORK (ON GROSS SQUARE
FOOTAGE BASIS AND FOR PROJECTS IN PROGRESS
OR COMPLETED IN 2011) WAS DESIGNED TO MEET
THE ENERGY TARGETS OF 2030 CHALLENGE? 19%
FOR WHAT PERCENTAGE
OF PROJECTS IN THE
LAST TWO YEARS DID
YOUR FIRM COLLECT
ENERGY DATA? 25%
DOES YOUR FIRM HAVE A
POLICY FOR PURCHASING
RENEWABLE ENERGY?
40% SAID YES
HAS YOUR FIRM BUILT
OR RENOVATED OFFICES
TO LEED STANDARD OR
HIGHER? 64% SAID YES
HAS YOUR FIRM
SIGNED THE AIA
2030 COMMITMENT?
78% SAID YES
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UNIVERSITY OF MICHIGAN
C.S. MOTT CHILDRENS HOSPITAL
ANN ARBOR, MI
ARCHITECT: HKS
GUARDIAN
SELECT FABRICATOR:
Trulite Glass & Aluminum Solutions
GUARDIAN GLAZIER
CONNECTION MEMBER:
CGI
SUNGUARD GLASS:
Neutral 40 on clear and
SuperNeutral 68 on clear
How Guardian SunGuard helps
improve patient care and recovery.
With light.
Well-daylighted hospitals with outdoor views enhance patient care
and recovery. Thats why HKS specied Guardian SunGuard glass for
the C.S. Mott Childrens Hospital, in Ann Arbor,
Michigan. The combination of Neutral 40 and
SuperNeutral 68 in an insulated glass unit
delivers plenty of visible light and a low, 0.25
solar heat gain coefcient, all with lower
reectivity than previously possible, so patients
can easily see outside. HKSs selection of SunGuard products
also improved the buildings energy efciency and created a
comfortable setting for children and families. The building is LEED
Certied Silver. For complete performance data, project photos
and other ways to Build With Light, visit SunGuardGlass.com.
Or call 1-866-GuardSG (482-7374).
Neutral 40 on #2
and SN 68 on #3
1 2 3 4
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Circle no. 407 or http://architect.hotims.com
AIA FIRM SURVEY
34. GOETTSCH PARTNERS
Chicago
$ $ $
OVERALL SCORE 77.55
RANK IN EACH CATEGORY
Business: 6th
Sustainability: 68th
Design/Pro Bono: 98th
Bolstered by strong
nancials, Goettsch
Partners also collected an
AIA Chicago award for 300
East Randolph, a 57-story
of ce building.
35. ADRIAN SMITH
+ GORDON GILL
ARCHITECTURE
Chicago
$ $ $
OVERALL SCORE 77.48
RANK IN EACH CATEGORY
Business: 46th
Sustainability: 28th
Design/Pro Bono: 67th
Adrian Smith + Gordon
Gill won an AIA Honor
Award for Regional and
Urban Design for its
Chicago Central Area
DeCarbonization Plan.
36. LPA
Irvine, Calif.
$ $ $
OVERALL SCORE 77.28
RANK IN EACH CATEGORY
Business: 65th
Sustainability: 35th
Design/Pro Bono: 36th
LPA made a commitment to
sustainability: Its projects
in 2011 were on average
25 percent more ef cient
than Californias energy
code requires.
37. HKS ARCHITECTS
Dallas
$ $ $ $
OVERALL SCORE 77.25
RANK IN EACH CATEGORY
Business: 38th
Sustainability: 52nd
Design/Pro Bono: 39th
HKSs proposal to renovate
an existing GSA building
in Los Angeles to achieve
net-zero energy usage
earned an AIA Washington
Unbuilt Award.
38. RATCLIFF ARCHITECTS
Emeryville, Calif.
$ $ $
OVERALL SCORE 76.79
RANK IN EACH CATEGORY
Business: 63rd
Sustainability: 37th
Design/Pro Bono: 43th
Ratclif supported a pro
bono hospital project in
Haiti and won a SCUP/
AIA-CAE award for its
University of California
at Berkeley Law South
Addition.
39. STUDIOS
ARCHITECTURE
Washington, D.C.
$ $ $
OVERALL SCORE 76.54
RANK IN EACH CATEGORY
Business: 45th
Sustainability: 40th
Design/Pro Bono: 49th
Studios notable projects
included 200 Fifth
Avenue, a New York of ce
building, and its pro bono
of ce designed for Kiva,
a nonprot that uses
microloans to combat
poverty.
DATA FROM
THE DECLINE
REVEALED
IN RECENT MONTHS, most U.S. architecture
rms have had their revenues stabilize, one of
many signs that the steep construction down-
turn may nally be ending. The past few years
have been extremely challenging for most rms,
however, as the AIAs 2012 The Business of
Archi tecture Report, which surveyed 2,805 AIA-
member architecture rms, shows all too clearly.
Total construction spending levels, which
exceeded $1 trillion in 2008, fell to under $800
billion by 2011. With less construction came less
building design. Moreover, many owners and
developers more aggressively managed design
and construction costs of the projects that were
built, creating pressure on design fees and con-
struction bids. As a result, gross revenue at archi-
tecture rms declined 40 percent between 2008
and 2011, from more than $44 billion to $26 bil-
lion, according to the rm survey, last conducted
in 2009.
Such a signicant revenue drop produced a
comparable reduction in employment. Between
2007 and 2011, construction industry payrolls
declined by more than 2.1 millionalmost 28
percentdouble the number of positions add-
ed during the 20032007 upturn. Architecture
rms experienced a similar employment loss:
Between 2007 and 2011, more than 28 percent
of positions disappeared, a share that greatly
exceeded the gains during the earlier upturn.
The average number of payroll employees
at a typical rm fell from 10.3 in 2008 to 8.8 in
2011. Currently, according to AIA estimates, al-
most a quarter of architecture rms nationally
are sole practitioners, and more than 60 percent
have fewer than ve employees on their pay-
rolls. Net revenue per employee averages almost
twice as much at large rms than at small rms.
In part this diference reects the greater use of
part-time staf at small rms, but it also most
likely reects higher fees charged at large rms,
as well as higher levels of staf productivity due
to generally greater capital investments.
Despite having fewer employees, the typi-
cal rm expanded its design services during the
downturn in the pursuit of new work. Indeed, a
higher number of rms reported that they ofered
such services as sustainable design, planning, in-
terior design, and space planning. KERMIT BAKER
TO ORDER THE FULL REPORT, VISIT AIA.ORG/STORE
WHAT
TYPES OF
PROJECTS DID
YOUR FIRM
COMPLETE
IN 2011?
84% SAID EDUCATION
PROJECTS
66% SAID OFFICE
BUILDINGS
66% SAID GOVERNMENT/
CIVIC PROJECTS
52% SAID
URBAN/MASTER
PLANNING PROJECTS
MOST POPULAR RESPONSES
BY TOP 50 FIRMS
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I just did a #greenapple project on my
campus with @ashley123! Great way to
spend a Saturday.
Does anyone have extra rain barrels for my
#greenapple project? @mygreenschools
2 much litter! Picking up trash at my
bros elementary school. #greenapple
For one day, tens of thousands of volunteers from across the country
and around the world will show their support for healthy, sustainable
schools by taking real action in their communities.
How will you participate?
Learn ways you can participate and pledge your support:
mygreenapple.org
As a LEED credential holder, you can earn two GBCI CE hours by organizing a project.
40. LITTLE DIVERSIFIED
ARCHITECTURAL
CONSULTING
Charlotte, N.C.
$ $ $
OVERALL SCORE 76.24
RANK IN EACH CATEGORY
Business: 120th
Sustainability: 17th
Design/Pro Bono: 17th
Little scored well in the
design/pro bono category,
volunteering on multiple
projects in the local
community.
41. EHRLICH ARCHITECTS
Culver City, Calif.
$ $
OVERALL SCORE 75.15
RANK IN EACH CATEGORY
Business: 43rd
Sustainability: 23rd
Design/Pro Bono: 108th
Steven Ehrlich received
AIA Californias Bernard
Maybeck Award, honoring
his career portfolio.
42. GOOD FULTON &
FARRELL
Dallas
$ $ $
OVERALL SCORE 74.94
RANK IN EACH CATEGORY
Business: 8th
Sustainability: 89th
Design/Pro Bono: 54th
Solid nancials and an
award-winning master
plan for Caruth/Bush
Station in Texas helped this
rm make the list.
43. ROBERT A.M. STERN
ARCHITECTS
New York
$ $ $
OVERALL SCORE 73.78
RANK IN EACH CATEGORY
Business: 21st
Sustainability: 67th
Design/Pro Bono: 59th
Robert A.M. Stern was
awarded the Richard H.
Driehaus Prize for Classical
Architecture.
44. ROSS BARNEY
ARCHITECTS
Chicago
$ $
OVERALL SCORE 73.31
Business: 111th
Sustainability: 27th
Design/Pro Bono: 26th
Ross Barney won a SCUP/
AIA-CAE award for its
James I. Swenson Civil
Engineering Building
for the University of
Minnesota.
45. TSOI/KOBUS &
ASSOCIATES
Cambridge, Mass.
$ $ $
OVERALL SCORE 73.14
Business: 35th
Sustainability: 47th
Design/Pro Bono: 77th
This rms notable projects
included the University
of Minnesota Amplatz
Childrens Hospital.
46. FXFOWLE
New York
$ $ $
OVERALL SCORE 73.13
Business: 61st
Sustainability: 41st
Design/Pro Bono: 52nd
FxFowles King Abdullah
Financial District Mosque in
Saudi Arabia won a Chicago
Athenaeum International
Design Award.
47. ARCHITECTURAL
RESOURCES CAMBRIDGE
(ARC)
Cambridge, Mass.
$ $ $
OVERALL SCORE 73.00
RANK IN EACH CATEGORY
Business: 74th
Sustainability: 16th
Design/Pro Bono: 97th
ARC earned accolades for
its Rochester Institute of
Technology Global Village.
48. ANN BEHA
ARCHITECTS
Boston
$ $
OVERALL SCORE 72.91
RANK IN EACH CATEGORY
Business: 36th
Sustainability: 72nd
Design/Pro Bono: 42nd
Ann Behas major pro
bono project transformed
a water treatment plant
into the headquarters for
Boston nonprot Emerald
Necklace Conservancy.
49. PBK ARCHITECTS
Houston
$ $ $
OVERALL SCORE 71.19
RANK IN EACH CATEGORY
Business: 17th
Sustainability: 59th
Design/Pro Bono: 104th
PBK made the list thanks
to a strong showing in the
business category.
50. CLARK NEXSEN
Norfolk, Va.
$ $ $
OVERALL SCORE 71.01
RANK IN EACH CATEGORY
Business: 58th
Sustainability: 36th
Design/Pro Bono: 93rd
This rm will compare
energy-modeling data
and actual energy usage,
studying the discrepancies,
for its series of Old Dominion
University dormitories.
WHAT PERCENTAGE OF YOUR FIRMS
BILLABLE HOURS WERE DEDICATED
TO PRO BONO PROJECTS?
1% = MEDIAN ANSWER
WHAT TYPES OF
PRO BONO PROJECTS DID YOUR
FIRM WORK ON?
HAS YOUR FIRM SIGNED ON TO PUBLIC
ARCHITECTURES 1% PROGRAM?
70% SAID CIVIC
BUILDINGS
30% SAID YES
2% NO RESPONSE
6% DID NOT WORK
ON ANY
32% SAID AFFORDABLE
HOUSING
60% SAID OTHER
68% SAID NO
2% NO ANSWER
28% SAID HEALTHCARE
FACILITIES
RESPONSES BY TOP 50 FIRMS
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ARCHITECTs Annual Design Review is a juried competition of the best U.S. architecture
completed in the past 12 months. Judging is blind, to give every project an equal
opportunity to win, and awards are given in six project-type categories.
CELEBRATING THE BEST IN AMERICAN ARCHITECTURE
ELIGIBILITY
Projects must have been completed after June 30,
2011, and must have been built in the United States or
designed by a U.S. rm.
PUBLICATION
Winners in each category (selected by a jury) will be
published in the December 2012 issue of ARCHITECT.
CATEGORIES
WORK Oce, Government, and Commercial Mixed-Use
PLAY Sports, Hospitality, and Retail
LIVE Multifamily Housing, Single-Family Housing,
and Residential Mixed-Use
GROW Education, Science, and Healthcare
MOVE Infrastructure and Transportation
BOND Institutional, Cultural, and Religious
EXTENDED DEADLINES
September 21, 2012: regular submission
deadline (postmark)
September 26, 2012: late submission deadline
(postmark, additional fee required)
FEES
First entry: $295
Additional entries: $195 per entry
Late entries: $50 additional fee per entry
by September 26
For more information:
visit: architectmagazine.com/adr
email: [email protected]
MARCELO AND MAXI SPINA WERE BORN AND
raisedand studied architecturein the town
of Rosario, Argentina, which is about 200 miles
west and north of Buenos Aires. Today, the
brothers are based in Los Angeles: Maxi, 36, at
the head his eponymous practice, Maxi Spina
Architects, and Marcelo, Intl. Assoc. AIA, 42, as
principal of design rm P-A-T-T-E-R-N-S. To-
gether, los hermanos Spina have teamed up for
a number of projects, and their collaborative
approach starts from a shared sense of archi-
tectural invention. Our working method is
one that seeks for areas in which we can in-
novate, Maxi says, and sometimes the greatest
opportunities lie in situations where we need
to accept convention.
Their latest joint venture, undertaken
with Marcelos partner in P-A-T-T-E-R-N-S,
Georgina Huljich, is a residential mid-rise in
Rosario that demonstrates exactly how the team
efects a balance between novelty and custom.
Jujuy Redux, so named because it is the teams
second project on Jujuy Street, is an eight-story,
13,500-square-foot luxury apartment building
located in the former industrial district of Pich-
incha. The area is seeing an inux of new resi-
dents, while the city as a whole is undergoing a
boom in construction as local investors look for
safe bets in an uncertain economy.
Jujuys creamy, contemporary exterior is
certainly in line with ones expectations for
a speculative development in an emerging
neighborhood: The modern aesthetic and on-
site facilitiesa sleek rooftop sundeck and
marble oors among themprovide all the
trimmings of a tony urban shelter geared to-
ward young and youthful cosmopolitans. Yet it
is one of the buildings ostensibly more banal
amenities that makes it really stand out.
Balconies are common enough in residen-
tial buildings worldwidetheyre especially
popular in Argentina, observes Marcelo, where
the climate tends to be super, super hot in the
summerbut the designers wanted the balco-
nies connected to Jujuys 13 apartment units to
be diferent. It was here, they felt, that they had
their opportunity to innovate.
With the somewhat wary blessing of their
client, the architects deployed a unique con-
struction system that made the balconies an
integral part of the structure, rather than mere
appendages to it. Extruding the oor plate out-
side the building envelope, the team equipped
the cantilevers with struts that both support
them and provide a sort of peek-a-boo efect.
The residual triangular openings reveal or con-
ceal residents, depending on where they stand.
It wasnt the simplest solution, but the
Spina brothers say its what gives the project
the feeling of potential that drives them. Our
interest wasnt just to create high value real
estate, Maxi says. It was to create a new look
for urban living for young people who want to
enjoy what the city has to ofer.
MARCELO SPINA AND GEORGINA HULJICH OF P-A-T-T-E-R-N-S AND MAXIMILIANO SPINA OF MAXI SPINA ARCHITECTS
INFLUENCED DEVELOPERS AND PUSHED CONTRACTORS TO REALIZE A DISTINCTLY MODERN MULTIFAMILY
MID-RISE. ITS LOCATED IN A POSTINDUSTRIAL NEIGHBORHOOD IN MARCELO AND MAXIS HOMETOWN
OF ROSARIOWHICH HAPPENS TO BE ONE OF THE FASTEST-GROWING CITIES IN ARGENTINA.
JUJUY REDUX
Text by Ian Volner
Photo by Gustavo Frittegotto
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Left: The eight-story Jujuy
Redux apartment building
is located in the formerly
industrial Pichincha district of
Rosario, which is Argentinas
third largest city. Previous
spread: The buildings
eye-catching balconies were
achieved with a series of
diagonal steel-reinforced
concrete trusses supporting
cantilevers, with on-site
formwork by Aserradero
Soldini and concrete from
local company Tecbeton.
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BALCONY
CONSTRUCTION

The team at D.R.S. Con-
strucciones, which served
as both developer and
builder on the project,
had reason to trust their
architects judgment
after all, they bought the
property on Jujuy Street
at the Spinas suggestion,
and had worked with
the duo previously on an
adjacent parcel. Still, they
had some concerns.
Our experience with
concrete in previous work
was limited within
conventional structures,
says D.R.S. partner Mario
Cina. The architects were
calling for balconies with
repeating, hyperboloid
concrete structures,
replete with chamfers
and diagonal branches
and they were insistent
that no exposed columns
could project to the lower-
most oors. The complex
system would have to be
self-supporting.
The builders contem-
plated prefabricating the
units, but opted instead
for on-site formwork,
using a composite
material to articulate the
surfaces. The logic was
similar to the construction
of a ship, Cina says. We
welded metal faces in
place, then covered them
with a layer of berglass
and resin. The casting of
the rest of the concrete
structure took place
simul taneously, giving the
cantilevers added support
from inverted columns in
the rooms below.
Cina says his company
which rarely does residen-
tial projectswas a good
match for the architects
ambitions: We have
an unorthodox view of
[housing]. That allowed
us to tackle the project
from a fresh viewpoint.
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Balcony Exploded Axonometric
Ground-Floor Plan
Typical Apartment-Level Plan
Dark-gray interior faade
Parking
Elevator
Lobby Entrance
Apartment
entrance
Hallway
Balcony
Living area
Kitchen
Bedrooms
Light-gray exterior-facing panel
0 5 10
N
This image: Triangular cutouts in
the concrete structure are visible
from within the marble-oored
lobby. Facing page, top left: The
north face of the building is strictly
orthogonal in its design, and
will likely be occluded by future
development in the neighborhood.
Top right: Each of the 13 units
includes a balcony, with more of
the cutouts visible through sliding
glass doors from CNP Sistemas de
Aluminio. Bottom left and right:
The geometry continues on the
rooftop sundeck, with its wooden
decking and tile oors.
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BROOKLYN NAVY
YARD CENTER
WORKSHOP/APD AND BEYER BLINDER BELLE RESTORED
AN 1857 COMMANDANTS HOUSE AND ADDED A SLEEK
NEW ADDITION, BREATHING NEW LIFE INTO THE DISUSED
INDUSTRIAL SITE ON THE BROOKLYN WATERFRONT.
SINCE ITS 1966 DECOMMISSIONING, the Brook-
lyn Navy Yard has largely resisted urban renewal,
hemmed in as it is by stone walls, its crumbling
structures visible through barbed wire. But a
champion has emerged in the form of the Brook-
lyn Navy Yard Development Corp.a nonprot
spurred by the successful reuse of other forlorn
swaths of the city. Now the Yard is being re-
invented as an enclave of modern industry.
Appropriate to the sites changing identity,
the Brooklyn Navy Yard Center, designed by New
York rms Workshop/apd and Beyer Blinder
Belle, combines old and new: The restored
9,500-square-foot Building 92, built in 1857 and
used as the Marine Commandants House, is con-
nected to a new 24,500-square-foot addition by a
three-story lobby. Like so many other Navy Yard
facilities, Building 92 had fallen into extreme
disrepair. There were holes through the oors,
holes in the walls, and the entire southeast
corner had settled, says Elizabeth Leber, AIA,
a partner at Beyer Blinder Belle. It was really
just a shell. In an efort to resuscitate the brick-
and-wood joist structure, the architects inserted
drilled displacement piles and grade beams to
give the building a stable foundation, and stain-
less steel helical ties and grout injection helped
shore up the shell. Working from historical
documents, the architects preserved as many
original architectural details as possible.
While most of the historic building is des-
ignated for gallery space with exhibits touting
the history of the site, the addition to the north
adds meeting and education areas, as well as
leasable of ce space to bring more businesses to
the Yard. The new wing also features a rooftop
caf, terrace, and green roof. The glass-and-steel
structure injects a distinctly modern aesthetic
into the historic property. We wanted a contrast
between old and new, notes Workshop/apd
partner Matthew Berman, Assoc. AIA.
The architects clad the additions north and
east elevations in corrugated metal, tying it into
the sites industrial vernacular. On the south, a
glass curtainwall shrouded by a perforated met-
al screen ofers views to a forecourt designed by
Julie Bargmann of D.I.R.T. Studio and to the city
beyond. The screen provides a defense against
solar gain (the architects are targeting the proj-
ect for LEED Platinum certication), but the
laser-cut perforation pattern, derived from an
abstracted 1936 photograph of the U.S.S. Brook-
lyn, also ofers a contemporary response to the
original buildings historic ornamentation. We
wanted the new building to act in deference to
the historic one, Berman says. The metal screen
is almost like a theater curtain, pulling back to
reveal the old Commandants house.
Text by John Gendall
Photos by Chuck Choi
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Text by name here
Photos by name here
Previous spread: The
architects restored
the 1857 Marine
Commandants House
(also known as Building
92) and connected it to
a new 24,000-square-
foot addition behind.
The southern faades
perforated metal screen,
manufactured by Airex
Industries, covers a
curtainwall by Kalwall.
This image: The north
and east faces are clad in
Morin Corp. metal panels
in a nod to the buildings
industrial environs.
CONTEXT
Historical accounts of New Yorks land use often
begin in 1811, when city commissioners dreamed
up a grid that would blanket Manhattan. Like a
Big Bang theory of urban design, the rest of the
city, we are left to assume, bursts forth from this
germinal moment of genius. But this premise
ignores the specic patterns of development in
the far larger outer boroughs, which then were
independent municipalities.
The Brooklyn Navy Yard oers a telling
counterpoint to the 1811 narrative, highlighting
the evolution and conicts of the boroughs
development. Ten years before the auspicious
meeting of commissioners, the U.S. government
bought the land that would become the Yard.
Emblematic of urban design in the industrial
age, the 300-acre parcel, located directly on the
waterfront, was devoted to a single industry
shipbuildingand created manufacturing jobs
for tens of thousands of local residents. Thus the
Yards decommissioning in 1966 created a dire
economic and urbanistic void in the borough.
Today, the Michael van Valkenburghdesigned
Brooklyn Bridge Park to the south of the Yard has
activated a long stretch of the East River. To the
north, the Williamsburg waterfront has devel-
oped apace with residential towers and pocket
parks. But sandwiched between these two chang-
ing areas, the Navy Yard has, until now, struggled
to instigate its own renaissance. The Brooklyn
Navy Yard Development Corp. has set out to
transform the hulking district into a 21st century
exemplar of U.S. manufacturing. Unlike the
monolith of the past, todays Navy Yard is lled
with a bevy of smaller, diverse practices. Outts
that produce sugar packets and subway signs are
interspersed with areas for lming movies and
even a handful of architectural o ces.
Building 92 has been the pivot for all of this
change. Positioned along Flushing Avenue, a
busy thoroughfare, the structure is sited at one
of the Yards closest points to the creative-class
enclaves of Fort Greene and DUMBO. And its
combination of cultural programming and
leasable space for business can be a model
for future development. With the Navy Yard
Center, the neighborhood has become publicly
and unprecedentedlyaccessible.
Site Plan Brooklyn Navy Yard Plan
Brooklyn
Navy Yard
Center
Marine
Commandants
House
Forecourt
Addition
Boneyard
N
N
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NorthSouth Section
Ground-Floor Plan Second-Floor Plan
Fourth-Floor Plan Third-Floor Plan
O ce oors
Green roof
Galleries
Lobby
Ticketing
Gallery
Entrance
Educational space
Leasable o ce space
O ce
Galleries
Gallery
0 10 20
0 10 20
N
Leasable o ce space
Galleries
Green roof
Caf
Terrace
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SIDEBAR HEAD

Sidebar Lobore tismolo boreetue conum quipis
num iriuree tummodignisi blandre dit iril do enis
el in vulput nibh el euis eugue conse et, sit lorper
sent et dolute
128
Opposite: Connecting the exhibition space in the historic building to the services and leasable of ce space and other
venues in the addition is a three-story volume, spanned by bridges that feature railings from FMB. The brick on the
1857 building was restored by Kings County Waterproong Corp. Above: Relics from the sites naval past ll the lobby;
tickets for the galleries can be purchased at the front desk, which was fabricated by Ferra Designs, the same rm
responsible for the Cor-Ten benches in the forecourt.
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LANDSCAPE
Even with a great demand for more space on
the site, the architects at Beyer Blinder Belle
and Workshop/apd were determined to avoid
overwhelming the historic structure with a new
building, choosing, instead, to keep the footprint
small, relative to the available property. We
had this reverence for the site and its history,
but we also had a reverence for this little build-
ing, explains Workshop/apd partner Matthew
Berman. By placing the addition at the rear of
the site, away from Flushing Avenue, the design
team cleared out an amply sized forecourt. Work-
ing with landscape architect Julie Bargmann,
the principal of New Yorks D.I.R.T. Studio, the
designers were able to transform the entire site
into an active landscape, including a forecourt on
the Flushing Avenue side of the site (above). The
forecourt had to really multitask, Bargmann
says. It needs to work for both on a small,
intimate scale, but it also needs to accommodate
large groups, she adds, citing the building open-
ing overseen by New York City Mayor Michael
Bloomberg. Small tables and benchessupported
by reclaimed steel and shaded by river birch
treesdivide the plaza into smaller sections.
Behind the Navy Yard Center, and connecting
the new space with the rest of the yard, Barg-
mann designed what she calls a rough-and-
tumble landscape (opposite), densely planted
with native species, and meant to acknowledge
the sites own gritty history and its decades of
neglected overgrowth. Known as the bone-
yard, its meant to contrast with the rened
public-facing forecourt.
But the landscape is not just for gathering. In
keeping with Bargmanns longstanding design
philosophy, it does some environmental heavy
lifting, too. Designed to be as permeable as pos-
sible, the site mitigates runo, and native plants
reduce irrigation demands. Reused materials
steel and concretecome directly from demoli-
tions on the site. These urban, industrial sites
are like archaeological digs, Bargmann says. Its
one thing to be sustainable, but its another to
have the landscape be literally of the place.
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Enzo
Ferrari
Museum
A NEW MUSEUM IN MODENA, ITALY, EXEMPLIFIES THE
PARADOXICALLY ORGANIC YET TECHNICAL VISION OF
THE LATE JAN KAPLICK OF FUTURE SYSTEMS.
Text by Richard Ingersoll
ITALY IS A LAND of contradictions: While it ap-
pears profoundly conservative on many levels,
it often produces surprisingly vivacious techni-
cal and cultural vanguards. A prime example is
Enzo Ferrari (18981988), founder of the epony-
mous sports car enterprise, who lived an appar-
ently conventional private life but produced
some of the most audacious speed machines of
the 20th century. The city of Modena, proud of
its famous native son, decided in 2004 to turn
his birthplace into a museum and chose, in a
competition, a truly radical solution. (This per-
haps compensates for the same citys decision
in 1999 to reject a new gateway by Frank Gehry,
FAIA.) Flanked by a set of train tracks, the 19th-
century house and attached workshopused
by Ferraris father to fabricate panels for the
trainshave been renovated and framed by a
strident yellow carapace. Designed by the late
Jan Kaplick, the Czech-born founder of Future
Systems, this colossal aluminum hood rises to
the same height as the historic buildings. Its
bulging crest is slit by 10 protruding gills, evok-
ing the molded metal skin and air vents of car
bodies without making literal reference to
them. Despite the new structures extroverted
form, color, and technology, Kaplick conceived
it as a passive addition, like an open hand pro-
tecting the L-shaped complex of original build-
ings. It is parked discretely, like a very expensive
car, in the background.
That the new museum will attract car en-
thusiasts goes without saying, yet one can imag-
ine its greater appeal as a pilgrimage site for
architects, curious to witness one of the hand-
ful of projects attributable to Kaplick. After his
untimely death in 2009, the commission, which
was won in competition, was faithfully stew-
arded by Andrea Morgante, an Italian archi-
tect who worked at Future Systems during the
last ve years of its existence, and now heads
his own rm, Shiro Studio, in London. True to
Left: The vivid yellow shell
of the new Enzo Ferrari
Museum is made from
5,000 extruded aluminum
pieces, tted together
with tongue-and-groove
joinery by shipbuilders
the same way one would
assemble the hull of a
ship. The shell is pierced
by 10 ns to create
computer-controlled
skylights that vent
warm air during the day.
Previous spread: Inside,
the ceiling plane is far less
brightly hued: White PVC
fabric is stretched taut
over web trusses, akin to
the ceiling of a car.
LEFT: STUDIO CENTRO29;
PREVIOUS : ANDREA MORGANTE
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South Elevation
Ferrari House Ground-Floor Plan
Ferrari House Second-Floor Plan
Ferrari House
O ce
O ces
Archives
Meeting room
Exhibition space
Entrance
N
0 10 20
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Gallery Lower-Level Plan
Gallery Ground-Floor Plan
Storage
Exhibition area
Video installation
Exhibition area
Ticketing
Restaurant
Kitchen
Bookstore
Didactic room
Plant room
Conference room
Gallery
0 25 50
N
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This image: The yellow of the building exterior
reappears inside on the volumes that enclose ticketing
and restrooms. Opposite bottom: Caf tables sit along
the curving glazed curtainwall on the eastern faade.
Opposite middle: The exhibit oor slopes down more
than 16 feet, and specially designed stands elevate the
cars 1.6 feet above the ground.
Skylight Section
Computer-controlled
operable clerestory
Barrisol ceiling
membrane
Lattice truss
Structural steel
cross member
Aluminum sheet-cladding
Aluminum extrusion panels
Bitumen water-proong barrier
Structural steel member
Two layers of 80mm-thick rigid
foam insulation
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Kaplicks ideals, the new structure appears as a
smooth and sensuous object charged with a high
level of technical bravura and innovation. Future
Systems, which until 2006 included Kaplicks
partner and ex-wife Amanda Levete, had teased
architectural culture during the last two decades
of the 20th century with alien visions of high-
tech organic shapes that seemed culled from sci-
ence ction comic books. Pioneers in parametric
design and great believers in programming sus-
tainable performance into structures, Kaplick
and Levete nally proved their worth with the
free-form Selfridges Building in Birmingham,
England, completed in 2004, which is one of the
most iconic works of the 21st century. The new
museum in Modena, while less intrusive, pres-
ents a similarly surprising image, living up to
the Future Systemss ethic of organic form that
synthesizes technology.
Like so many breakthrough structures
in modern design, the Enzo Ferrari Museum
received technology transfers from naval archi-
tecture while harking back to Paleolithic typolo-
gies. The 5,000 aluminum panels that form the
roof surface were crafted by boatbuilders using
a technique of tongue-and-groove joinery suit-
able for the hulls of ships. The 3,300 square
meters (35,521 square feet) of the double-curved
roof rest on a vaulted steel space-frame poised
at the higher, glazed Eastern end on two colossal
forks that absorb the load of a serpentine steel
anchoring tube running above the length of the
glass entry faade. The 10 roof vents serve as
computer-controlled monitors, allowing hot air
to discharge during the day. The long rectangular
structure sinks into the ground like a primeval
dugout, and the roof appears to sit over an exca-
vated void. The long anks and rear of the struc-
ture have a few tangential concrete buttresses
sunk into earthen berms that line the north
and south sides of the building, providing grass-
covered thermal mass.
The interior ceiling covers the unied space
with long 2-meter-wide strips of cream-colored
PVC fabric that has been stretched taut. The thin-
ness of these uncanny bands can be observed
through the 4-centimeter gaps left between each
one, making way for pendant light xtures and
other systems. The museums undulating glazed
faade cuts a sinuous oblique to open up the
rectangular volume and admit daylight into the
interior. Here the technology reaches its apex
with the glass panels tilting 12.5 degrees in-
ward as they rise, attached at their corners to a
custom-designed joint that, on the interior sur-
face, slips around a vertical, pre-tensioned steel
cable, like those used on suspension bridges.
On the exterior, the same joint sustains rows of
black aluminum louvers that help reduce glare.
The impressive span of the Ferrari Muse-
ums roof shelters a single basilicalike room with
a few subordinate pods. Like the crystalline fa-
ade, all of the elements, such as the enclosure
for the bar and giftshop, and that for the toilets,
follow aerodynamic curves. The room slopes
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5 meters (16.4 feet) from front to rear, allowing
the visitor to descend a gently sloping oor that
continues to a lower level within a tear-shaped
cut through the ground-level oor. A small the-
ater and a conference hall occupy the areas on
this basement level directly beneath the en-
trance. The constant slope helps to ofset the
podia for the 19 automobiles on display (the ex-
hibition will be changed periodically with loans
from private collections). Each car has been
set on a rectangular plate balanced on a half-
meter-high drum so that they do not appear to
be parked but indeed resemble sculptures.
Aside from the passive thermal advantage
of sinking the building into the ground, the Fer-
rari Museum became the rst in Italy to exploit
geothermal energy for heating and cooling, with
24 wells drilled 130 meters (426.5 feet) into the
earth. A cylindrical structure that houses the
technical equipment is set in the parking lot and
carries solar panels for hot water. The institution
also uses of-site photovoltaics as an additional
alternative energy source and in all has reduced
its energy costs by 50 percent over a comparably
sized building with conventional systems.
Andrea Morgante, who faithfully com-
pleted Kaplicks design of the new building ac-
cording to the latters drawings, took personal
responsibility for the display area in the historic
buildings. Here, he inserted majestic X-shaped
steel braces on slender spider-leg poles beneath
the timber beams of the shed for seismic protec-
tion (recently put to the test with the regions
earthquakes in early May). He divided the long
room with a narrow technical chamber for multi-
image projectors and hung of of it dozens of
diferently curved anges, supposedly suggest-
ing the pages of the biography of Enzo Ferrari,
although they seem more like the rhythmic
legs of a giant centipede. While consistent with
the organic impulses of his precursor, these
forms seem more for efect than as the integral
efects of technology. The carefully crafted new
museum, like Ferraris products, enhances the
reputation of Modena, its famous carmaker, and
the designers, occupying a class of its own.
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Inside the Ferrari House
next door to the new
Future Systems building
is a double-height exhibit
space designed by one
of the rms former
associates, Andrea
Morgante of Shiro
Studio. This image: A
nned structure houses
projectors for multimedia
displays. Opposite: The ns
incorporate photographs
of Ferrari, as well as relics
such as notebooks and
vintage brochures.
Project
Credits
Jujuy Redux
Location Rosario, Argentina
Client D.R.S. Construcciones
Architect P-A-T-T-E-R-N-S + MSA, Los AngelesMarcelo
Spina, Intl. Assoc. AIA, Georgina Huljich, Maximiliano
Spina (principals-in-charge); Rick Michod, Nathaniel
Moore, Giuliana Haro, Daniele Profeta, Mike Wang
(project team)
Interior Designer/Landscape Architect/Lighting
Designer P-A-T-T-E-R-N-S + MSA
Mechanical Engineer Juan Carlos Vaz, Alfa Ascensores;
Ingeniero Daniel Leon
Structural/Civil Engineer Jose Orengo Ingenieros
Electrical Engineer Osvaldo Cichirillo
Construction Managers Marcelo and Maximiliano Spina
General Contractor D.R.S. Construcciones
Code Consultants Oscar Coniglio and Martn Gascn
Lighting Consultant Lorena Beltran, Serra Luz Rosario
Landscape Consultant Estilo Natural
Window Consultant Carlos Piro
Fabrics Consultant Emanuel Presas
Signage Consultant Liliana Silvano, Letreros Silvano
Furniture Consultants Forcn DesignJuan Angel
Forcn; NostenJuan Ignacio Forcn, Javier Forcn
Stone Consultant Jos Mara Liebanas
Metal Consultant Fabin Aimino
Size 13,500 square feet
Cost $1.65 million
Materials and Sources
Ceilings La Yesera Rosarina layeserarosarina.com
Concrete Tecbetn tecbeton.com.ar; Aserradero Soldini
(formwork) aserraderosoldini.com.ar
Fabrics Rosario Cortinas y Sistemas
cortinasysistemas.com.ar
Flooring Accesaniga S.A accesaniga.com.ar; Maderera
Sorrento de Carlos Lovell
Furniture Forcn Design; Nosten
Glass CNP Sistemas de Aluminio cnpaluminio.com
Lighting Serra Luz serraluz.com; Serra Electricidad
(controls) www.electricidadserra.com.ar
Masonry and Stone Ladrillos Chacabuco
ladrilloschacabuco.com.ar; Marmolera San Luis
Metal Fabin Aimino
Paints Grupo Paran Pinturerias & Decoracin
Plumbing and Water System Alberdi Sanitarios
Structure Acindar, Grupo ArcelorMittal www.acindar
.com.ar; Berardi y Compaia (steel)
Various Materials Alberdi Sanitarios
Windows and Doors CNP Sistemas de Aluminio
cnpaluminio.com
Building 92: Brooklyn Navy
Yard Center
Location Brooklyn, N.Y.
Client Brooklyn Navy Yard Development Corp.
Architect Beyer Blinder Belle Architects & Planners,
New YorkElizabeth Leber, AIA (partner-in-charge);
Jean Campbell, AIA (project manager); Michael Tucker
(project architect)
Architect Workshop/apd, New YorkMatthew Berman,
Assoc. AIA (partner-in-charge); Andrew Kotchen, Assoc.
AIA (partner); James Krapp (project manager); J. Tyler
Marshall (project designer)
Audiovisual Jae Holden
Mechanical/Electrical Engineer AKF Group
Structural Engineer Robert Silman Associates
Civil/Geotechnical Engineer Langan Engineering and
Environmental Services
Geothermal Consultant P.W. Grosser Consulting
Construction Manager Plaza Construction Corp.
Landscape Architect D.I.R.T. Studio
Lighting Designer Tillett Lighting Design
Exhibition Consultant Exhibition Art & Technology
Size 34,000 gross square feet
Cost $25.6 million
Materials and Sources
Building Management System Automated Logic Corp.
automatedlogic.com
Carpet Interface interfaceor.com
Ceilings Armstrong armstrong.com
Concrete Get Real Surfaces (architectural interior
concrete) getrealsurfaces.com; Urban Foundation
Engineering (exterior architectural concrete and
foundations); Capsys Corp. (modular concrete structural
slabs) capsyscorp.com
Exterior Wall Systems Morin Corp. (metal wall panels)
morincorp.com; Kawneer North America (curtainwall)
kawneer.com; Airex Industries (exterior panels,
curtainwall, and custom sunshade) airexind.com
Finishes IceStone (countertops) icestoneusa.com
Flooring PlanetReuse (reclaimed wood) planetreuse
.com; DuroDesign (cork) duro-design.com
Glass Airex Industries airexind.com
Gypsum USG Corp. usg.com
HVAC FHP-Bosch Group (geothermal) fp-mfg.com
Insulation Thermaber thermaber.com
Lighting Controls Lighting Control & Design
lightingcontrols.com
Masonry Kings County Waterproong Corp. (masonry
restoration); ZHN Contracting (interior CMU and
structural) zhncontracting.com
Metal Ferra Designs (front desk, CorTen exterior
benches, and signs) ferradesigns.com; Airex Industries
(custom perforated sunshade) airexind.com; FMB
(railings, stairs, structural steel) fmbsteel.com
Millwork Bien Hecho bienhechobklyn.com;
Southside (exhibit millwork)
Paint Benjamin Moore & Co. benjaminmoore.com;
Tnemec tnemec.com
Photovoltaics or Other Renewables Rheem
Manufacturing Co. (solar hot-water heater); Aspro
Mechanical Contracting (graywater and plumbing)
Roong Sika Sarnal usa.sarnal.sika.com; Peterson
Aluminum Corp. pac-clad.com
Signage Signs+Decal Corp. signsanddecal.com
Site and Landscape Unilock Pavers, part of Hengestone
Holdings (pavers) unilock.com; Invisible Structures
(Gravelpave) invisiblestructures.com; Southside
(reclaimed teak benches)
Enzo Ferrari Museum
Location Modena, Italy
Client Fondazione Casa Natale Enzo Ferrari
Architect Future SystemsJan Kaplick
Project Architect Shiro Studio, London
Andrea Morgante
Competition Team Jan Kaplick, Andrea Morgante,
Liz Middleton, Federico Celoni
Project Team Andrea Morgante, Sren Aagaard, Oriana
Cremella, Chris Geneste, Cristina Greco, Clancy Meyers,
Liz Middleton, Itai Palti, Filippo Previtali, Daria Trovato
(Preliminary, Detailed, Construction, 20052007)
Art Direction Andrea Morgante (20092012)
Exhibition Design Jan Kaplick, Andrea Morgante
(gallery); Andrea Morgante (Enzo Ferrari House)
Structural/Environmental Services Arup (competition)
Project Management and Site Supervision Politecnica
Francesca Federzoni (disciplines integration); Fabio
Camorani (structures and site supervision); Francesco
Frassineti (electrical); Paolo Muratori (building site
supervision); Stefano Simonini (health and safety)
Structural/Mechanical/Electrical Design, Environmental
Impact Assessement, Health & Safety Politecnica
(preliminary, detailed, and construction stages)
Quantity Surveying Politecnica (design and
construction)
Contractor Societ Consortile Enzo; CCC soc. coop.
(Leader), Ing. Ferrari, ITE Group, CSM.; Giuseppe Coppi
(technical director, CdCModena)
Size 5,200 square meters (55,972 gross square feet)
Contract Value 14.2 million ($17.6 million)
Volume 101, number 9. September 2012. ARCHITECT (ISSN 0746-0554; USPS 009-880) is published monthly by Hanley Wood, LLC, One Thomas Circle, NW, Suite 600, Washington, DC 20005. Copyright 2012 by
Hanley Wood, LLC. Opinions expressed are those of the authors or persons quoted and not necessarily those of the American Institute of Architects. Reproduction in whole or in part prohibited without written
authorization. All rights reserved. Printed in the USA.
Periodicals postage paid at Washington, DC, and at additional mailing o ces. POSTMASTER: Send address changes to ARCHITECT, P.O. Box 3494, Northbrook, IL 60065-9831.
Canada Post Registration #40612608/G.S.T. number: R-120931738. Canadian return address: Pitney Bowes Inc., P.O. Box 25542, London, ON N6C 6B2.
DISCLOSURE ARCHITECT will occasionally write about companies in which its parent organization, Hanley Wood, LLC, has an investment interest. When it does, the magazine will fully disclose that relationship.
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Reynobond

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Bradleys Individual
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www.signmaterial.com
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SunDialer

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Haiku

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tional red dot award, a prominent seal
indicating quality design. Haikus lasting
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to interior spaces, and can also be used
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S P E C I A L A D V E R T I S I N G S E C T I O N
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ad index
Advertiser Page Circle Website Phone
AGC Flat Glass 68 21
AGC Flat Glass 69 386 us.agc.com 877-376-3343
American Hydrotech 20 254 www.hydrotechusa.com 800.877.6125
American Institute of Architects 56 www.aia.org/architectsp 800-242-3837
American Institute of Architects 58 www.aia.org/join
Ameristar 95 495 www.ameristarfence.com 800-321-8724
Amerlux 103 187 [email protected] 973-882-5010
Annual Design Review 113 architectmagazine.com/adr
ARCAT 19 430 www.arcat.com
Architect Newswire 33 www.omeda.com/arch/1M1ENBD
Architect Magazine* 37 architectmagazine.com
Architect Magazine 79 architectmagazine.com
Architect P/A Awards 51 paawards.com
ASI Global Partitions 96 244 globalpartitions.com
AYRE 90 511 ayrelight.com 877.722.AYRE
Barn Light Electric 94 530 barnlightelectric.com 800.407.8784
Bentley 101 199 www.bentley.com/Architect
Bilco 80 518 www.bilco.com 800.366.6530
Blue Book Network, The 89 262 www.bpmselect.com
Bluebeam 49 175 www.bluebeam.com/e ciency
Boyd Lighting 98 60 boydlighting.com
Building Systems Design 86 23 www.speclink.com/arch 888-BSD-SOFT
Cambridge Architectural 40 24 cambridgearchitectural.com
Cascade Coil Drapery 100 81 www.cascadecoil.com 800-999-2645
CENTRIA 21 25 CENTRIAperfpormance.com 800.229.5427
Ceramics of Italy 87 479 www.italiantiles.com 212-980-1500
Construction Specialties 27 298 www.c-sgroup.com 888-621-3344
Construction Specications Institute 97 31 www.csinet.org 800-689-2900
Doug Mockett & Company, Inc. 84 516 www.mockett.com 800-523-1269
Dri-Design 17 287 www.dri-design.com/CorianEC 616.355.2970
Dupont Tyvck C2 29 www.uidapplied.tyvek.com
Dryvit 99 84 dryvit.com/arch
EarthWerks 78 30 www.earthwerks.com 800-275-7943
EcoBuild 32a-b www.aecEcoBuild.com 800-996-3863
EFCO 63 85 efcocorp.com 800-221-4169
Georgia Power* 37 549 georgiapower.com/commercialsavings 877-310-5607
GDK-USA 15 260 www.gkdmetalfabrics.com 800-453-8616
Glen-Gery Brick 83 517 www.glengerybrick.com 610.374.4011
Goldbrecht* 37 565 vitrocsaUSA.com
Gorter 93 250 www.gorterhatches.com.au +61 8 9463 6636
Guardian 109 407 SunGuardGlass.com 866-GuardSG
Hanley Wood University 143 hanleywooduniversity.com
Hanley Wood University Valerie Walsh 81 http:/tinyurl.com/leed-specs
Harmonic Environments 107 481 www.HarmonicEnvironments.com 800.497.3529
ad index
Advertiser Page Circle Website Phone
Hunter Panels C3 433 www.hunterxci.com 888-746-1114
Invisible Structures 82 400 invisiblestructures.com 800-233-1510
Kawneer 24 472 kawneer.com
Kim Lighting 53 445 www.kimlighting.com/products/altitude
Ledtronics 73 406 ledtronics.com 800.579.4875
Lutron C4 510 www.lutron.com/esb 800-523-9466
MacroAir 75 574 macroairfans.com/demo
Marble Instittute 23 44 marble-institute.com
Marvin Windows and Doors 45 57 Marvin.com/inspired
MBCI 14 402 www.ecocientseries.com/zero
McNichols 74 296 mcnichols.com/arci 866.754.5144
Metalllic Building Company 47 424 metallic.com/longbay 800-755-7339
Metal Sales 39 444 metalsales.us.com 800.406.7387
Metal-Span 31 208 metalspan.com/innova3 877.585.9969
Modern Fan Company 12 526 modernfan.com 888.588.3267
ModularArts 72 modulararts.com 206.788.4210
Nichiha 77 380 nichiha.com/projectgallery 866-424-4421
Nudura 10 185 nudura.com 866.468.6299
Oldcastle BuildingEnvelope 2-3 52 oldcastlebe.com 866-OLDCASTLE
Owens Corning 67 413 www.OCbuildingspec.com
PERC 64 268 propanetrainingacademy.com
Petersen Aluminum 11 470 www.PAC-CLAD.com 800 PAC CLAD
Philips Ledalite 29 ledalite.com
RAB Lighting 35 571 RABWEB.COM/LEED
Reward Wall Systems 91 270 www.RewardWalls.com 800-468-6344
Rixson 23 190 www.rixson.com
S-5! 18 489 www.S-5-ColorGard.com/arch 888-825-3432
Safti First 9 515 www.safti.com 888.653.3333
Sage Glass 54 48 www.sageglass.com 877-724-3325
Selux 1 170 selux.us
Sherwin-Williams 13 217 sherwin-williams.com
Sloan Valve 71 453 sloanvalve.com/basys
Technical Glass Products 4-5 49 thenewreglass.com 800.426.0279
Technical Glass Products 92 585 reglass.com
Tile of Spain 105 385 TileofSpainUSA.com
Underwriters Laboratory 7 587 UL.COM/CODERSOURSE
United Soybean 43 224 soynewsuses.org
USGBC 22 191 greenbuildexpo.org
USGBC Green Apple 111 mygreenapple.org
W.R. Meadows 85 255 wrmeadows.com 800-342-5976
Wire By Design 70 512 wirebydesign.com 800-773-5700
*issue mailed in regional editions
1957 P/A AWARD CITATION
DESIGNED BY CURTIS AND DAVIS, NEW ORLEANSS MAIN LIBRARY SHOWS
HOW A CLASSIC MODERN BUILDING CAN ADAPT TO CHANGING NEEDS.
JURY
1957 P/A Awards Jury
Marcel Breuer
Gordon Bunshaft
Huson Jackson
Emil Praeger
Harry Weese
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Behind the Big Screen
IN THE MID-1950S, New Orleans rm Curtis
and Davis won several P/A Awards, includ-
ing two in 1957. One of these, the New Orleans
Main Library, captured the essence of that rms
response to the citys hot, humid climate with
a three-dimensional aluminum screen that
wraps the top two oors, shading the glass
walls from Louisianas intense sun. Screen walls
had become a clich and, as one P/A juror said, a
way to cover up bad design, but the subtleties
of this library show that such screens could also
be used efectively in good design.
A simple, rectangular box, angled slightly to
respect the view of City Hall from Elk Place, the
library encloses a spatially rich interior. Entered
through a circulation vestibule that projects
below the screen, the library has a exible plan
of open public areas, glass-walled mezzanines,
and services along the blank back wall. The
vitality of the building occurs in section, with
two-story reading rooms and a two-story
bridge above that brings daylight deep into
the building from third-floor patios. While
that openness to the sky somewhat counters
the eforts to shade the exterior, it does create
an inviting interior that encourages patrons to
shop for books, as Arthur Davis said.
Amid a library building-boom in New
Orleans, the city now has a new main library
on its wish list. But losing this iconic modern
buildingnow somewhat hidden behind
another screen, this time made of treeswould
be a shame. It served the city well for more than
50 years and deserves to do so for many more.
Text by Thomas Fisher, Assoc. AIA
152
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PAST PROGRESSIVES
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Circle no. 433 or http://architect.hotims.com

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For more information please visit www.lutron.com/esb
or call 1.800.523.9466 for 24/7 support.
* Compared with manual (non-automated) controls, up to 65% lighting energy savings is possible on projects that
utilize all of the lighting control strategies used by Lutron in the ESB project (occupancy sensing, high-end trim, and
daylight harvesting). Actual energy savings may vary, depending on prior occupant usage, among other factors.
** Estimates based on Lutron controls installed in ESB pre-built tenant space. Payback claims assume 65% reduction
in energy costs and energy rates of 22 cents per kwh. Actual payback terms may vary.
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t
Wireless simplies installation and minimizes disruption
t
Flexible for easy retrots or new construction
t
Expandable add to a system or recongure at any time
Empire State Building sustainability goals
Building energy reduction 38%
Building carbon emission reduction
(over the next 15 years)
105,000
metric tons
Annual building energy bill reduction $4.4 mil
Lutron contributions toward overall goals
Projected lighting energy reduction 65%
Projected lighting controls installed payback 2.75 years**
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Visit us at Greenbuild, Booth 2101S
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